| Popis: |
“A sian American literature” is actually something of a misnomer, as well as an inadvertently appropriative appellation. Referring works as varied as Kim Ronyoung’s Clay Walls (1987), Le Thi Diem Thuy’s The Gangster We Are All Looking For (2002), Larissa Lai’s When Fox Is a Thousand (1995) and Joy Kogawa’s Obasan (1981), trie term “Asian American” obscures and elides the identity of Asian Canadian authors (Lai and Kogawa, in this particular case). Thus, some scholars prefer the term Asian North American literature, as it does not assume “American” to be synonymous with “U.S.-based.”1 |
