emale Asian-Americans

As Sau-Ling Cynthia Wong writes, "From a licit perspective, the peoples previously known as Orientals and now designated as Asiatic the Statesns have almost all, at unrivalled time or another, been excluded from U.S. citizenship" (5).

Yet, as Lee points out, "Asia is not a biological position but a geographic designation" (2). The label "Asian" describes peoples who sh atomic number 18 a very broad geography and an exceedingly general racial similarity, but very little else. That Eurocentric America sees the diverse range of cultures and ethnicities of Asia as a genius identity is part of the challenge that Asian immigrants face in finding their identities as Americans. Elaine H. Kim explains the problem in detail:

The depot Asian American is intrinsically complex: it foc lend oneselfs all the contending sociopolitical and heathenish forces that affect the daily life of Asian Americans. The uncertainties surrounding normal usages are part of this picture: though Asian American has been gaining increasing acceptance in the public arena, in hidden most Asian Americans continue to define themselves by reference point to the subgroup; in addition, the term may signify "American-born Asians" as hale as "persons of mixed Asian and Caucasian parentage" (xvii).

Jessica Tarahata Hagedorn is one of these mixed-parentage Asian Americans who defines herself in reference to a subgroup. She is an American playwright, poet, and indite who defines h

Hagedorn, Jessica Tarahata. "The Blossoming of Bongbong." Heath Anthology of American Literature, Volume E: Contemporary Period (1945 to the Present), 5th ed. Ed. capital of Minnesota Lauter. New York: Houghton Mifflin, 2000. 100-116.

The Philippines are, so to speak, "in the closet" when it comes to American narrative . . . [and, in Hagedorn's writing] queer sexual practices, whether they are "traditional" or "Western," become allegories for struggle against a neocolonial dictatorship (sponsored by the join States) that also assumes a heterosexual, patriarchal cast (28).

Both flora use a variety of settings, mostly American, but with full variety to give an international context to their narratives, and both stories are developed over time.

Bongbong's story takes place primarily in San Francisco over a period of time long luxuriant to let him retreat completely from his surroundings; Hagedorn does not modify the exact range of time, but it is clearly prolonged. Ozeki's story ranges across the United States as well as Akiko's home in Japan, and covers, as the title suggests, a pivotal year, a year, in Jane's words, "when something rocks your world, and nothing is ever the same after" (8). Akiko is able to use the series as a travelog to introduce her to the richness of the country, allowing her to feel capable of finding her way around America when she finally summons the courage to run away from her husband.

Hagedorn's conclusiveness to focus on an apparently gay character helps her emphasise the immigrant's sense of isolation. As Nguyen argues:

Viet Thanh Nguyen argues that Hagedorn's ethnicity gives her a particularly interesting perspective, disparate from that of many other Asian writers. Nguyen observes, "The Philippines has been relatively ignored, not scour granted the acknowledgment of being a victim of American imperialism . . . [T]he Philippines' obscurity in relation to its prominent role in the development of American imperialism . . . makes it cr
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