Asian North American Literature

Multi-cultural countries provide us a chance to rethink on issues such as race, ethnicity, identity, language and colour consciousness which are very important to determine the racial or national identity. Canada is a land of different cultures; several racial and cultural people can be seen there. In such countries specially people, who came from inter-mixing of race and culture, could not easily claim their identity. From that point of view Fred Wah is considered as a notable writer by his culturally mixed background. He questions it and justifies himself through racial differences. He proclaims as he is Chinese-Canadian. Like Fred Wah there are many more writers having ethnic, racial, and cultural differences. These differences lead us to raise questions of self-identity, nationality and the problems to maintain the double-ness. So we have to compare other Chinese-Canadian authors with Fred Wah to find out differences and similarities.

Ruth Ozeki's A Tale for the Time Being (2013) responds to the radical global interconnectedness of today's world. I coin the term "minor cosmopolitics" and explain its indebtedness to as well as differentiation from "minority cosmopolitism" and "minor transnationalism" to explore the world-making potentials of minoritized individuals and the minor dimension of cosmopolitics in this novel. If we look at the relationship between the novel's two protagonists, Ruth and Nao, as that between a reader and a writer, we see how energy and matter on a small scale, in particular the energy and matter embedded in the words used in literary writing and reading, can actively engage with a scale as large as the world. Specifically, A Tale for the Time Being draws on quantum mechanics as a trope and sees words as quantum particles that illuminate the plasticity and multiplicity of space and time. Instead of aiming at a position of transcendence over the world, the novel tests out the possibilities of delivering, through words, worlds out of historical ignorance and amnesia, based on the quantum rules of randomness and undecidability.

This article explores literature’s “worlding” potentialities (in the Heideggerian sense) through an analysis of Madeleine Thien’s Do Not Say We Have Nothing (2016), positioning it as an example of Asian North American literature that intervenes in the writing of Asian histories. Thien presents Asian North American not as a form of identity politics but as a stance that invokes worldliness through storytelling and listening. The interminable, bifurcating, and networking nature of storytelling and listening as narrative forms opens up an existential sociality and transgressive relationality that “worlds” China and critiques the closure of knowledge underlying any form of totalitarianism.

This thesis anachronistically applies Kimberle Crenshaw's term intersectionality to three dramatic texts using Thomas Postlewait's model of theatre historiography. These plays were authored by twentieth century female playwrights who had similar intersectional lives as the leads discussed. Yuki from the 1901 novel turned 1903 Broadway play A Japanese Nightingale was crafted by Winnifred Eaton. Yuki's identity will be the subject of the first chapter. The second chapter examines the identity of Rachel from Angelina Weld Grimke's anti-lynching play Rachel. For the third chapter, the identities of both female leads from Hope for a Harvest by Sophie Treadwell are analyzed. Each chapter will also investigate the strong autobiographical ties the playwrights have to their material in terms of intersectional identity and historical context. v Dedicated to

In her pathbreaking book on Eurasians (mixed-race people of East Asian and Caucasian ancestry living at the turn of the twentieth century), Emma Teng notes that such individuals were represented in two main ways. First, “as a ‘problem,’ portending racial extinction, the decline of civilization, or social unrest. At other times, Eurasians were hailed as the embodiment of the best of both worlds, as harbingers of international peace or a cosmopolitan future” (5). This problem-promise dynamic is useful for situating cultural representations of the early twentieth century. However, it can also contribute to a resilient trend in which allegorical dimensions of white-Asian romance and the Eurasian person are stressed above other layers of literary and social meaning. Teng warns against reductive analyses of Eurasians, calling for scholars to develop “a more nuanced understanding of the diverse ways in which biracial subjects negotiated their identities within the constraints of American racial hierarchies” (170). Still, the figure of the Eurasian in literature continues to be read as a referendum on the history of racial injustice, the promise of an anti-racist society, or the resolution of imperial or other geopolitical conflicts abroad.1 In literary studies, such concerns are impelled by the practice of ideology critique, which, as Anna Kornbluh eloquently reminds us, remains as vital a project as ever. Yet debate over the relative merits of critique and postcritique can obfuscate the utility of reading practices that work not to supplant critique but to supplement its goals of “‘negative’ diagnoses” and “affirmative projections of emancipation” (Kornbluh 769). I consider how analyzing Eurasian artworks that resist allegorical interpretation and decenter the traditionally overriding question of white-Asian race relations sensitizes us to an important but underacknowledged facet of life for Eurasian writers and artists: an evident desire, especially among those raised outside Asian ethnic enclaves in North America, to create and dwell in Asian atmospheres where belonging—however vexed by competing understandings of identity and community—can be experienced as aesthetic pleasure. These works do not offer emphatic critiques of American imperialism or white supremacy. Nor do they especially invite a scholarly critique of the authors’ veiled complicity with the same. Instead, their implicit desires and strategies of execution help us understand how racial atmospheres, and the aesthetic pleasures to which they may give rise, enabled marginalized Eurasian and other diasporic subjects to survive and thrive.

Teaching high school students critical thinking, decision making, and participation skills are paramount to their development as citizens in a democracy. 1 We believe it is the responsibility of teachers to encourage students to participate in critical discussions of controversial problems while working in collaboration to solve public issues. 2 Topics might include colonialism, patriotism, racism, cultural assimilation, cultural imperialism, and ethnic identity. We believe integrating difficult issues in the classroom through Asian American literature can encourage students to review and challenge their assumptions and knowledge of diverse communities. Asian Americans are extremely diverse with ancestors from many global regions. These include South Asia (

Teaching high school students critical thinking, decision making, and participation skills are paramount to their development as citizens in a democracy. 1 We believe it is the responsibility of teachers to encourage students to participate in critical discussions of controversial problems while working in collaboration to solve public issues. 2 Topics might include colonialism, patriotism, racism, cultural assimilation, cultural imperialism, and ethnic identity. We believe integrating difficult issues in the classroom through Asian American literature can encourage students to review and challenge their assumptions and knowledge of diverse communities. Asian Americans are extremely diverse with ancestors from many global regions. These include South Asia (

the session was organized and chaired by Dien Ho and arranged under the auspices of the APA Committee on Asian and Asian American Philosophers and Philosophies. This special issue contains four essays in the history of philosophy that describe the development of analytic philosophy in China, Korea, Taiwan, and Hong Kong. This list unfortunately does not include Japan or Macau. 1 And while there is some discussion in the essays of supranational influence (especially from mainland China to Taiwan and Hong Kong and of course British and North American influence), there is room for more historical work tracing the regional connections in the history of analytic philosophy both more broadly within East Asia and across Asia more widely (in this vein, Ting-an Lin's paper points to the establishment, in the 1990s, of regional collaborations in the philosophy of science between Taiwan, Japan, and Korea, and of their role in fostering analytic philosophy in the region).

By reading Ruth Ozeki’s A Tale for the Time Being (2013) through the lens of Jane Bennett’s vital materialism, this article investigates the post-humanist potential of pivoting towards an eco-polyphony that is receptive to the communicative capacities of both organic and inorganic matter. The agency and interconnection of human and nonhuman entities, which underpin a Latourian ontology of plurality, emerge effectively when appreciating these entities’ comparable patterns of expression. This horizontal, non-logocentric approach to signs aims to defuse the power structures intrinsic to anthropocentric dynamics, engendering a more profoundly ecological sensibility and an ever-expanding sense of the range of beings in existence.

The aim of this text is to show how the motif about collective mind / genetic memory of aliens is used as a mean for construction of the identification marker which substantially differs human from alien races, and which is built on the opposition between individual and collective identity as relational characteristics of humans, and their alien enemies. Examples from shows and films "Battlestar Galactica", "Star Trek", "Stargate", and "Invasion of the Body Snatchers (Third Beings)" will be used as explanatory material.

Co-Chair "Serious Play: Race, Game, Asian American Literature," argues that games are narrative fantasies of perfectly equal opportunity that can help us reconceive of what it means to be a minority in contemporary America. Race's idiomatic evolution into a "race card" points not just to identity's growing immateriality and "virtualization" but to its increasingly intimate relationship with the ludic. Asian American authors in particular have seized upon the possibilities of transforming identity into an object of play, in part because gameplay opens up a space to challenge stereotypes about the group's "Tiger Mother"-esque obsession with work and apparent allergy to "frivolous" endeavors. Rereading Asian American literature through its literal and proverbial games, from the convivial mahjongg club at the center of Amy Tan's The Joy Luck Club to the game-theoretical model of the "prisoner's dilemma" captured in Japanese American internment novels, "Serious Play" reveals that it is not the Asian American ability to work but to play that offers the most cogent insight into identity formation as a simultaneously personal, political, and ludic pursuit. iii The dissertation of Tara Fickle is approved.

3 NOT WAVING BUT DROWNING: CREATIVITY AND IDENTITY IN DIASPORA WRITING ShirleyLim The essay argues against triumphal readings of 'diaspora' creative writing estabUshed upon theories that understand diasporic identities as dispersed cultural unitariness. ...

The article examines the structure of the literary subject in Ruth Ozeki's 2013 novel A Tale for the Time Being from the perspective of the governing mechanisms of the postmodern epoch. I argue that the fluidity of the subject roles in the novel not only complies with Zen Buddhist principles Ozeki admittedly employed in their conception, but also reflects the structure of contemporary individuals within the postmodern social and economic realities. My analysis of the narrative agents relies primarily upon the theoretical framework charted by Jean Baudrillard, specifically his concepts of hyperreality and fractal subject. The adherence of the subjects in the novel to the principles of the postmodern paradigm allows us to consider A Tale for the Time Being as an example of a way in which the American mainstream has begun to accommodate (to) the social and historical circumstances of the new historical epoch.

“Private Poem for a Manitoulin Canada day,” Kearns addresses the occasion again, attempting to work through the dynamics of his role as “official guest” in relation to the local publics with whom the poet inter-acts; the work is suggestive of the ways personal and public ...

The cover of this volume of Asian American Literature: Discourses & Pedagogies is a photograph supplied by the poet-turned-visual-artist, Truong Tran, of his work Faultlines. His interview by Wei Ming Dariotis begins this volume. The title, “On-ramp to the Apocalypse,” is a reference to the beloved hometown of both interviewer and interviewee: San Francisco. Here in California, fault lines evoke not only the cracks in the Earth’s surface that produce the earthquakes that have shaped our landscape but the fissures and cracks within our communal and personal identities as well. The intersection between location and personal identity has been on my mind a lot in the past six months as I have been preparing to launch volume four and also to move the journal to a whole new website. As I write, Berkeley Electronic Press is designing the new site. We hope that the new design will provide easier, userfriendlier access for our readers, authors, and referees. It will certainly be more colorfu...

is the proposed name for a geologic epoch in which humans have become the major force determining the continuing livability of the earth. The word tells a big story: living arrangements that took millions of years to put into place are being undone in the blink of an eye. The hubris of conquerors and corporations makes it uncertain what we can bequeath to our next generations, human and not human. The enormity of our dilemma leaves scientists, writers, artists, and scholars in shock. How can we best use our research to stem the tide of ruination? 1 jeffrey santa ana

The most important books to focus on race relations in the past few years have all presented the United States through a long-standing white/black binar y. Ta-Nehisi Coates's Between the World and Me (2015), Michelle Alexander's The New Jim Crow (2010), and Claudia Rankine's Citizen (2014) explore how violence and invisibility shape contemporary black subjectivity. However, even as John Hope Franklin proclaimed in "One America in the 21st Century," President Clinton's 1997 race initiative, "This countr y cut its eye teeth on racism in the black/white sphere," we must still bear in mind Korean American spokeswoman Angela Oh's hope for a "new language" that will allow discussion "beyond the black-white paradigm." As she further explained in the well-publicized dispute, "We need to go beyond that because the world is about much more than that, and this is sort of the next horizon" (quoted in Frank H. Wu, Yellow: Race in America beyond Black and White [New York: Basic Books, 2002], 34). The contrast between Franklin's and Oh's conception of America's legacy and future still reverberates nearly twenty years later. Their differing approaches highlight how race invariably proliferates contradictions. It is a fiction that instantiates devastating forms of difference. It is a hegemonic tool of division that sows the foundation of glorious communities and cultural legacies. And it is both defined and limited by white/black relations.

The extent to which the bakla and feminine Filipino gay is a colonial imagined stereotype remains a contentious issue and has yet to resolve with academic consensus. Clearly, however, figures of feminine gays and baklas are rampant in Philippine cinema as well as in daily visual culture, and cannot be a mere American fetish. 49 This quote, and these thoughts on arrival, were brought to my attention during a reading by Madeleine Thien and Rawi Hage. 50 Joshua Guzmán writes that for Muñoz, brownness persists "in the here-and-now as the materiality of everyday life," while queer utopia is always on the horizon and not-yet here (60).

U.S. ESPARTNINT 0. EDUCATION oft:al Education* Aswan AM loprovvmmt EDUCATIONAL RENURCES INFORMATION CENTER (ERIC) %The *commit ME INNIA romoducod as rocOlval from Irm Roman or oloanitation WrIaboia CI Minor thsAges revs bun ma°. to oncrove rolwoducloon 04111Y P0111111 01 view or oporoaa Sumo In the docw mom do not riocomarriv roorosom official OEID DaUllon of Wm/

A report is presented of experiences that persuaded a group of experienced Taiwanese Chinese Language primary school teachers who had visited Hong Kong to observe how the subject they were responsible for teaching was being taught in Hong Kong to change their practice on returning to Taiwan. Overseen by Taiwanese and Hong Kong university academics, the Taiwan and Hong teachers exchanged professional experiences and ideas, and school visits were arranged to allow the Taiwanese teachers to see for themselves how reading comprehension was being taught in Hong Kong primary schools. On returning to Taiwan, retrospective impressions of the visit by the Taiwanese teachers were reported to colleagues, and seminars, follow-up focus group meetings and online forum discussions were organized. A group of Hong Kong teachers later visited Taiwan to see how their Taiwanese colleagues were teaching reading. The visits, exchanges of ideas and the follow-up activities were very productive, all servin...

Preface by Rafael Perez-Torres Introduction Aparajita Nanda Part I: Identity Politics 1. Beyond Identity: Bearings Wlad Godzich 2. 'One Like Me': The Refugee as Relational Figure Keith P. Feldman 3. Transnational Identity and the Muslim Diaspora in Camilla Gibb's Sweetness in the Belly Esra Mirze Santesso 4. Power, Politics, and the Post-National world of Octavia Butler's Lilith's Brood Aparajita Nanda 5. 'Exotic Fagdom': The Baraka of Surplus Love in a Transnational Context Suelghee Lee Part II: Legacy/Trauma/Healing 6. Rethinking Reconciliation: Reflections on Genocide in Africa Pal Ahluwalia 7. Chinese Communism, Cultural Revolution, and American Multiculturalism Steven Lee 8. Rita Dove's Sonata Mulattica: A Transatlantic Genre for the Restoration of History Cameron Bushnell 9. Animal Ghosts, Colonial Haunting: History's Presence(s) beyond Benjamin and Derrida Cassel Busse 10. Paul Beatty's Slumberland and the Myth of Blackness George Hoagl...

This article examines the enactment of the Chinese Student Protection Act (CSPA) of 1992. This US immigration law granted over 54,000 Chinese nationals permanent residence after the 1989 Political Turmoil in China. Although the CSPA was promoted as a form of humanitarian relief legislation, my research shows instead that the CSPA embodied a neoliberal rationale that reinforced the racialized selectivity in the US immigration regime. Marking a transition from Cold War politics to neoliberal globalization, Chinese student immigration exemplified the neoliberal and transnational features of the model minority racialization, transforming Chinese America into a space of transnational capitalism and a bridge between American whiteness and Chinese elitism.

Just before coming to the conference on the Relation between English and Foreign Languages in the Academy, I saw an exhibit at the Institute of American Indian Arts Museum in Santa Fe titled Who Stole the Teepee? Combining historic with contemporary objects, the exhibit probed not only the theft of tradition announced in its title but the possibility that “we” (Native Americans) or “our ancestors” had been more than willing to sell it. Such speculative reflection resonates with the way in which we who study East Asia have dealt with our relatively stable isolation: while complaining of language and literature colleagues' indifference, if not contempt, toward our endeavors, we have also prided ourselves on the difficulty of our languages and the ancientness of our civilizations, the source of an arcane body of knowledge requisite for even basic literacy. If all foreign language and literature scholars feel subordinate to the empire of English, East Asianists are not only beyond t...

A report is presented of experiences that persuaded a group of experienced Taiwanese Chinese Language primary school teachers who had visited Hong Kong to observe how the subject they were responsible for teaching was being taught in Hong Kong to change their practice on returning to Taiwan. Overseen by Taiwanese and Hong Kong university academics, the Taiwan and Hong teachers exchanged professional experiences and ideas, and school visits were arranged to allow the Taiwanese teachers to see for themselves how reading comprehension was being taught in Hong Kong primary schools. On returning to Taiwan, retrospective impressions of the visit by the Taiwanese teachers were reported to colleagues, and seminars, follow-up focus group meetings and online forum discussions were organized. A group of Hong Kong teachers later visited Taiwan to see how their Taiwanese colleagues were teaching reading. The visits, exchanges of ideas and the follow-up activities were very productive, all serving as catalysts causing the teachers to change their pedagogy on returning to Taiwan, one of the most important being the experience of seeing at first-hand the strategies used by Hong Kong teachers to improve the reading comprehension of their students and another being the way the students had responded.

If this Companion's title, Gender and the American West, calls forth normatively white images and narratives of quietly masculine cowboys, chaste schoolmarms, and kind-hearted prostitutes-all figures of a certain measure of nobility within Old West spaces of violence and lawlessness-the images and narratives connected to Asian immigrants and Asian North Americans are considerably less sanguine. For example, characters such as Owen Wister's Virginian and Zane Grey's Lassiter represent regenerative cowboy types, and Bret Harte's Miss Mary and Miggles typify the wholesome lineaments, respectively, of the upright schoolmarm and the virtuous prostitute. Asian characters, in contrast, have often been called upon to provide a less salubrious dose of "local color," that combination of romantic exoticism and realist verisimilitude strongly associated with US letters in the wake of the Civil War. 1 Made to bear the burden of local color's proclivity for caricature, in the nineteenth century the Asian male often took the form of the feminized laundryman or cook-such as the ambiguously gendered character Ah Wee of Ambrose Bierce's short story "The Haunted Valley" (1871)-or, in a seeming paradox, the licentious predator and enslaver of white women, embodied in the shadowy opium den denizens of what is referred to in Frank Norris' short story "The Third Circle" (1897) as "the part [of San Francisco's Chinatown] that no one ever hears of." 2 The Asian woman, often represented as a passive, sexually-available figure, just as easily became a dangerous source of contamination and degeneration, particularly as the nineteenth century drew to a close and the twentieth century beckoned. Frank Norris again provides an instructive example, in the short story "After Strange Gods" (1894): "Oriental" woman Lalo Da contracts smallpox among the "foulness" and "wickedness" of San Francisco's Chinatown, which disfigures her face into a "grinning mask" and compels her to blind her French lover, Rouveroy, so that he does not leave her. 3 What Colleen Lye calls "Asiatic racial form," a flexible figuration of the Asian immigrant and the Asian American structured by the trope of economic efficiency, 4 thus has always been accompanied and co-constituted by what we might call an "Asiatic sexual form" which has cast Asian (North American) bodies and populations as sometimes threatening, other times docile, and always perpetually foreign. This essay turns away from the Anglo North American-produced caricatures that have helped to create "Asiatic sexual form" to consider Asian North American authors' and artists' representations of genders and sexualities across the transnational space of the Asian North American West. Mixing long-standing Asian American literary studies practices of sociological and materialist analysis with elements of the field's recent formalist turn, this essay reads Asian North American cultural production for its mimetic references to Asian North American gender and sexual formation, as well as for the rhetorical, tropological, and compositional strategies that aesthetically register the historical pressures and forms of agency that have created those formations. 5 In ways both obvious and oblique, Asian North American representations of gender and sexuality index the centrality of the Asian (North American) in the making of normatively white as well as other racialized genders and sexualities, and vice versa. In spite of their legal and cultural marginalization in the United States, Asian immigrants and Asian North Americans have long provided key "others" against which normatively white North American genders and

If this Companion's title, Gender and the American West, calls forth normatively white images and narratives of quietly masculine cowboys, chaste schoolmarms, and kind-hearted prostitutes-all figures of a certain measure of nobility within Old West spaces of violence and lawlessness-the images and narratives connected to Asian immigrants and Asian North Americans are considerably less sanguine. For example, characters such as Owen Wister's Virginian and Zane Grey's Lassiter represent regenerative cowboy types, and Bret Harte's Miss Mary and Miggles typify the wholesome lineaments, respectively, of the upright schoolmarm and the virtuous prostitute. Asian characters, in contrast, have often been called upon to provide a less salubrious dose of "local color," that combination of romantic exoticism and realist verisimilitude strongly associated with US letters in the wake of the Civil War. 1 Made to bear the burden of local color's proclivity for caricature, in the nineteenth century the Asian male often took the form of the feminized laundryman or cook-such as the ambiguously gendered character Ah Wee of Ambrose Bierce's short story "The Haunted Valley" (1871)-or, in a seeming paradox, the licentious predator and enslaver of white women, embodied in the shadowy opium den denizens of what is referred to in Frank Norris' short story "The Third Circle" (1897) as "the part [of San Francisco's Chinatown] that no one ever hears of." 2 The Asian woman, often represented as a passive, sexually-available figure, just as easily became a dangerous source of contamination and degeneration, particularly as the nineteenth century drew to a close and the twentieth century beckoned. Frank Norris again provides an instructive example, in the short story "After Strange Gods" (1894): "Oriental" woman Lalo Da contracts smallpox among the "foulness" and "wickedness" of San Francisco's Chinatown, which disfigures her face into a "grinning mask" and compels her to blind her French lover, Rouveroy, so that he does not leave her. 3 What Colleen Lye calls "Asiatic racial form," a flexible figuration of the Asian immigrant and the Asian American structured by the trope of economic efficiency, 4 thus has always been accompanied and co-constituted by what we might call an "Asiatic sexual form" which has cast Asian (North American) bodies and populations as sometimes threatening, other times docile, and always perpetually foreign. This essay turns away from the Anglo North American-produced caricatures that have helped to create "Asiatic sexual form" to consider Asian North American authors' and artists' representations of genders and sexualities across the transnational space of the Asian North American West. Mixing long-standing Asian American literary studies practices of sociological and materialist analysis with elements of the field's recent formalist turn, this essay reads Asian North American cultural production for its mimetic references to Asian North American gender and sexual formation, as well as for the rhetorical, tropological, and compositional strategies that aesthetically register the historical pressures and forms of agency that have created those formations. 5 In ways both obvious and oblique, Asian North American representations of gender and sexuality index the centrality of the Asian (North American) in the making of normatively white as well as other racialized genders and sexualities, and vice versa. In spite of their legal and cultural marginalization in the United States, Asian immigrants and Asian North Americans have long provided key "others" against which normatively white North American genders and

World Literature actually traces its origin back to English Departments and the revision of the American Literature canon in the 1980's. But, even before then, its conceptual roots can be found in Black Studies and Women's Studies Programs that came into existence in the US in the 70's and were devised to represent the experience and cultural production of then underrepresented Blacks and women in academe. The addition to the curriculum of texts written by Blacks and women closely followed administrative efforts to diversify the faculty under the mandate of Affirmative Action. Over time, the recruitment of underrepresented groups expanded to include other minorities (such as Hispanics and Native-Americans) and hyphenated ethnicities (such as Asian-Americans). Such diversity initiatives coincided with English Departments' attempts to revamp their curriculum. These two separate events-diversifying the canon as well as the university community-resulted in the formation and implementation of a broad range of courses dealing with issues of identity that came to be popularly known as multiculturalism. These new courses were supported by a theoretical superstructure devised to justify their existence. Multiculturalism was, therefore, institutionalized in American academe from its inception as a bureaucratic structure purporting to foster minority rights. Ideally, it sought to facilitate dead white authors being supplanted in the canon by authors from underrepresented groups and dead-wood white male professors being supplanted in the classroom by women and minorities. Multiculturalism thus claimed to re-envision the world from a decolonizing and antiracist perspective. It should also be noted that the growth of multiculturalism signaled a concerted effort on the part of English Departments to appear more relevant and make their students more marketable. As I have shown elsewhere (Figueira 2008), around this time English Departments were also co-opting the teaching of continental theory from the smaller and more vulnerable Comparative Literature Departments. All these developments had very pragmatic aims. There had been a general down-sizing in the humanities. It was becoming more and more difficult for English students to find viable topics of disserta

Disappearing Moon Café explores the idea of identity through the eyes of a young woman, Kae Ying Woo. By means of letters, stories, and memoirs, Kea Ying Woo travels back in time to discover the history of her family and, through that, her own identity. Yet, she constantly encounters secrets and silences which hinder her journey, making it even more strenuous to find the answers to the questions haunting her. However, the travel through time is not the only motif of journey present in the novel as Kae's journey to discover her family history is paralleled by her psychological journey to understand herself. Through non-linear narration and multiple character perspectives, SKY Lee also presents to the modern readers the different journeys of Chinese immigrants: firstly, the physical journey from China to Canada and later a more metaphorical one, the end of which is rediscovering their identity in the new environment of the Canadian society.

Based on Michel Foucault's concept of heterotopia as a theoretical framework, the present paper analyzes the dilemma of Japanese Americans as represented in No-No Boy (1957) by the Japanese American novelist John Okada (1923-1971). The paper seeks to add to the extant studies on the aftermath of the Second World War, particularly in relation to Japanese Americans and the repercussions of their internment experience. Foucault's concept of heterotopia adapts well to a reading of Okada's novel because it helps to find a link between bicultural tensions, the crisis of citizenship for Japanese Americans in the aftermath of the Second World War, and the idea of cultural pluralism as a major postmodern vision. By applying Foucault's concept of heterotopia, the paper proves that Okada's novel introduces a world in which diversity is not tolerated and minorities are considered heterotopias of deviation and crisis rather than essential constituents of a pluralist nation. The paper argues that the US created heterotopias by interning almost the entire minority of Japanese Americans and permanent Japanese residents inside concentration camps and prisons during the Second World War. Moreover, the paper demonstrates that the aftermath of the war as well as the internment experience marks the failure of cultural pluralism in America.

ASIAN AMERICAN NARRATIVES IN LAW 1995] 8. Robert S. Chang, Nation/Nationalism/Nativism, paper presented at the Conference for Critical Legal Studies, Washington D.C. (Mar. 10-12, 1995) (on file with author). 9. Throughout this Article, I use the verb "to race." In doing so, I am trying to describe the idea that the "meaning and salience of race are forever being reconsituted in the present." Michael Omi & Howard Winant, On the Rhetoretical Status of the Concept of Race, in RACE, IDENTITY AND REPRESENTATION IN EDUCATION 3, 7 (Cameron McCarthy & Warren Crichlow eds., 1993). To underscore race as an activity rather than an objective category, I describe specific acts that have the intent or effect of reinforcing racial relationships as "race-ing." 10. Compare Lisa See, Portraits of the Past, A. MAGAZINE, Feb./Mar.1995, at 36, 38 ("My job became one of excavation.... Many of the 70 relatives, friends and associates I interviewed were in their eighties and nineties and spoke little English. Because my great-grandfather, grandfather, and father married white women, I myself am only an eight [sic] Chinese; I have red hair and freckles. I may have been a relative, but I was also a foreigner.") with Jeffrey Goldberg, The Overachievers, NEW YORK, Apr. 10, 1995, at 43, 47 ("Many second-generation Korean-Americans-and the category known within the community as the '1.5 generation,' people now in their teens, twenties, and thirties... say they are growing tired of marginality.") 11. Jessica Hagedorn, The Exile Within/The Question of Identity, in THE STATE OF ASIAN AMERICA:

Discourse stylistics focuses upon the largely implicit and highly ideological ‘background’ of the text. Mind style that is one of the traits of stylistics is going to be taken into account of doing the analysis since this research aims to find out about how the mind style of Amy Tan is shaped by her background in her way of writing and producing the novel The Joy Luck Club. The term ‘mind style’ (Leech and Short, 2007) is particularly appropriate where the choices made are consistent through a text or part of a text.  This research is questioned whether or not Amy Tan’s Chinese background have influenced the novelist’s style as represented in her novel, The Joy Luck Club. This research describes the novel with a focus on the characters’ mind style in a stylistic and narrative approach. This research aims to attain the influence from the backgrounds of the novelist and the way the background affect the novelist’s style in producing literary work. The descriptions and explanations of ...

U.S. ESPARTNINT 0. EDUCATION oft:al Education* Aswan AM loprovvmmt EDUCATIONAL RENURCES INFORMATION CENTER (ERIC) %The *commit ME INNIA romoducod as rocOlval from Irm Roman or oloanitation WrIaboia CI Minor thsAges revs bun ma°. to oncrove rolwoducloon 04111Y P0111111 01 view or oporoaa Sumo In the docw mom do not riocomarriv roorosom official OEID DaUllon of Wm/

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.