Winnifred Eaton, better known under her Japanese pseudonym, Onoto Watanna, was of English and Chinese heritage, but born and raised in Canada. She published over a dozen novels and hundreds of short stories, magazine articles, and screenplays during the first half of the twentieth century. Her romances featuring Japanese and Eurasian heroines sold widely. However, by the time of her death in 1954, most of her books were out of print. Winnifred (unlike her sister, the better-known writer Edith Eaton) has been a troubling figure for Asian Americanists. She attempted to disguise her ethnic heritage, writing under a Japanese pen name, and in legal documents, she usually claimed a white racial identity. Scholars have noted her use of Orientalist stereotypes in her novels, and even though she depicted a broad range of non-Asian characters - such as Irish maids and cowboys - her pottrayals often relied on the accepted stereotypes of the day. Rather than dismiss her characterizations as evasions of the topics that readers today wish she had explored, Jean Lee Cole asks why Winnifred Eaton may have chosen the subjects she did. Cole shows that the many voices Eaton adopted reveal her deep

In 1901, Winnifred Eaton arrived in New York City with literary ambitions, journalism experience, and the manuscript for A Japanese Nightingale, the novel that would make her famous. Her writing and gift for reinvention would set her apart from other women authors of her time and make her a fascinating early figure in Asian American literature. Diana Birchall, Eaton's granddaughter, tells the Horatio Alger story of the woman who became Onoto Watanna. Born to a British father and a Chinese mother, Winnifred capitalized on her exotic appearance--and protected herself from Americans' scorn of the Chinese--by "becoming" Japanese. Her popular Japanese-themed romance novels thrust her into the glittering world of New York's literati. From there she leapt to Hollywood to become a scriptwriting protégée of Carl Laemmle at Universal Studios. Yet her boldness and talent masked a sometimes-desperate personal life that included a troubled first marriage and the sudden end of her Hollywood career. A compelling saga of the shifting boundary between life and art, Onoto Watanna reveals the conflicting stories, personal tempests, and remarkable accomplishments of a woman whose career was sensational in every sense.

Mrs. Spring Fragrance (1912) is a collection of short stories by Sui Sin Far. Inspired by her experience living among Chinese Americans in San Francisco and Seattle, Mrs. Spring Fragrance is considered one of the earliest works of fiction published in the United States by a woman of Chinese heritage. In “The Inferior Woman,” Mrs. Spring Fragrance encounters her neighbors, the Carmans, as they try to find someone to marry their son. While Mrs. Carman wants him to marry into a family of higher social standing, her son is in love with a local girl who works as a legal secretary. Known by Mrs. Carman as the “Inferior Woman,” she has risen through hard work and perseverance to achieve her position at the law firm. Sympathetic toward her neighbor’s son, Mrs. Spring Fragrance advocates on his behalf. “In the Land of the Free” is the story of a Chinese immigrant who is separated from her young son upon arrival due to insufficient paperwork. Exploring the struggles of this woman to reclaim her son, Sui Sin Far exposes the discrimination and hardships faced by Chinese Americans due to the Chinese Exclusion Act, illuminating the byzantine and restrictive immigration policies which sadly continue under a different guise in modern America. With a beautifully designed cover and professionally typeset manuscript, this edition of Sui Sin Far’s Mrs. Spring Fragrance is a classic of Chinese American literature reimagined for modern readers.

Born Winnifred Eaton to a British father and Chinese mother, Onoto Watanna was the first novelist of Chinese descent published in the United States. Eaton "became" Watanna to escape Americans' scorn of the Chinese and to capitalize on their fascination with all things Japanese. This volume includes nineteen of Watanna's shorter works, including thirteen short stories and six essays. "A Half Caste," the earliest essay, appeared in 1898, a year before Miss Numé: A Japanese-American Romance, the first of her bestselling novels. The last short story, “Elspeth,” appeared in 1923. Some of Watanna’s fictional characters will remind readers of the delicate but tragic Madame Butterfly, while others foreshadow types like the trickster in Maxine Hong Kingston’s Tripmaster Monkey (where Watanna makes a cameo appearance). Throughout, Watanna tells stories of people very much like herself—capable, clever, and endlessly inventive.

After her performance at a beautiful tea house, Yuki, a Japanese dancer, is followed and harassed by a businessman. Claiming that they could make a lot of money together if Yuki went to America with him, the man does not intend to take no for an answer. When Jack, an awkward but friendly man, witnesses the harassment, he steps in to encourage the man to leave her alone. They then part ways, and Jack assumes they will never see each other again, but Yuki has a plan. Jack is one of the wealthiest foreigners in Japan, which Yuki learns through a mutual friend. When that mutual friend reintroduces Jack and Yuki, Yuki declares her intent to marry Jack. This was a common tradition among Western men—they would marry a Japanese woman, use her, and then leave the country without a second thought. Aware of the discrimination and racism that his fellow Americans practice, he tries to be careful not to partake in such heinous beliefs; therefore, he initially is opposed to the idea. Yuki, however, is persistent. Arguing that it would be mutually beneficial, Yuki admits that she is seeking financial stability. Upon her insistence, Jack finally gives in and agrees to marry. The two decide that it will be an open and honest relationship; Yuki is interested in Jack’s money, and he is interested in her appearance. But as they grow closer, the couple realize that their no-strings attached arrangement might not work out as planned. Onoto Watanna’s A Japanese Nightingale explores themes of gender, race, and sexuality, as well as addressing the constructs and exploitation of Asian femininity. With descriptive prose and powerful themes, A Japanese Nightingale empowers Asian identity and influenced current cultural movements. Published in 1904, A Japanese Nightingale became Onoto Watanna’s claim to fame. The novel was a big commercial success, and even inspired a silent film adaptation. However, despite its popularity, A Japanese Nightingale is rarely found in print. This edition of Onoto Watanna’s A Japanese Nightingale features an eye-catching cover design and is printed in a contemporary font, making it both readable and modern.

This first full-length biography of the first published Asian North American fiction writer portrays both the woman and her times. The eldest daughter of a Chinese mother and British father, Edith Maude Eaton was born in England in 1865. Her family moved to Quebec, where she was removed from school at age ten to help support her parents and twelve siblings. In the 1880s and 1890s she worked as a stenographer, journalist, and fiction writer in Montreal, often writing under the name Sui Sin Far (Water Lily). She lived briefly in Jamaica and then, from 1898 to 1912, in the United States. Her one book, Mrs. Spring Fragrance, has been out of print since 1914. Today Sui Sin Far is being rediscovered as part of American literature and history. She presented portraits of turn-of-the-century Chinatowns, not in the mode of the "yellow peril" literature in vogue at the time but with an insider's sympathy. She gave voice to Chinese American women and children, and she responded to the social divisions and discrimination that confronted her by experimenting with trickster characters and tools of irony, sharing the coping mechanisms used by other writers who struggled to overcome the marginalization to which their race, class, or gender consigned them in that era. "Superbly researched, thoughtfully reasoned, and beautifully written. . . . Will be the foundation for all future work on Sui Sin Far." -- Elizabeth Ammons, author of Conflicting Stories: American Women Writers at the Turn into the Twentieth Century

How Japan captured the Victorian imagination and transformed Western aesthetics From the opening of trade with Britain in the 1850s, Japan occupied a unique and contradictory place in the Victorian imagination, regarded as both a rival empire and a cradle of exquisite beauty. Quaint, Exquisite explores the enduring impact of this dramatic encounter, showing how the rise of Japan led to a major transformation of Western aesthetics at the dawn of globalization. Drawing on philosophy, psychoanalysis, queer theory, textual criticism, and a wealth of in-depth archival research, Grace Lavery provides a radical new genealogy of aesthetic experience in modernity. She argues that the global popularity of Japanese art in the late nineteenth century reflected an imagined universal standard of taste that Kant described as the “subjective universal” condition of aesthetic judgment. The book features illuminating cultural histories of Gilbert and Sullivan’s Mikado, English derivations of the haiku, and retellings of the Madame Butterfly story, and sheds critical light on lesser-known figures such as Winnifred Eaton, an Anglo-Chinese novelist who wrote under the Japanese pseudonym Onoto Watanna, and Mikimoto Ryuzo, a Japanese enthusiast of the Victorian art critic John Ruskin. Lavery also explains the importance and symbolic power of such material objects as W. B. Yeats’s prized katana sword and the “Japanese vellum” luxury editions of Oscar Wilde. Quaint, Exquisite provides essential insights into the modern understanding of beauty as a vehicle for both intimacy and violence, and the lasting influence of Japanese forms today on writers and artists such as Quentin Tarantino.

“ I mean to live and die by my own mind,” Zora Neale Hurston told the writer Countee Cullen. Arriving in Harlem in 1925 with little more than a dollar to her name, Hurston rose to become one of the central figures of the Harlem Renaissance, only to die in obscurity. Not until the 1970s was she rediscovered by Alice Walker and other admirers. Although Hurston has entered the pantheon as one of the most influential American writers of the 20th century, the true nature of her personality has proven elusive. Now, a brilliant, complicated and utterly arresting woman emerges from this landmark book. Carla Kaplan, a noted Hurston scholar, has found hundreds of revealing, previously unpublished letters for this definitive collection; she also provides extensive and illuminating commentary on Hurston’s life and work, as well as an annotated glossary of the organizations and personalities that were important to it. From her enrollment at Baltimore’s Morgan Academy in 1917, to correspondence with Marjorie Kinnan Rawlings, Langston Hughes, Dorothy West and Alain Locke, to a final query letter to her publishers in 1959, Hurston’s spirited correspondence offers an invaluable portrait of a remarkable, irrepressible talent.

In the United States, perhaps no minority group is considered as "model" or successful as the Asian American community. Rather than living in ominous "ghettoes," Asian Americans are described as residing in positive-sounding "ethnic enclaves." Writing the Ghetto helps clarify the hidden or unspoken class inequalities faced by Asian Americans, while insightfully analyzing the effect such notions have had on their literary voices. Yoonmee Chang examines the class structure of Chinatowns, Koreatowns, Little Tokyos, and Little Indias, arguing that ghettoization in these spaces is disguised. She maintains that Asian American literature both contributes to and challenges this masking through its marginalization by what she calls the "ethnographic imperative." Chang discusses texts from the late nineteenth century to the present, including those of Sui Sin Far, Winnifred Eaton, Monica Sone, Fae Myenne Ng, Chang-rae Lee, S. Mitra Kalita, and Nam Le. These texts are situated in the contexts of the Chinese Exclusion Era, Japanese American internment during World War II, the globalization of Chinatown in the late twentieth century, the Vietnam War, the 1992 Los Angeles riots, and the contemporary emergence of the "ethnoburb."