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"Fiercely satirical. . . . Yamashita presents [an] intricate plot with mordant wit." —New York Times Book Review "A stunner. . . . An exquisite mystery novel. But this is a novel of dystopia and apocalypse; the mystery concerns the tragic flaws of human nature." —Library Journal (starred review) "Brilliant. . . . An ingenious interpretation of social woes." —Booklist (starred review) "Yamashita handles her eccentrics and the setting of their adventures with panache. David Foster Wallace meets Gabriel Garcia Marquez." —Publishers Weekly Irreverently juggling magical realism, film noir, hip hop, and chicanismo, Tropic of Orange takes place in a Los Angeles where the homeless, gangsters, infant organ entrepreneurs, and Hollywood collide on a stretch of the Harbor Freeway. Hemmed in by wildfires, it's a symphony conducted from an overpass, grandiose, comic, and as diverse as the city itself. Karen Tei Yamashita is the author of Through the Arc of the Rain Forest, Brazil-Maru, Tropic of Orange, Circle K Cycles, I Hotel, and Anime Wong, all published by Coffee House Press. I Hotel was selected as a finalist for the National Book Award and awarded the California Book Award, the American Book Award, the Asian/Pacific American Librarians Association Award, and the Association for Asian American Studies Book Award.
Examines the diasporic and transnational aspects of Asian-American literature and engages works of prose and poetry as aesthetic articulations of the fluid transnational identities formed by Asian-American writers.
The nine essays in Asian North American Identities explore how Asian North Americans are no longer caught between worlds of the old and the new, the east and the west, and the south and the north. Moving beyond national and diasporic models of ethnic identity to focus on the individual feelings and experiences of those who are not part of a dominant white majority, the essays collected here draw from a wide range of sources, including novels, art, photography, poetry, cinema, theatre, and popular culture. The book illustrates how Asian North Americans are developing new ways of seeing and thinking about themselves by eluding imposed identities and creating spaces that offer alternative sites from which to speak and imagine. Contributors are Jeanne Yu-Mei Chiu, Patricia Chu, Rocio G. Davis, Donald C. Goellnicht, Karlyn Koh, Josephine Lee, Leilani Nishime, Caroline Rody, Jeffrey J. Santa Ana, Malini Johar Schueller, and Eleanor Ty.
Border Fictions offers the first comparative analysis of multiethnic and transnational cultural representations about the United States' borders with Mexico and Canada. Blending textual analysis with theories of globalization and empire, Claudia Sadowski-Smith forges a new model of inter-American studies. Border Fictions places into dialogue a variety of hemispheric perspectives from Chicana/o, Asian American, American Indian, Latin American, and Canadian studies. Each chapter examines fiction that ranges widely, from celebrated authors such as Carlos Fuentes, Leslie Marmon Silko, and Alberto Ríos to writers whose contributions to border literature have not yet been fully appreciated, including Karen Tei Yamashita, Thomas King, Janette Turner Hospital, and emerging Chicana/o writers of the U.S.-Mexico border. Proposing a diverse and geographically expansive view of border and inter-American studies, Border Fictions links the work of these and numerous other authors to civil rights movements, environmental justice activism, struggles for land and border-crossing rights, as well as to anti-imperialist forms of nationalism in the United States' neighboring countries. The book forces us to take into account the ways in which shifts in the nature of global relations affect literary production, especially in its hemispheric manifestations.
"What Constitutes A Border Situation? How translatable and "portable" is the border? What are the borders of words surrounding the border? In its five sections, Border Transits: Literature and Culture across the Line intends to address these issues as it brings together visions of border dynamics from both sides of the Atlantic Ocean. The volume is of interest for scholars and researchers in the field of Border studies, Chicano studies, "Ethnic Studies," as well as American Literature and Culture."--BOOK JACKET.
"The present volume gathers new essays in ecofeminist literary criticism and theory that extend this critical trajectory for ecocriticism in the context of social eco-feminist theory and practice."--BOOK JACKET.
LatinAsian Cartographies examines how Latina/o and Asian American writers provide important counter-narratives to the stories of racial encroachment that have come to characterize twenty-first century dominant discourses on race. Susan Thananopavarn contends that the Asian American and Latina/o presence in the United States, although often considered marginal in discourses of American history and nationhood, is in fact crucial to understanding how national identity has been constructed historically and continues to be constructed in the present day. Thananopavarn creates a new “LatinAsian” view of the United States that emphasizes previously suppressed aspects of national history, including imperialism, domestic racism during World War II, Cold War operations in Latin America and Asia, and the politics of borders in an age of globalization. LatinAsian Cartographies ultimately reimagines national narratives in a way that transforms dominant ideas of what it means to be American.
The twentieth century was a time of unprecedented migration and interaction for Asian, Latin American, and Pacific Islander cultures in the Americas and the American Pacific. Some of these ethnic groups already had historic ties, but technology, migration, and globalization during the twentieth century brought them into even closer contact. Transnational Crossroads explores and triangulates for the first time the interactions and contacts among these three cultural groups that were brought together by the expanding American empire from 1867 to 1950. Through a comparative framework, this volume weaves together narratives of U.S. and Spanish empire, globalization, resistance, and identity, as well as social, labor, and political movements. Contributors examine multiethnic celebrities and key figures, migratory paths, cultural productions, and social and political formations among these three groups. Engaging multiple disciplines and methodologies, these studies of Asian American, Latin American, and Pacific Islander cultural interactions explode traditional notions of ethnic studies and introduce new approaches to transnational and comparative studies of the Americas and the American Pacific.
The activist tradition in American literature has long testified to the power of words to change people and the power of people to change the world, yet in recent years many professional humanists have chosen to distract themselves with a postmodern fundamentalism of indeterminacy and instability rather than engage with social and political issues. Throughout her bold and provocative call to action, Elizabeth Ammons argues that the responsibility now facing humanists is urgent: inside and outside academic settings, they need to revive the liberal arts as a progressive cultural force that offers workable ideas and inspiration in the real-world struggle to achieve social and environmental justice. Brave New Words challenges present and future literary scholars and teachers to look beyond mere literary critique toward the concrete issue of social change and how to achieve it. Calling for a profound realignment of thought and spirit in the service of positive social change, Ammons argues for the continued importance of multiculturalism in the twenty-first century despite attacks on the concept from both right and left. Concentrating on activist U.S. writers—from ecocritics to feminists to those dedicated to exposing race and class biases, from Jim Wallis and Cornel West to Winona LaDuke and Paula Moya and many others—she calls for all humanists to link their work to the progressive literature of the last half century, to insist on activism in the service of positive change as part of their mission, and to teach the power of hope and action to their students. As Ammons clearly demonstrates, much of American literature was written to expose injustice and motivate readers to work for social transformation. She challenges today’s academic humanists to address the issues of hope and purpose by creating a practical activist pedagogy that gives students the knowledge to connect their theoretical learning to the outside world. By relying on the transformative power of literature and replacing nihilism and powerlessness with conviction and faith, the liberal arts can offer practical, useful inspiration to everyone seeking to create a better world.
In Alien Capital Iyko Day retheorizes the history and logic of settler colonialism by examining its intersection with capitalism and the racialization of Asian immigrants to Canada and the United States. Day explores how the historical alignment of Asian bodies and labor with capital's abstract and negative dimensions became one of settler colonialism's foundational and defining features. This alignment allowed white settlers to gloss over and expunge their complicity with capitalist exploitation from their collective memory. Day reveals this process through an analysis of a diverse body of Asian North American literature and visual culture, including depictions of Chinese railroad labor in the 1880s, filmic and literary responses to Japanese internment in the 1940s, and more recent examinations of the relations between free trade, national borders, and migrant labor. In highlighting these artists' reworking and exposing of the economic modalities of Asian racialized labor, Day pushes beyond existing approaches to settler colonialism as a Native/settler binary to formulate it as a dynamic triangulation of Native, settler, and alien populations and positionalities.