Form and Identity in Language Poetry and Asian American Poetry

Yu, Timothy

doi:10.2307/1208892

Cited by 7 publications

(1 citation statement)

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“…After briefly discussing the identity question addressed in Li-Young Lee's poetry, Yu (2000) in his Form and Identity in Language Poetry and Asian American Poetry claims that Lee's work is rooted "in a coherent, physical self", and "grapples with the self all the time" (p. 447). Yu indicates that the thematic content and formal choice of Lee's poetry are mainly constituted of representations of that "coherent self".…”

Section: Da Vid Publishing D Borrow Homi Bhabha's Words In Location Ofmentioning

confidence: 99%

Li-Young Lee’s “I” Poetry: In Quest for His Self as a Diaspora

Gui-cang¹

2014

JLAS

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As one of the representative contemporary Asian American poets, Li-Young Lee in his two poetry collections entitled Rose and The City in Which I Love You, recuperates his fragmented family history of immigration, and reconstructs a dynamic relationship with remembrance of the past that writes about him and defines his sense of self. This paper from the multicultural perspective argues that understanding the past through understanding his godlike father, Lee not only negotiates the formation of his subjectivity and identity, but also establishes a spiritual origin and belonging not merely with his ethnic communities but with all the immigrants as well. The paper finds that the strategy he employs in his articulation of his self is marked by his excellent execution of poetic epiphany, and metonymic cannibalism.

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Section: Da Vid Publishing D Borrow Homi Bhabha's Words In Location Ofmentioning

confidence: 99%

Li-Young Lee’s “I” Poetry: In Quest for His Self as a Diaspora

Gui-cang¹

2014

JLAS

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Public Subjects: Race and the Critical Reception of Gwendolyn Brooks, Erica Hunt, and Harryette Mullen

Cummings¹

2005

Frontiers: A Journal of Women Studies

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Postmodernism and Subversive Parody: John Yau's "Genghis Chan: Private Eye" Series

Zhou¹

2004

lit

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This article examines the subversive strategy of parody in John Yau's poetic series entitled "Genghis Chan: Private Eye," by situating Yau's work in the contexts of postmodern poetics, Hollywood films, and Asian American history and culture. While engaging with some major critical views on Yau's poetry, its reading of Yau's "Genghis Chan"series breaks away from those critical approaches to postmodern poetry and minority literature, which assume a false dichotomy that renders agency of the Othered subject and postmodern poetics mutually exclusive.This essay argues that Yau's historically situated and ethnically inflected postmodern poems enact a critical engagement with postmodern aesthetics and poststructuralist theories—an engagement which at once interrogates and reinvents the private self and raced subject. Its close-reading of Yau's poems foregrounds the ways in which Yau deploys postmodern aesthetics to expose the constituent historical, conceptual, and representational elements of ethnicity, and to re-articulate an Asian American Otherness that refuses to be defined.

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Form and Identity in Language Poetry and Asian American Poetry

Cited by 7 publications

References 0 publications

Li-Young Lee’s “I” Poetry: In Quest for His Self as a Diaspora

Li-Young Lee’s “I” Poetry: In Quest for His Self as a Diaspora

Public Subjects: Race and the Critical Reception of Gwendolyn Brooks, Erica Hunt, and Harryette Mullen

Postmodernism and Subversive Parody: John Yau's "Genghis Chan: Private Eye" Series

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