|Bibliography, etc. Note:
|| Includes bibliographical references and index.
|Formatted Contents Note:
|| Machine generated contents note: -- Introduction -- Chapter 1 Trickster Poetics at the Turn of the Century: -- Charles Chesnutt, Sui Sin Far, and Allies in the East -- Coast Publishing Industry -- (1) Locating Trickster Poetics -- Charles Chesnutt's The Conjure Woman and Walter Hines -- Page -- (2) Silence as Signifying -- Sui Sin Far's Short Stories, The Independent, and William -- Hayes Ward -- Chapter 2 The Making of the Cosmopolitan Subject: Jessica -- Hagedorn, San Francisco, and Multiculturalism in the Age -- of Globalization -- (1) San Francisco's Avant-Garde Literary Scene -- Yardbird Publishing, Shameless Hussey Press, and Third World -- Communications -- (2) A Star is Born -- Narrative Construction of the Cosmopolitan Subject in Jessica -- Hagedorn's "Pet Food" -- (3) The Death of the Artist -- Narrative Construction of the Cosmopolitan Subject in Jessica -- Hagedorn's "Pet Food," Side B -- (4) Stephen Vincent, Momo's Press, and the Crafting of "Pet Food" -- Chapter 3 L.A.-Paris-N.Y: Karen Tei Yamashita, Monique Truong, -- Min Jin Lee, and the Changing Parameters of Literary -- Production at the New Turn of the Century -- (1) L.A. Vie En Orange -- Animating the Global South in Karen Tei Yamashita's Tropic -- of Orange (1998) -- (2) The Impossible Book -- Identifying the Imperial-Colonial Register in Monique Truong's -- The Book of Salt (2004) -- (3) Chick Lit Goes to Wall Street -- Min Jin Lee's Free Food for Millionaires (2006) -- Acknowledgements.
|| "Tricksters and Cosmopolitans is the first sustained exploration into the history of cross-cultural collaborations between Asian American writers and their non-Asian American editors and publishers. The volume focuses on the literary production of the cosmopolitan subject, featuring the writers Sui Sin Far, Jessica Hagedorn, Karen Tei Yamashita, Monique Truong, and Min Jin Lee. The newly imagined cosmopolitan subject that emerges from their works dramatically reconfigured Asian American female subjectivity in metropolitan space with a kind of fluidity and ease never before seen. But as Rei Magosaki shows, these narratives also invariably expose the problematic side of this figure, which also serves to perpetuate exploitative structures of Western imperialism and its legacies in late capitalism. Arguing that the actual establishment of such a critical standpoint on imperialism and globalization required the expansive and internationalist vision of editors who supported, cultivated, and promoted these works, Tricksters and Cosmopolitans reveals the negotiations between these authors and their publishers and between the shared investment in both politics and aesthetics that influenced the narrative structure of key works in the Asian American literary canon"-- Provided by publisher.
|Source of Description Note:
|| Description based on print version record.