This book provides a new map of American literature in the global era, analyzing the multiple meanings of transnationalism.

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.

Transnational Matrilineage offers a novel approach to Asian American literature, including texts by Maxine Hong Kingston, Amy Tan, Mei Ng, Nora Okja Keller and Vineeta Vijayaragahavan, with particular attention to depictions of transnational solidarity (that is the sense of community between women of different cultures or cultural affiliations) between Asian-born mothers and their American-born daughters. While focusing on the mother-daughter conflicts these texts portray, this book also contributes to ongoing debates in transnational feminism by scrutinizing the representation of Asia in Asian American literature.

This collection examines transnational Asian American women characters in various fictional narratives. It analyzes how certain heroines who are culturally rooted in Asian regions have been transformed and re-imagined in America, playing significant roles in Asian American literary studies as well as community life. The interdisciplinary essays display refreshing perspectives in Asian American literary studies and transnational feminism from four continents.

The global circulation of comics, manga, and other such visual mediums between North America and Asia produces transnational meanings no longer rooted in a separation between "Asian" and "American." Drawing New Color Lines explores the culture, production, and history of contemporary graphic narratives that depict Asian Americans and Asians. It examines how Japanese manga and Asian popular culture have influenced Asian American comics; how these comics and Asian American graphic narratives depict the "look" of race; and how these various representations are interpreted in nations not of their production. By focusing on what graphic narratives mean for audiences in North America and those in Asia, the collection discusses how Western theories about the ways in which graphic narratives might successfully overturn derogatory caricatures are themselves based on contested assumptions; and illustrates that the so-called odorless images featured in Japanese manga might nevertheless elicit interpretations about race in transnational contexts. With contributions from experts based in North America and Asia, Drawing New Color Lines will be of interest to scholars in a variety of disciplines, including Asian American studies, cultural and literary studies, comics and visual studies. "Drawing New Color Lines makes an exciting contribution to the rapidly expanding inquiry at the crossroads of Asian American literary studies, graphic narrative studies, and transnational studies. Foregrounding the shifting meanings of race within, across, and between various national contexts, the fifteen essays in Chiu's collection explore the visual dimensions of Asian American transnational literary culture with originality and offer particular insight into the complexities of production, interpretation, and reception for graphic narrative." — Pamela Thoma, author of Asian American Women's Popular Literature: Feminizing Genres and Neoliberal Belonging "An informative, smart, and necessary collection. Drawing New Color Lines investigates a growing and important field—transnational Asian American comics—with sophistication and breadth." — Hillary Chute, author of Graphic Women: Life Narrative and Contemporary Comics and Outside the Box: Interviews with Contemporary Cartoonists

Foregrounding indigenous and feminist scholarship, this collection analyzes militarization as an extension of colonialism from the late twentieth to the twenty-first century in Asia and the Pacific. The contributors theorize the effects of militarization across former and current territories of Japan and the United States, such as Guam, Okinawa, the Marshall Islands, the Philippines, and Korea, demonstrating that the relationship between militarization and colonial subordination—and their gendered and racialized processes—shapes and produces bodies of memory, knowledge, and resistance. Contributors: Walden Bello, U of the Philippines; Michael Lujan Bevacqua, U of Guam; Patti Duncan, Oregon State U; Vernadette Vicuña Gonzalez, U of Hawai‘i, M noa; Insook Kwon, Myongji U; Laurel A. Monnig, U of Illinois, Urbana–Champaign; Katharine H. S. Moon, Wellesley College; Jon Kamakawiwo‘ole Osorio, U of Hawai‘i, M noa; Naoki Sakai, Cornell U; Fumika Sato, Hitotsubashi U; Theresa Cenidoza Suarez, California State U, San Marcos; Teresia K. Teaiwa, Victoria U, Wellington; Wesley Iwao Ueunten, San Francisco State U.

This book is a ground-breaking transnational study of representations of the environment in Asian American literature. Extending and renewing Asian American studies and ecocriticism by drawing the two fields into deeper dialogue, it brings Asian American writers to the center of ecocritical studies. This collection demonstrates the distinctiveness of Asian American writers’ positions on topics of major concern today: environmental justice, identity and the land, war environments, consumption, urban environments, and the environment and creativity. Represented authors include Amy Tan, Maxine Hong Kingston, Ruth Ozeki, Ha Jin, Fae Myenne Ng, Le Ly Hayslip, Lan Cao, Mitsuye Yamada, Lawson Fusao Inada, Jeanne Wakatsuki Houston, Milton Murayama, Don Lee, and Hisaye Yamamoto. These writers provide a range of perspectives on the historical, social, psychological, economic, philosophical, and aesthetic responses of Asian Americans to the environment conceived in relation to labor, racism, immigration, domesticity, global capitalism, relocation, pollution, violence, and religion. Contributors apply a diversity of critical frameworks, including critical radical race studies, counter-memory studies, ecofeminism, and geomantic criticism. The book presents a compelling and timely "green" perspective through which to understand key works of Asian American literature and leads the field of ecocriticism into neglected terrain.

A recent explosion of publishing activity by a wide range of talented writers has placed Asian American literature in the limelight. As the field of Asian American literary studies gains increasing recognition, however, questions of misreading and appropriation inevitably arise. How is the growing body of Asian American works to be read? What holds them together to constitute a tradition? What distinguishes this tradition from the "mainstream" canon and other "minority" literatures? In the first comprehensive book on Asian American literature since Elaine Kim's ground-breaking 1982 volume, Sau-ling Wong addresses these issues and explores their implications for the multiculturalist agenda. Wong does so by establishing the "intertextuality" of Asian American literature through the study of four motifs--food and eating, the Doppelg,nger figure, mobility, and play--in their multiple sociohistorical contexts. Occurring across ethnic subgroup, gender, class, generational, and historical boundaries, these motifs resonate with each other in distinctly Asian American patterns that universalistic theories cannot uncover. Two rhetorical figures from Maxine Hong Kingston's The Woman Warrior, "Necessity" and "Extravagance," further unify this original, wide-ranging investigation. Authors studied include Carlos Bulosan, Frank Chin, Ashley Sheun Dunn, David Henry Hwang, Lonny Kaneko, Maxine Hong Kingston, Joy Kogawa, David Wong Louie, Darrell Lum, Wing Tek Lum, Toshio Mori, Bharati Mukherjee, Fae Myenne Ng, Bienvenido Santos, Monica Sone, Amy Tan, Yoshiko Uchida, Shawn Wong, Hisaye Yamamoto, and Wakako Yamauchi.

This book argues that the invention of Asian American identities serves as an index to the historical formation of modern America. By tracing constructions of "Asian American" to an interpenetrating dynamic between Asia and America, the author obtains a deeper understanding of key issues in American culture, history, and society. The formation of America in the twentieth century has had everything to do with "westward expansion" across the "Pacific frontier" and the movement of Asians onto American soil. After the passage of the last piece of anti-Asian legislation in the 1930's, the United States found it had to grapple with both the presence of Asians already in America and the imperative to develop its neocolonial interests in East Asia. The author argues that, under these double imperatives, a great wall between "Asian" and "American" is constructed precisely when the two threatened to merge. Yet the very incompleteness of American identity has allowed specific and contingent fusion of "Asian" and "American" at particular historical junctures. From the importation of Asian labor in the mid-nineteenth century, the territorialization of Hawaii and the Philippines in the late-nineteenth century, through wars with Japan, Korea, and Vietnam and the Cold War with China, to today's Asian Pacific Economic Cooperation group, the United States in the modern age has seen its national identity as strongly attached to the Pacific. As this has taken place, so has the formation of a variety of Asian American identities. Each contains a specific notion of America and reveals a particular conception of "Asian" and "American." Complicating the usual notion of "identity politics" and drawing on a wide range of writings—sociological, historical, cultural, medical, anthropological, geographic, economic, journalistic, and political—the author studies both how the formation of these identifications discloses the response of America to the presence of Asians and how Asian Americans themselves have inhabited these roles and resisted such categorizations, inventing their own particular subjectivities as Americans.

The history of Asian American literature reveals the ongoing attempt to work through the fraught relationship between identity politics and literary representation. This relationship is especially evident in literary works which claim that their content represents the socio-historical world. The Semblance of Identityargues that the reframing of the field as a critical, rather than identity-based, project nonetheless continues to rely on the logics of identity. Drawing on the writings of philosopher and literary critic Georg Lukacs, Christopher Lee identifies a persistent composite figure that he calls the "idealized critical subject," which provides coherence to oppositional knowledge projects and political practices. He reframes identity as an aesthetic figure that tries to articulate the subjective conditions for knowledge. Harnessing Theodor Adorno's notion of aesthetic semblance, Lee offers an alternative account of identity as a figure akin to modern artwork. Like art, Lee argues, identity provides access to imagined worlds that in turn wage a critique of ongoing histories and realities of racialization. This book assembles a transnational archive of literary texts by Eileen Chang, Frank Chin, Maxine Hong Kingston, Chang-rae Lee, Michael Ondaatje, and Jose Garcia Villa, revealing the intersections of subjectivity and representation, and drawing our attention to their limits.