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By analyzing the textual strategies with which literary Asian America is represented, the book shows how the \"fictive ethnicity\" of the nation continues to exert its regulatory power and suggests how we can work toward a radical American democratic consent.   Through nuanced readings of exemplary texts, the author delineates how Asian American literary production has become a site for the creation of Asian American subjects and community. The texts range from Kingston's enigmatic Tripmaster Monkey to the seductive cunning of Amy Tan's The Joy Luck Club; from Bharati Mukherjee's romantic Jasmine to the geocultural ambivalence of David Mura's Turning Japanese; and from the transvestic subversion of David Henry Hwang's M. Butterfly to the transpirational tropes of David Wong Louie's Pangs of Love.   Imagining the Nation integrates a fine appreciation of the formal features of Asian American literature with the conflict and convergence among different reading communities and the dilemma of ethnic intellectuals caught in the process of their institutionalization. By articulating Asian American structures of feeling across the nexus of East and West, black and white, nation and diaspora, the book both sets out a new terrain for Asian American literary culture and significantly strengthens the multiculturalist challenge to the American canon.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49729389625617,"sku":"NGR9780804734004","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0804734003.jpg?v=1757413959"},{"product_id":"imagining-the-nation-book-david-leiwei-li-9780804741309","title":"Imagining the Nation","description":"This book identifies the forces behind the explosive growth in Asian American literature. 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Centring the role of capitalism in the Chinese everyday, the framework can be employed to comprehend contemporary Chinese culture in general and, as in this study, Chinese cinema in particular.  This book investigates major Chinese-language films from mainland China, Taiwan, and Hong Kong in order to unpack a hyper-compressed capitalist modernity with distinctive Chinese characteristics. As a dialogue between the film genre as a mediation of microscopic social life, and the narrative of economic development as a macroscopic political abstraction, it engages the two otherwise remotely related worlds, illustrating how the State and the Subject are reconstituted cinematically in late capitalism. A deeply cultural, determinedly historical, and deliberately interdisciplinary study, it approaches \"culture\" anthropologically, as a way of life emanating from the everyday, and aesthetically, as imaginative forms and creative expressions.  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