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"In the eyes of white America, "Aiiieeeee!" was the racist cry from Asian Americans, their singular expression of all emotions-it signified and perpetuated Asian Americans as inscrutable, foreign, obedient, self-hating, undesirable, and one dimensional. With this anthology, first published in 1974, Frank Chin, Jeffery Chan, Lawson Inada, and Shawn Wong outlined the history of Asian American literature and boldly drew the boundaries for what was truly Asian American and what was white puppetry. Showcasing fourteen uncompromising works from authors such as Carlos Bulosan and John Okada, the editors introduced readers to a variety of daring voices. Forty-five years later, the groundbreaking anthology remains a vital collection that still sparks controversy. In the seventies, it helped to establish Asian American literature as a serious and distinct literary tradition, and today, the editors' forceful voices still reverberate in contemporary discussions about American literary traditions. Now back in print with a new foreword by literary scholar Tara Fickle, this third edition of the book is an essential anthology that demonstrates how Asian Americans fought for-and seized-their place in the American literary canon"--

American literature --- Asian American authors.

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"This essential volume provides an overview of and introduction to African American writers and literary periods, from the beginning of the 20th century into the 21st century"--

American literature --- African American authors

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"In the eyes of white America, "Aiiieeeee!" was the racist cry from Asian Americans, their singular expression of all emotions-it signified and perpetuated Asian Americans as inscrutable, foreign, obedient, self-hating, undesirable, and one dimensional. With this anthology, first published in 1974, Frank Chin, Jeffery Chan, Lawson Inada, and Shawn Wong outlined the history of Asian American literature and boldly drew the boundaries for what was truly Asian American and what was white puppetry. Showcasing fourteen uncompromising works from authors such as Carlos Bulosan and John Okada, the editors introduced readers to a variety of daring voices. Forty-five years later, the groundbreaking anthology remains a vital collection that still sparks controversy. In the seventies, it helped to establish Asian American literature as a serious and distinct literary tradition, and today, the editors' forceful voices still reverberate in contemporary discussions about American literary traditions. Now back in print with a new foreword by literary scholar Tara Fickle, this third edition of the book is an essential anthology that demonstrates how Asian Americans fought for-and seized-their place in the American literary canon"--

American literature --- Asian Americans --- American literature --- Asian American authors

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This is the first book-length study of one of the most prominent and prolific Latino academics, Ilan Stavans. He has written extensively on Latino culture, Jewish culture, dictionaries, immigration, language, Spanglish, soccer, translation, travel, selfies, and God. The Restless Ilan Stavans surveys his interests, achievements, and flaws while he is still in the midst of an extraordinarily productive career. A native of Mexico who became a U.S. citizen, he is an outsider to both the Chicano community that often resents him as an interloper and the American Jewish community that he, who grew up speaking Yiddish in Mexico City, often chides. The book examines his unlikely rise to prominence within the context of the spread of multiculturalism as a seminal principle within American culture. A self-proclaimed cosmopolitan who rejects borders, Stavans is both insider and outsider to the myriad of subjects he approaches.

Mexican American authors --- Hispanic American authors --- Authors, Hispanic American --- Authors, American --- Stavans, Ilan --- Stavchansky, Ilan --- Criticism and interpretation. --- Amherst College

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Originally published in 1984. The Sage in Harlem establishes H. L. Mencken as a catalyst for the blossoming of black literary culture in the 1920s and chronicles the intensely productive exchange of ideas between Mencken and two generations of black writers: the Old Guard who pioneered the Harlem Renaissance and the Young Wits who sought to reshape it a decade later. From his readings of unpublished letters and articles from black publications of the time, Charles Scruggs argues that black writers saw usefulness in Mencken's critique of American culture, his advocacy of literary realism, and his satire of America. They understood that realism could free them from the pernicious stereotypes that had hounded past efforts at honest portraiture, and that satire could be the means whereby the white man might be paid back in his own coin. Scruggs contends that the content of Mencken's observations, whether ludicrously narrow or dazzlingly astute, was of secondary importance to the Harlem intellectuals. It was the honesty, precision, and fearlessness of his expression that proved irresistible to a generation of artists desperate to be taken seriously. The writers of the Harlem Renaissance turned to Mencken as an uncompromising-and uncondescending-commentator whose criticisms were informed by deep interest in African American life but guided by the same standards he applied to all literature, whatever its source. The Sage in Harlem demonstrates how Mencken, through the example of his own work, his power as editor of the American Mercury, and his dedication to literary quality, was able to nurture the developing talents of black authors from James Weldon Johnson to Richard Wright.

American literature --- African American authors. --- Mencken, H. L. (Henry Louis), --- Contemporaries. --- African American literature (English) --- Black literature (American) --- Negro literature --- Afro-American authors --- Negro authors --- Literature: history & criticism