Enduring fears: the monstrosity of Chinese Filipinos in Chito Roño’s <i>Feng Shui</i> (2004)

Velasco, Joseph Ching; Chavez, Jeremy De

doi:10.1080/14631369.2021.1941754

Cited by 1 publication

(2 citation statements)

References 16 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…I have engaged with a host of studies on Chinese Filipino identity and its representation in literary texts and other cultural productions. My article then follows the insights of scholars such as Velasco (2017), Gonzales (2015), Miao (2021), Hau (2014), Suryadinata (2013), De Chavez (2021), andChu (2010). In "The Contingencies of Chinese Diasporic Identities in Charlson Ong's Speculative Fiction," Velasco (2017) examines Charlson Ong's earlier novel, titled An Embarrassment of Riches (2000), which primarily looks at the manifestations of hybridity found in the novel as it represents Chinese diasporic identities.…”

Section: Introductionmentioning

confidence: 89%

“…In the Philippine context, the Chinese Filipinos are in a complicated position as they continue to be targets of discrimination, government indifference, and crime (Velasco & De Chavez, 2021). Ultimately, the Chinese Filipinos feel that they have not fully integrated into Philippine society and have been frequently scapegoated for the economic hardships of the country (Chu, 2011).…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

From Private Eye to Public “I”: The Chinese Filipinos in Charlson Ong’s Hard-Boiled Fiction

Velasco¹

2022

rupkatha

Self Cite

View full text Add to dashboard Cite

Charlson Ong’s Blue Angel, White Shadow (2010) is a hard-boiled fiction that revolves around the issues of crime, corruption, and death in a postcolonial Southeast Asian state. Predominantly dark, gloomy, and mysterious, the mood of the narrative establishes a strongly morose reading experience. The narrative world portrayed in the novel is simultaneously sorrowful and somber. Binondo, the historical ethnic Chinese epicenter of the Philippines, is depicted with excessive chaos and moral disarray. I argue that the novel has attempted to reshape the usual form of hard-boiled fiction by systematically interrupting the narrative’s serious and cynical tone. More specifically, humor was deployed by the author as a mechanism to intervene in the novel’s subscription to the norms of hard-boiled fiction. The novel puts into perspective different facets of Chinese Filipino identity mediated through the Philippine postcolonial landscape. Ultimately, I initiate a discussion on the intersection of Chinese Filipino literature, identities, diaspora, and genre theory. I maintain that Chinese Filipino literature, like the subject of the present inquiry, is borne out of the diasporic experience through collective histories and memories.

show abstract