Consumption and identity in Asian American coming-of-age novels. Critical essays: gay and lesbian writers of color. Double agency: acts of impersonation in Asian American literature and culture. Imagining the nation: Asian American Literature and cultural consent. The immigrant experience in North American literature: carving out a niche. The imperialist imaginary: visions of Asia and the Pacific in American culture. Literary gestures: the aesthetic in Asian American writing.
The melancholy of race. Mixed race literature.
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National abjection: the Asian American body on stage. Narratives for a new belonging: diasporic cultural fictions. New strangers in paradise: the immigrant experience and contemporary American fiction. The politics of the visible in Asian North American narratives. Politicizing Asian American Literature: towards a critical multiculturalism. Postcolonial theory and the United States: race, ethnicity and literature. Race and resistance: literature and politics in Asian America. Racial ambiguity in Asian American culture. Reading Asian American Literature: from necessity to extravagance. Reading the literatures of Asian America.
Sexual naturalization: Asian Americans and miscegenation. Violent belongings : partition, gender, and national culture in postcolonial India. The world next door: South Asian American literature and the idea of America. Writing manhood in black and yellow: Ralph Ellison, Frank Chin, and the literary politics of identity. The Continuum encyclopedia of children's literature.
Dictionary of Asian American history. Encyclopedia of Asian American Literature.follow url
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Encyclopedia of Modern Asia. The Greenwood encyclopedia of multiethnic American literature. American eyes: new Asian American short stories for young adults. Charlie Chan is dead: an anthology of contemporary Asian American fiction. Good fortune: my journey to Gold Mountain. Yell-oh girls! A concise companion to postwar American literature and culture. The Columbia companion to the twentieth-century American short story.
Multicultural writers since an A to Z guide. Contemporary American ethnic poets: lives, works, sources. Performing Asian America: race and ethnicity on the contemporary stage. The politics of life: four plays by Asian American women. Unbroken thread: an anthology of plays by Asian American women. Breaking silence: an anthology of contemporary Asian American poets. The ethics and poetics of alterity in Asian American poetry. Quiet fire: A historical anthology of Asian American poetry, Amy Tan: a critical companion.
Asian American Women Writers. Betrayal and other acts of subversion: feminism, sexual politics, Asian American women's literature.
The terror the butcher scripts in the unhealed air, the sorrow of his Shang dynasty face, African face with slit eyes. He is my sister, this beautiful Bedouin, this Shulamite, keeper of sabbaths, diviner of holy texts, this dark dancer, this Jew, this Asian, this one with the Cambodian face, Vietnamese face, this Chinese I daily face, this immigrant, this man with my own face.
This gesture exposes the self to what hurts, frightens, and enriches for the sake of self-transformation. Moreover, since the body is a contested site for competing ideologies, the poem begins and ends with attention to racially and ethnically marked features. In so doing, Lee transgresses the culturally and socially imposed categories and boundaries among people without eliminating differences in a singular oneness, in which unity replaces alterity, and otherness is absorbed by sameness.
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In so doing, Lee intervenes in the discourses on the racially and socially marked other through personal stories told in the voice of the autobiographical lyric I. In the last section of the opening poem of his second volume, Lee invites the reader to discard the autobiographical details of his persona and to know him by heeding the song of his soul: Know him by his noise.
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City 29 By insisting on specifying the nonwhite, non-European immigrant identity of the lyric I as poet, and articulating his inner self that resists socially constructed identities, Lee disrupts social inscriptions of the racially and ethnically marked body. In seeking to intervene in raced cultural otherness, Lee also resolutely implicates the racial, social, and cultural other in the lyric utterance, thus transforming the content of the universal. Your Otherness Is Perfect as My Death 65 chapter two Marilyn Chin she walks into exile vowing no return In a interview with Bill Moyers, Marilyn Chin speaks of her poetic aspirations in terms of her sense of responsibility as a poet, a woman, and a Chinese American.
Historical voices, ancient voices, contemporary feminist voices. An immigrant, a professor of creative writing, and a bilingual poet who has developed a poetics of crosscultural encounters, Chin regards herself as part of a new beginning for Asian Americans, who used to be almost exclusively male laborers and domestic servants, forbidden by law to become naturalized citizens. It entails departures from established cultural and literary traditions.
One of these departures includes reinventing a lyric I whose identity is at once individual and collective, Chinese and American. The immigrant worked his knuckles to the bone only to die under the wheels of the railroad. One thousand years before him, his ancestor fell building yet another annex to the Great Wall — and was entombed within his work. And I, the beginning of an end, the end of a beginning, sit here, drink unfermented green tea, scrawl these paltry lines for you.
Why horses lie down only in moments of disaster. As the riddles in the closing lines suggest, the responsibility the speaker faces entails preserving an ethnic cultural heritage, despite the process of acculturation, through a poetics that resists assimilation by the dominant culture. In articulating this otherness, Chin seeks to reinvent Chinese cultural heritage and to transform the Eurocentric aspects of mainstream American poetry through the alterity of the culturally marginalized other.
The form and content of this poem demonstrate the possibilities of creating a new lyric by combining and transforming elements from different cultural traditions. Chin incorporates and revises the modern Greek poet C. What are we waiting for, young nubile women pointing at the wall, the barbarians are coming.
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They have heard about a weakened link in the wall. So, the barbarians have ears among us. So deceive yourself with illusions: you are only one woman, holding one broken brick in the wall. So deceive yourself with illusions: as if you matter, that brick and that wall. The barbarians are coming: they have red beards or beardless with a top knot.
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The barbarians are coming: they are your fathers, brothers, teachers, lovers; and they are clearly an other. There is no way that the pure yellow seed, as my grandmother called it, will continue. Assimilation for Chin as shown in her poem does not mean erasure or oppression of otherness by the dominant culture; rather it suggests a mutually transformative encounter between self and other.
Yesterday if you had called me an ox, I should have accepted the name of ox; if you had called me a horse, I should have accepted the name of horse. Chin incorporates the Daoist attitude toward naming and names in her poem, while shifting the subject position from those who fear the barbarians to that of the barbarians and their attitudes toward being named the abject other: If you call me a horse, I must be a horse. If you call me a bison, I am equally guilty. When a thing is true and is correctly described, one doubles the blame by not admitting it: so, Chuangtzu, himself, was a barbarian king!