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The author chronicles the lives of three generations of Chinese men in America, woven from memory, myth and fact. Here's a storyteller's tale of what they endured in a strange new land.
NATIONAL BESTSELLER • An exhilarating blend of autobiography and mythology, of world and self, of hot rage and cool analysis. First published in 1976, it has become a classic in its innovative portrayal of multiple and intersecting identities—immigrant, female, Chinese, American. • NATIONAL BOOK CRITICS CIRCLE AWARD WINNER “A classic, for a reason.” —Celeste Ng, bestselling author of Little Fires Everywhere and Our Missing Hearts, via Twitter As a girl, Kingston lives in two confounding worlds: the California to which her parents have immigrated and the China of her mother’s “talk stories.” The fierce and wily women warriors of her mother’s tales clash jarringly with the harsh reality of female oppression out of which they come. Kingston’s sense of self emerges in the mystifying gaps in these stories, which she learns to fill with stories of her own. A warrior of words, she forges fractured myths and memories into an incandescent whole, achieving a new understanding of her family’s past and her own present.
In her singular voice—both humble and brave, touching and humorous—Maxine Hong Kingston gives us a poignant and beautiful memoir-in-verse that captures the wisdom that comes with age. As she reflects on her sixty-five years, she circles from present to past and back, from lunch with a writer friend to the funeral of a Vietnam veteran, from her long marriage to her arrest at a peace march in Washington. On her journeys as writer, peace activist, teacher, and mother, she revisits her most beloved characters—Wittman Ah-Sing, the Tripmaster Monkey, and Fa Mook Lan, the Woman Warrior—and presents us with a beautiful meditation on China then and now. The result is a marvelous account of an American life of great purpose and joy, and the tonic wisdom of a writer we have come to cherish.
"I have almost finished my longbook," Maxine Hong Kingston declares. "Let my life as Poet begin...I won't be a workhorse anymore; I'll be a skylark." To Be the Poet is Kingston's manifesto, the avowal and declaration of a writer who has devoted a good part of her sixty years to writing prose, and who, over the course of this spirited and inspiring book, works out what the rest of her life will be, in poetry. Taking readers along with her, this celebrated writer gathers advice from her gifted contemporaries and from sages, critics, and writers whom she takes as ancestors. She consults her past, her conscience, her time--and puts together a volume at once irreverent and deeply serious, playful and practical, partaking of poetry throughout as it pursues the meaning, the possibility, and the power of the life of the poet. A manual on inviting poetry, on conjuring the elusive muse, To Be the Poet is also a harvest of poems, from charms recollected out of childhood to bursts of eloquence, wonder, and waggish wit along the way to discovering what it is to be a poet.
Driven by his dream to write and stage an epic stage production of interwoven Chinese novelsWittman Ah Sing, a Chinese-American hippie in the late '60s.
In a fascinating collection of interviews, renowned author Maxine Hong Kingston talks about her life, her writing, and the role of Asian-Americans in our history. As her books always hover along the hazy line between fiction and memoir, she clarifies the differences and exults in the difficulties of distinguishing between the remembered and the re-created.
Essays on the island and its history and traditions from the National Book Award–winning author of The Woman Warrior. In these eleven thought-provoking pieces, acclaimed writer and feminist Maxine Hong Kingston tells stories of Hawai’i filled with both personal experience and wider perspective. From a recipient of the National Medal of Arts and numerous other honors, the essays in this collection provide readers with a generous sampling of Kingston’s exquisite angle of vision, her balanced and clear-sighted prose, and her stunning insight that awakens one to a wealth of knowledge.
The numerous studies of Maxine Hong Kingston's touchstone work The Woman Warrior fail to take into account the stories in China Men, which were largely written together with those in The Woman Warrior but later published separately. Although Hong Kingston's decision to separate the male and female narratives enabled readers to see the strength of the resulting feminist point of view in The Woman Warrior, the author has steadily maintained that to understand the book fully it was necessary to read its male companion text. Maureen Sabine's ambitious study of The Woman Warrior and China Men aims to bring these divided texts back together with a close reading that looks for the textual traces of the father in The Woman Warrior and shows how the daughter narrator tracks down his history in China Men. She considers theories of intertextuality that open up the possibility of a dynamic interplay between the two books and suggests that the Hong family women and men may be struggling for dialogue with each other even when they appear textually silent or apart.
In this pathbreaking book, King-Kok Cheung sheds new light on the thematic and rhetoncal uses of silence in fiction by three Asian American women: Hisaye Yamamoto, Maxine Hong Kingston, and JoyKogawa. Boldly articulating the unspeakable, these writers break the silence imposed by families or ethnic communities and defy the dominant culture that suppresses the voicing of minority experiences. Yet at the same time, they demonstrate how silences—voiceless gestures, textual ellipses, authorial hesitations—can themselves be articulate. Drawing on theoretical works on women's writing, on ethnicity and race, and on postmodernism and history, Cheung takes issue with Anglo-American feminists who valorize speech unequivocally and with revisionist Asian American male critics who attempt to refute Orientalist stereotypes by renouncing silence. She challenges Eurocentric views of speech and silence as polarized, hierarchical, and gendered, and proposes an approach to Asian American literature which overturns the "East-West" or "dual personality" model. Yamamoto, Kingston, and Kogawa interweave speech and silence, narration and ellipses, autobiography and fiction as they adapt and recast Asian and Euro-American precursors. Drawing freely from both traditions, they reinvent the past by decentering, disseminating, and interrogating authority-but not by reappropriating it. A fresh and subtle response to issues relating to cultural diversity, Articulate Silences will be important reading for scholars and students in the fie,4s of literary theory and criticism, women's studies, Asian American studies, and ethnic studies.
The author recalls her experiences growing up Chinese-American in California and her mother's stories of strong women warriors in her native China, and also discusses the history of Chinese men in America from those who worked on the transcontinental railroad to those who fought in Vietnam.