Asian American Literary Forms

2014

The Routledge Companion to Asian American and Pacific Islander Literature offers a general introduction as well as a range of critical approaches to this important and expanding field. Divided into three sections, the volume: Introduces "keywords" connecting the theories, themes, and methodologies distinctive to Asian American Literature Addresses historical periods, geographies, and literary identities Looks at different genre, form, and interdisciplinarity. With forty-one chapters from scholars in the field this collection is a comprehensive guide to a significant area of literary study for students and teachers of Ethnic American, Asian diasporic, and Pacific Islander Literature.

Asian American Literature in the International Context: …, 1997

Reference Reviews, 1999

Redetermination of bis(2-formylphenolato-j 2 O,O 0 0 0)nickel(II) as bis[2-(iminomethyl)phenolato-j 2 N,O 0 0 0 ]nickel(II)

2007

Asian Englishes is published twice a year in summer and winter by ALC Press, Inc., 2-54-12 Eifuku, Suginami-ku, Tokyo 168-8611, Japan. Information for authors and subscribers is found on the inside page of the back cover.

Journal of Asian American Studies, 2009

Journal of Asian American Studies, 2005

Post 45 / Journal of Cultural Analytics, 2021

This article deploys text mining and quantitative analysis to survey the breadth of the Asian American literary corpus and the scholarship framing it. We have built a database covering all scholarship in the MLA bibliography, Amerasia, and the Journal of Asian American Studies that studies a literary work under the rubric of Asian American. For the works and authors cited, we collected a wealth of metadata from publisher and genre to gender, ethnicity, and more. Asian Americanists have long debated the definition of Asian American literature, but we have not traced the choices of scholarly attention that have accreted over decades and hundreds of publications to shape a canon. The results here reveal the systemic effects and inequalities generated by those choices. They confirm a long-suspected bias toward contemporary literature. They reveal troubling ethnic inequalities. The literatures of Asian American ethnic groups beyond the six most studied groups receive minimal attention. Korean American literature has leaped to second most studied, resulting in a reconfigured East Asian American hegemony: Chinese, Korean, and Japanese. This was enabled by a troubling decline in studies of Filipinx American literature, once central to the field. Much Filipinx American literature is today studied outside the Asian American framework entirely. Meanwhile, the conflation of Chinese American literature with Asian American literature has intensified. The field’s rhetoric of diversification has masked persistent inequalities in our critical practices. More encouragingly, the corpus has surpassed gender equity, placing women writers at the center of the field. The work of building the Asian American corpus we would want is far from over. Data-driven methods can be powerful allies in the self-scrutiny necessary to this work.

This select bibliography compiles literary works—novels, short stories, poems, plays, graphic narratives, creative nonfiction, and literary anthologies—about and/or by and/or for and/or of potential interest to queer Asian/American(ist)s. For works that feature queer Asian/Americans, their creators might not necessarily fit into both (or either) category. Some works by queer identified Asian/Americans might not necessarily feature queer or Asian-raced characters. In other cases, “queer Asian/American” as it pertains to the works included here might be considered an analytical rubric based on the intersections between authorial identity and the fictional world of the texts. In short, these works might offer unique insight into the tensions and intimacies between the terms “queer” and “Asian/American.” That being said, this list includes a considerable number of works by Asian Canadians, other Asian Anglophone texts outside the Americas as well some Asian works that are translated into English. Some works by Asian/American and Asian Canadian authors are set outside of the Americas. If you see that any additions can and should be made to this list, please feel free to contact Chris A. Eng at ceng02@syr.edu. Thanks!

Frontiers of Narrative Studies, 2018

One of the most striking yet overlooked features of contemporary minority writings certainly pertains to the multiplication of “unlikely or impossible kinds of telling” (Richardson 2006) – of the sort that an emergent field in narrative theory has subsumed under the rubric of ‘unnatural narration’. Because they complicate the “mimetic reductionism” (Alber et al. 2010) that generally informs our understanding of story-worlds and speech situations, ‘we texts’ are ‘unnatural’ in many ways. As Ruth Maxey indeed remarks after Amit Marcus and Uri Margolin, the first-person plural narrator is “flexible and ambiguous”; it represents a voice that is “inclusive and exclusive, everyone and no-one, all-seeing yet strictly limited” (2015). Looking at two recent Asian American texts written in the first-person plural – namely Julie Otsuka’s The Buddha in the Attic (2011) and Chang-rae Lee’s On Such a Full Sea (2014) – this essay contends that the ‘we form’ of these novels ‘has intention’, as it were, in that Otsuka’s and Lee’s “strategies of referential indeterminacy,” as Monika Fludernik put it in a related context (cf. 2011), have the potential for interrogating received notions about Asian American identity. Although Otsuka’s text excavates problematic chapters of Asian American history – that is, the little-known story of the ‘picture brides’ and the internment of Japanese Americans during World War 2 – and Lee’s dystopia portrays a future version of America where the descendants of the migrants from “New China” are held in relative captivity in “B-Mor” by the dominant class, both texts are underpinned by a similar resolve: to expose the ‘exclusion-by-inclusion paradox’ faced by the Asian American ‘model minority’ in the U.S. The purpose of my essay is twofold. First, my goal is to show that the ambiguities and tensions generated by the ‘we’ narration in these two Asian American novels prove particularly apt when it comes to calling into questions essentialist views concerning the anatomy of community-building (or when it comes to revealing the ways in which individuals, including readers, are shaped by the amnesias and tyrannies of History). But these two ‘we texts’ are particularly interesting at a theoretical level, too, given their strategies of selective individualization, address function for readers, and shifting referentiality. Drawing on the unnatural narration theoretical framework, I wish to examine how the ‘we’ narration in Lee’s and Otsuka’s texts helps us challenge the orthodoxies of traditional narrative theory – among which Gérard Genette’s all-too-rigid distinction between the homo- and heterodiegetic levels in a text, or the generalized assumption, which has been notably challenged by Mieke Bal, that every act of story-telling is necessarily indebted to ‘a’ narrator, and a narrator of anthropomorphic standards at that.

Mfs-modern Fiction Studies, 2010