Asian-American Writers (Bloom's Modern Critical Views), New by Harold Bloom
By Harold Bloom
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Extra info for Asian-American Writers (Bloom's Modern Critical Views), New Edition
SUMIDA Postcolonialism, Nationalism, and the Emergence of Asian/Pacific American Literatures W hen I was drafting this chapter, I had the opportunity to discuss with Davianna Pomaika‘i McGregor, a historian of Native Hawaiian and ethnic studies, my questions about examining the emergence of Hawaii’s literatures as a postcolonial historical and, cultural phenomenon. ” she said. Her eyebrows leaped up. ”1 Applied to American literary histories, the term “postcolonial” makes an imperfect but, in some ways, useful lens.
But a different view, a view from the shore, though recognizing the fact that Cook interacted with changes historically under way in his time, would place 1778 within a long struggle waged by and among native Hawaiians to unify and gain political control over the entire chain of islands of Hawai‘i (Sumida 1991, 7–19, 160–2). This warfare culminated, not in some kind of Native Hawaiian defeat at the hands and brains of superior Europeans led by one who arrived by accident in Hawai‘i, but in the successful conquest and unification of the Islands, completed in the mid-1790s, by Kamehameha I, first monarch of [T]he Emergence of Asian/Pacific American Literatures 31 the Kingdom of Hawai‘i.
Megan Backus. New York: Washington Square Press. D. HUNTLEY Amy Tan and Asian American Literature L ike a growing number of contemporary writers, Amy Tan crafts novels that resist facile and definitive classification into any of the conventional fictional genres. That the books are novels is widely acknowledged, although Tan has said that she intended The Joy Luck Club to be a collection of short stories. Readers and critics alike do, however, agree that Tan’s work incorporates or echoes other genres including nonfiction and poetry.