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Hmong Americans in the Twenty-First Century
This anthology wrestles with Hmong Americans’ inclusion into and contributions to Asian American studies, as well as to American history and culture and refugee, immigrant, and diasporic trajectories. It negotiates both Hmong American political and cultural citizenship, meticulously rewriting the established view of the Hmong as “new” Asian neighbors—an approach articulated, Hollywood style, in Clint Eastwood’s film Gran Torino. The collection boldly moves Hmong American studies away from its usual groove of refugee recapitulation that entrenches Hmong Americans points-of-origin and acculturation studies rather than propelling the field into other exciting academic avenues.
Following a summary of more than three decades’ of Hmong American experience and a demographic overview, chapters investigate the causes of and solutions to socioeconomic immobility in the Hmong American community and political and civic activism, including Hmong American electoral participation and its affects on policymaking. The influence of Hmong culture on young men is examined, followed by profiles of female Hmong leaders who discuss the challenges they face and interviews with aging Hmong Americans. A section on arts and literature looks at the continuing relevance of oral tradition to Hmong Americans’ successful navigation in the diaspora, similarities between rap and rwv txhiaj (unrehearsed, sung poetry), and Kao Kalia Yang’s memoir, The Latehomecomer. The final chapter addresses the lay of the land in Hmong American studies, constituting a comprehensive literature review.
Diversity in Diaspora showcases the desire to shape new contours of Hmong American studies as Hmong American scholars themselves address new issues. It represents an essential step in carving out space for Hmong Americans as primary actors in their own right and in placing Hmong American studies within the purview of Asian American studies.
Japanese Americans In Black And White Chicago
Transnational Asian American Graphic Narratives
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.
Gender, Culture, and Interwar Encounters between Asia and America
Between 1919-1938, contact between Asia and America forced a reassessment of the normative boundaries of race, sex, gender, class, home, and nation. Karen Kuo’s provocative East Is West and West Is East looks closely at these global shifts to modernity.
In her analysis of five forgotten texts—the 1930 film East Is West, Frank Capra’s 1937 version of Lost Horizon and its 1973 remake, Younghill Kang's novel East Goes West, and Baroness Ishimoto’s memoir/manifesto, Facing Both Ways—Kuo elucidates how “Asia” played a role in shaping American gender and racial identities and how Asian authors understood modern America and its social, political, and cultural influence on Asia.
Kuo asserts that while notions of white and Asian racial difference remain salient, sexual and gendered constructions of Asians and whites were at times about similarity and intersections as much as they were about establishing differences.
Asian and Black Masculinities in the Post-Civil Rights Era
East Meets Black examines the making and remaking of race and masculinity through the racialization of Asian and black men, confronting this important white stratagem to secure class and racial privilege, wealth, and status in the post–civil rights era. Indeed Asian and black men in neoliberal America are cast by white supremacy as oppositional. Through this opposition in the US racial hierarchy, Chong Chon-Smith argues that Asian and black men are positioned along binaries brain/body, diligent/lazy, nerd/criminal, culture/ genetics, student/convict, and technocrat/athlete—in what he terms “racial magnetism.”
Via this concept, East Meets Black traces the national conversations that oppose black and Asian masculinities, but also the Afro-Asian counterpoints in literature, film, popular sport, hip-hop music, performance arts, and internet subcultures. Chon-Smith highlights the spectacle and performance of baseball players such as Ichiro Suzuki within global multiculturalism and the racially coded controversy between Yao Ming and Shaquille O’Neal in transnational basketball. Further, he assesses the prominence of martial arts buddy films such as Romeo Must Die and Rush Hour that produce Afro-Asian solidarity in mainstream Hollywood cinema. Finally, Chon-Smith explores how the Afro-Asian cultural fusions in hip-hop open up possibilities for the creation of alternative subcultures, to disrupt myths of black pathology and the Asian model minority.
In this first interdisciplinary book on Asian and black masculinities in literature and popular culture, Chon-Smith explores the inspiring, contradictory, hostile, resonant, and unarticulated ways in which the formation of Asian and black racial masculinity has affected contemporary America.
Reflections on Asian Bodies in Diaspora
Approximately twelve hours’ difference lies between New York and Beijing: The West and the East are, literally, night and day apart. Yet East-West Montage crosscuts the two in the manner of adjacent filmic shots to accentuate their montage-like complementarity. It examines the intersection between East and West—the Asian diaspora (or more specifically Asian bodies in diaspora) and the cultural expressions by and about people of Asian descent on both sides of the Pacific. Following the introduction "Establishing Shots," the book is divided into seven intercuts, which in turn subdivide into dialectically paired chapters focusing on specific body parts or attributes. The range of material examined is broad and rich: the iconography of the opium den in film noir, the writings of Asian American novelists, the swordplay and kung fu film, Japanese anime, the "Korean Wave" (including soap operas like Winter Sonata and the cult thriller Oldboy), Rogers and Hammerstein’s Orientalist musicals, the comic Blackhawk, the superstar status of the Dalai Lama, and the demise of Hmong refugees and Chinese retirees in the U.S. Highly original and immensely readable, East-West Montage will appeal to many working in a range of disciplines, including Asian studies, Asian American studies, cultural studies, ethnic studies, film studies, popular culture, and literary criticism.
Reading Food in Asian American Literature
The French epicure and gastronome Brillat-Savarin declared, "Tell me what you eat, and I will tell you who you are." Wenying Xu infuses this notion with cultural-political energy by extending it to an ethnic group known for its cuisines: Asian Americans. She begins with the general argument that eating is a means of becoming—not simply in the sense of nourishment but more importantly of what we choose to eat, what we can afford to eat, what we secretly crave but are ashamed to eat in front of others, and how we eat. Food, as the most significant medium of traffic between the inside and outside of our bodies, organizes, signifies, and legitimates our sense of self and distinguishes us from others, who practice different foodways. Narrowing her scope, Xu reveals how cooking, eating, and food fashion Asian American identities in terms of race/ethnicity, gender, class, diaspora, and sexuality. She provides lucid and informed interpretations of seven Asian American writers (John Okada, Joy Kogawa, Frank Chin, Li-Young Lee, David Wong Louie, Mei Ng, and Monique Truong) and places these identity issues in the fascinating spaces of food, hunger, consumption, appetite, desire, and orality. Asian American literature abounds in culinary metaphors and references, but few scholars have made sense of them in a meaningful way. Most literary critics perceive alimentary references as narrative strategies or part of the background; Xu takes food as the central site of cultural and political struggles waged in the seemingly private domain of desire in the lives of Asian Americans. Eating Identities is the first book to link food to a wide range of Asian American concerns such as race and sexuality. Unlike most sociological studies, which center on empirical analyses of the relationship between food and society, it focuses on how food practices influence psychological and ontological formations and thus contributes significantly to the growing field of food studies. For students of literature, this tantalizing work offers an illuminating lesson on how to read the multivalent meanings of food and eating in literary texts.
Experiences of Underrepresented Asian Americans
While a growing number of popular and scholarly works focus on Asian Americans, most are devoted to the experiences of larger groups such as Chinese, Japanese, Korean, Filipino, and Indian Americans. As the field grows, there is a pressing need to understand the smaller and more recent immigrant communities. Emerging Voices fills this gap with its unique and compelling discussion of underrepresented groups, including Burmese, Indonesian, Mong, Hmong, Nepalese, Romani, Tibetan, and Thai Americans. Unlike the earlier and larger groups of Asian immigrants to America, many of whom made the choice to emigrate to seek better economic opportunities, many of the groups discussed in this volume fled war or political persecution in their homeland. Forced to make drastic transitions in America with little physical or psychological preparation, questions of "why am I here," "who am I," and "why am I discriminated against," remain at the heart of their post-emigration experiences. Bringing together eminent scholars from a variety of disciplines, this collection considers a wide range of themes, including assimilation and adaptation, immigration patterns, community, education, ethnicity, economics, family, gender, marriage, religion, sexuality, and work.
Asian American Critique and the Cold War
The New Negro Renaissance beyond Harlem
In the midst of vast cultural and political shifts in the early twentieth century, politicians and cultural observers variously hailed and decried the rise of the “New Negro.” This phenomenon was most clearly manifest in the United States through the outpouring of Black arts and letters and social commentary known as the Harlem Renaissance. What is less known is how far afield of Harlem that renaissance flourished—how much the New Negro movement was actually just one part of a collective explosion of political protest, cultural expression, and intellectual debate all over the world.
In this volume, the Harlem Renaissance “escapes from New York” into its proper global context. These essays recover the broader New Negro experience as social movements, popular cultures, and public behavior spanned the globe from New York to New Orleans, from Paris to the Philippines and beyond. Escape from New York does not so much map the many sites of this early twentieth-century Black internationalism as it draws attention to how New Negroes and their global allies already lived. Resituating the Harlem Renaissance, the book stresses the need for scholarship to catch up with the historical reality of the New Negro experience. This more comprehensive vision serves as a lens through which to better understand capitalist developments, imperial expansions, and the formation of brave new worlds in the early twentieth century.
Contributors: Anastasia Curwood, Vanderbilt U; Frank A. Guridy, U of Texas at Austin; Claudrena Harold, U of Virginia; Jeannette Eileen Jones, U of Nebraska–Lincoln; Andrew W. Kahrl, Marquette U; Shannon King, College of Wooster; Charlie Lester; Thabiti Lewis, Washington State U, Vancouver; Treva Lindsey, U of Missouri–Columbia; David Luis-Brown, Claremont Graduate U; Emily Lutenski, Saint Louis U; Mark Anthony Neal, Duke U; Yuichiro Onishi, U of Minnesota, Twin Cities; Theresa Runstedtler, U at Buffalo (SUNY); T. Denean Sharpley-Whiting, Vanderbilt U; Michelle Stephens, Rutgers U, New Brunswick; Jennifer M. Wilks, U of Texas at Austin; Chad Williams, Brandeis U.