Notes

Introduction 1. Tina Chen, “Impersonation and Other Disappearing Acts in Native Speaker by Chang-rae Lee,” Modern Fiction Studies 48.3 (Fall 2002): 638. 2. Ibid. 3. Hayden White, “Anomalies of Genre: The Utility of Theory and His- tory for the Study of Literary Genres,” New Literary History 34.3 (November 2003): 599. 4. Wai Chee Dimock, “Introduction: Genres as Fields of Knowledge,” PMLA 122.5 (October 2007): 1378. 5. John Frow, Genre (London: Routledge, 2006): 2. 6. Jacques Derrida, “The Law of Genre,” Critical Inquiry 7.1 (Autumn 1980): 57. 7. Robert G. Lee, Orientals: Asian Americans in Popular Culture (Philadelphia: Temple University Press, 1999): 8. 8. Viet Thanh Nguyen, Race and Resistance: Literature and Politics in Asian America (New York: Oxford University Press, 2002): 7. 9. Ibid. 10. Zhou Xiaojing, “Introduction,” Form and Transformation in Asian American Literature, ed. Zhou Xiaojing and Samina Najmi (Seattle: University of Washington Press, 2005): 4. 11. Ibid., 5. 12. Nguyen, 5. 13. Zhou, 5. 14. Sue-Im Lee, “Introduction,” Literary Gestures: The Aesthetic in Asian American Writing, ed. Rocio G. Davis and Sue-Im Lee (Philadelphia: Temple University Press, 2006): 6. 15. The term “junk fiction” is Noel Coward’s, which, as Deborah Knight summarizes, constitutes “the sorts of best-sellers that line the stalls at airport gift shops as well as things like Harlequin romances; sci-fi, horror, and mystery magazines; comic books; and broadcast narratives on either the radio or TV, as well as commercial movies.” Deborah Knight, “Making Sense of Genre,” Film and Philosophy 2 (1995): 58–73. 148 Notes

16. John Fiske, Understanding Popular Culture (New York: Routledge, 1989): ix. 17. Dimock, 1380. It is Dimock who, while coining the gerund “regen- reing,” acknowledges the awkwardness of the term. 18. See The Cambridge Companion to Crime Fiction, ed. Martin Priest- man (Cambridge: Cambridge University Press, 2003); The Cambridge Companion to , ed. Edward James and Farah Mendle- sohn (Cambridge: Cambridge University Press, 2003); PMLA 119.3 (May 2004), a special issue titled “Science Fiction and Literary Studies: The Next Millenium,” edited by Marleen S. Barr and Carl Freedman; PMLA 122.4 (October 2007), a special issue on “Remap- ping Genre,” edited by Wai Chee Dimock and Bruce Robbins; and MELUS 33.4 (Winter 2008), a special issue titled “Alien/Asian” on Asian American science fiction, edited by Stephen Hong Sohn. 19. The phrase “law of genre” is a reference to Jacques Derrida’s “The Law of Genre,” but I will provide my own delineations of genre “laws,” which I call “imperatives” in my book. 20. Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990): 147. 21. White, 601. 22. Dimock, 1380. 23. Robert Scholes, “The Roots of Science Fiction,” Science Fiction: A Collection of Critical Essays, ed. Mark Rose (Englewood Cliffs, NJ: Prentice Hall, 1976): 47–48. 24. Darko Suvin, “On the Poetics of the Science Fiction Genre,” Science Fiction: A Collection of Critical Essays, ed. Mark Rose (Englewood Cliffs, NJ: Prentice-Hall, 1976): 57–71.

Chapter 1 1. Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca: Cornell University Press, 1981): 9. 2. Gerald Graff, “Narrative and the Unofficial Interpretive Cul- ture,” Reading Narrative: Form, Ethics, Ideology, ed. James Phelan (Columbus: Ohio State University Press, 1989): 7. 3. John K. Young, Black Writers, White Publishers: Marketplace Politics in Twentieth-Century African American Literature (Jackson, MS: University of Mississippi Press, 2006): 155. 4. Jameson, Unconscious, 9. 5. Shu-mei Shih, “Comparative Racialization: An Introduction,” PMLA 123.5 (October 2008): 1357. 6. Lev Grossman, “Who’s the Voice of This Generation?” Time, July 10, 2006 http://www.time.com/time/magazine/article/0,9171, 1209947,00.html. Notes 149

7. Nancy K. Miller, “The Entangled Self: Genre Bondage in the Age of the Memoir,” PMLA 122.2 (2007): 539. 8. Ibid., 544. 9. Julia Alvarez, “A Note on the Loosely Autobiographical,” New England Review 21.4 (Fall 2000): 165–166. 10. Kenneth Quan, “Interview with Chang-rae Lee.” Asia Pacific Arts, UCLA Asia Institute. http://www.asiaarts.ucla.edu/article. asp?parentid=11432. 11. Miller, “The Entangled Self.” Miller provides numerous examples of writers who have had to contend with genre confusion over their work, as well as some new tongue-in-cheek terms coined to encom- pass the presence of multiple genres in a single work (e.g., Lynda Barry’s “autobifictionalography”). In Asian American writing, the genre confusion generated by Maxine Hong Kingston’s landmark work, The Woman Warrior: Memoirs of a Girlhood among Ghosts (1976), in which Kingston famously blends experiences both real and imagined, underscores the problem of reception that results from the mixing of genres, and, more significantly, the ways in which genre identity and social identity are linked. Kingston’s genre experiments drew excoriation from fellow Asian American writers such as Frank Chin, who attacked her for what he saw as her overly liberal infusion of Chinese myths and folklore into the polit- ical and historical realities of the Asian . The blurring of the real with the mythic, in his view, compromises her authenticity and therefore her credibility as both an Asian Amer- ican writer and a literary spokesperson for Asian Americans. For a thorough account and analysis of the notorious debate between Kingston and Chin, see David Leiwei Li’s Imagining the Nation: Asian American Literature and Cultural Consent (Stanford: Stan- ford University Press, 1998), particularly the chapter “Can Maxine Hong Kingston Speak? The Contingency of The Woman Warrior.” Chin infamously described The Woman Warrior as “another in a long line of Chinkie autobiographies by Pochahontas yellows blowing the same old mixed up East/West soul struggle” (qtd. in Li 45). In response, Kingston identifies Chin’s writing as “political/polemical harangue,” a “genre ...[she] dislikes” (qtd. in Li 45). Significant here is each writer’s understanding of the inextricable relationship between genre politics and identity politics. 12. Quoted in Miller, “The Entangled Self,” PMLA 122.2: 539. 13. William Boelhower, “The Making of Ethnic Autobiography in the United States,” American Autobiography: Retrospect and Prospect, ed. Paul John Eakin (Madison: University of Wisconsin Press, 1991): 125. 14. Thomas Ferraro, Ethnic Passages: Literary Immigrants in Twentieth- Century America (Chicago: University of Chicago Press, 1993): 1. 150 Notes

15. William Boelhower, Immigrant Autobiography in the United States: Four Versions of the Italian American Self (Verona, Italy: Essedue Edizioni, 1982): 32. 16. See Sau-ling Cynthia Wong, “Immigrant Autobiography: Some Questions of Definition and Approach,” American Autobiography: Retrospect and Prospect, ed. Paul John Eakin (Madison: University of Wisconsin Press, 1991): 142–170. 17. For thorough discussions of Asian American writers’ appropriations and revisions of the generic characteristics of life writing, see Jinqi Ling, Narrating Nationalisms: Ideology and Form in Asian Ameri- can Literature (New York: Oxford University Press, 1998); Rocio Davis and Sue-Im Lee, Literary Gestures: The Aesthetic in Asian American Writing (Philadelphia: Temple University Press, 2005); Patricia Chu, Assimilating Asians: Gendered Strategies of Author- ship in Asian America (Durham: Duke University Press, 2000); and Rocio Davis, Begin Here: Reading Asian North American Auto- biographies of Childhood (Honolulu: University of Hawai’i Press, 2007). 18. Stuart Hall, “Cultural Identity and Diaspora,” Identity, Community, Culture, Difference, ed. Jonathan Rutherford (London: Lawrence and Wishart, 1990): 237. 19. Ling, Narrating Nationalisms, 114. 20. Hayden White, “Anomalies of Genre: The Utility of Theory and History for the Study of Literary Genres,” New Literary History 34.3 (November 6, 2003): 601. 21. Paul John Eakin, “Introduction,” American Autobiography: Retro- spect and Prospect, ed. Paul John Eakin (Madison: University of Wisconsin Press): 10. 22. Arnold Krupat, “Native American Autobiography and the Synec- dochic Self,” American Autobiography: Retrospect and Prospect, ed. Paul John Eakin (Madison: University of Wisconsin Press, 1991): 171. 23. le thi diem thuy, The Gangster We Are All Looking For (New York: Anchor Books, 2003). 24. UC Riverside “First Book” Program for incoming freshmen, 2006. http://209.85.165.104/search?q=cache:MtBSxOP_EE0J: www.chass.ucr.edu/news/newsletter/Fall2006.pdf+gangster+we+ are+all+looking+for&hl=en&ct=clnk&cd=30&gl=us 25. Adair Lara, “A Girl’s Flight to a Bright, Harsh Land.” Review of le thi diem thuy’s The Gangster We Are All Looking For. The San Fran- cisco Chronicle, May 18, 2003. http://www.sfgate.com/cgi-bin/ article.cgi?f=/chronicle/archive/2003/05/18/RV262885.DTL. 26. Chau Nguyen, “In Search of the Gangster,” Asia Pacific Arts, April 9, 2004. http://www.asiaarts.ucla.edu/article.asp?parentid=9955. Notes 151

27. Jutta Gsoels-Lorensen, “Lê Thi Diem Thúy’s ‘The Gangster We Are All Looking For’: The Ekphrastic Emigration of a Photographic,” Critique 48.1 (Fall 2006): 3–18. 28. “le thi diem thuy,” Lannan Foundation June 21, 2007. http:// www.lannan.org/lf/res/past/P80/198/ 29. le thi diem thuy, “Tear the Pages Out: Fragments from the Gangster Tour,” Original Essays, Powell’s Books, May 15, 2008. http://www. powells.com/essays/thuy.html. 30. Ibid. 31. David Mehegan, “Refuge in Her Writing,” Boston Globe, June 2, 2003. http://www.boston.com/dailyglobe2/153/living/Refuge_ in_her_writing+.shtml. 32. Ibid. 33. Ibid. 34. Jameson, Unconscious, 9–10. 35. Leigh Gilmore, Autobiographics (Ithaca: Cornell University Press, 1994): ix. 36. William L. Andrews, To Tell a Free Story: The First Century of Afro- American Autobiography, 1760–1865 (Champaign-Urbana, Univer- sity of Illinois Press, 1986): 36. In his discussion of Andrews’s notion of “creative hearing,” Paul John Eakin goes on to say that such a reading—or hearing—would enable a recovery of “something of the of the identities of the oppressed, their own view of self and life story” (Eakin, “Introduction” 9). 37. Stuart Hall, “Cultural Identity and Diaspora,” Colonial Discourse & Postcolonial Theory: A Reader, eds. Patrick Williams & Laura Chrisman (New York: Harvester Whaeatsheaf, 1993): 392. 38. Viet Thanh Nguyen, “Speak of the Dead, Speak of Viet Nam,” CR: The New Centennial Review 6.2 (2006): 7–37. 39. Ibid., 13. 40. le, Gangster, 4. 41. Ibid., 8. 42. Ibid., 23. 43. Nguyen, “Speak of the Dead,” 8. 44. Hall, “Diaspora,” 393. 45. le, Gangster, 78. 46. Ibid., 79. 47. le, Gangster, 81. 48. Ibid., 82. 49. Ibid., 103. 50. Ibid., 83. 51. Ibid., 19. 52. Susan Sontag, On Photography (New York: Farrar, Straus and Giroux, 1977): 3. 152 Notes

53. Ibid. 54. le, Gangster, 13. 55. Susan Sontag, Regarding the Pain of Others (New York: Picador, 2003): 111. 56. le, Gangster, 29. 57. Ibid., 110. 58. Ibid., 41. 59. Ibid., 4. 60. Nguyen, “Speak of the Dead,” 13. 61. le, Gangster, 154. 62. Ibid., 148. 63. Boelhower, “Ethnic Autobiography,” 131. 64. le, Gangster, 100. 65. Ibid., 117. 66. Gilmore, Autobiographics, xv. 67. Kenneth Quan, “Interview with Chang-rae Lee,” Asia Pacific Arts Magazine, UCLA Asia Institute, April 12, 2004. http://www. asiaarts.ucla.edu/article.asp?parentid=11432 68. Chang-rae Lee, A Gesture Life (New York: Riverhead, 1999). 69. Quan, “Interview.” 70. Ibid. 71. Ibid. 72. Nancy K. Miller, “But Enough about Me, What Do You Think of My Memoir?” Yale Journal of Criticism 13.2 (2000): 422. 73. Nora Okra Keller’s novel Comfort Woman, published in 1997, introduced the plight of these women to a mainstream American readership. In 2003, Congress introduced House Resolution 226 that called for “Expressing the sense of Congress that the Gov- ernment of Japan should formally issue a clear and unambiguous apology for the sexual enslavement of young women during colo- nial occupation of Asia and World War II, known to the world as ‘comfort women’, and for other purposes” (http://thomas.loc. gov/cgi-bin/query/z?c108:H.+Con.+Res.+226:). The resolution did not pass. 74. For astute analyses of Lee’s treatment of the comfort women, see Kandice Chuh’s “Discomforting Knowledge, Or, Korean ‘Comfort Women’ and Asian Americanist Critical Practice,” JAAS 6.1 (2003): 5–23, and Laura Hyun Yi Kang’s “Conjuring ‘Comfort Women’: Mediated Affiliations and Disciplined Subjects in Korean/American Transnationality,” JAAS 6.1 (2003): 25–55. For insightful read- ings of Lee’s treatment of trauma, memory, and the constitution of the citizen/subject, see Hamilton Carroll’s “Traumatic Patri- archy: Reading Gendered Nationalisms in Chang-rae Lee’s AGes- ture Life,” MFS 51.3 (2005): 592–616, and Anne Anlin Cheng’s “Passing, Natural Selection, and Love’s Failure: Ethics of Survival Notes 153

from Chang-rae Lee to Jacques Lacan,” American Literary History 17.3 (2005): 553–574. 75. Hamilton Carroll, “Traumatic Patriarchy: Reading Gendered Nationalisms in Chang-rae Lee’s A Gesture Life,” Modern Fiction Studies 51.3 (2005): 593. 76. Ibid., 593. 77. Miller, “Memoir,” 432. 78. Ibid., 432. 79. Paula Fass, “The Memoir Problem,” Reviews in American History 34 (2006): 111. 80. Miller, “Entangled,” 542. 81. Ibid. 82. Ibid., 108. 83. Andrew O’Hagan, “Recovered Memories,” New York Times, Sept. 5, http://www.nytimes.com/books/99/09/05/reviews/990905. 05ohagt.html?_r=1&oref=slogin. 84. Lee, Gesture, 1. 85. Lee, Gesture, 136. 86. Ibid., 135. 87. Ibid., 138–139. 88. Ibid., 139. 89. Ibid., 27. 90. Ibid., 9. 91. Ibid., 72. 92. Ibid., 73. 93. Ibid., 76. 94. Ibid., 170. 95. Ibid., 172. 96. Ibid., 227. 97. Ibid., 162, 163. 98. Ibid., 225. 99. Ibid., 173. 100. Ibid., 263, 260. 101. Ibid., 260, 258. 102. Ibid., 263. 103. Ibid., 258. 104. Ibid., 269. 105. Ibid., 300. 106. Ibid., 301. 107. Ibid., 182. 108. See Rey Chow, “Keeping Them in Their Place: Coercive Mimeticism and Cross-Ethnic Representation,” The Protestant Ethnic and the Spirit of Capitalism (New York: Columbia University Press, 2002): 95–127. 109. Lee, Gesture, 255. 154 Notes

110. Ibid., 29. 111. Ibid., 266. 112. Ibid., 31. 113. Ibid., 80. 114. Ibid., 165. 115. Ibid., 205. 116. Kandice Chuh, Imagine Otherwise: On Asian Americanist Critique (Durham: Duke University Press, 2003): 106. 117. Miller, “Entangled,” 543.

Chapter 2 1. Interview with Min Jin Lee, On Point with Tom Ashbrook, NPR June 27, 2007. 2. Sheng-mei Ma, The Deathly Embrace (Minneapolis: University of Minnesota Press, 2000). 3. Robert G. Lee, Orientals: Asian Americans in Popular Culture (Philadelphia: Temple University Press, 1999): 8. 4. Elaine Kim, Asian American Literature: An Introduction to the Writ- ings and Their Social Context (Philadelphia: Temple University Press, 1982): 18. 5. Charles J. Rzepka, “Race, Region, Rule: Genre and the Case of Charlie Chan,” PMLA 122.5 (October 2007): 1464. 6. Ibid. 7. Frank Chin, Gunga Din Highway (Minneapolis: Coffeehouse Press, 1995); Jessica Hagedorn, Charlie Chan is Dead: An Anthology of Contemporary Asian American Fiction (New York: Penguin, 1993). 8. See Huh, “Whispers of Norbury: Sir Arthur Conan Doyle and the Modernist Crisis of Racial (Un)Detection,” MFS: Modern Fiction Studies 49.3 (Fall 2003): 550–580; Tina Chen, “Dissecting the ‘Devil Doctor’: Stereotypes and Sensationalism in Sax Rohmer’s Fu Manchu,” Re/Collecting Early Asian America: Essays in Cultural History, ed. Josephine Lee, Imogene L. Lim, and Yuko Matsukawa (Philadelphia: Temple University Press, 2002): 218–237. For a discussion of the legacy of Fu Manchu and the language of homo- sexuality as a means of Asian American emasculation, see the chapter “The Legacy of Fu Manchu: Orientalist Desire and the Figure of the Asian ‘Homosexual,’ ” in Daniel Kim’s Writing Manhood in Black and Yellow: Ralph Ellison, Frank Chin, and the Literary Politics of Identity (Stanford University Press, 2005). 9. Arthur Conan Doyle, “The Man with the Twisted Lip,” The Adventures of Sherlock Holmes, Adventure VI, The Strand, Volume 2, 1891. See http://www.nyu.edu/library/bobst/research/fales/ exhibits/wilde/8opium.htm. Notes 155

10. Charles Dickens, The Mystery of Edwin Drood (London: Chapman and Hall, 1870). 11. Van Gulik, a China scholar and a Dutch diplomat from 1935 to the time of his death in 1967, spent much of his career in Japan and China. He found his inspiration for his Judge Dee in an obscure eighteenth-century Chinese detective novel, Dee Goong An,which he translated into English under the title The Celebrated Cases of Judge Dee. He then wrote a series of detective novels featuring the same Judge Dee. Van Gulik’s series never achieved the same level of popularity as Biggers’s Chan, and thus cannot be said to have had a significant impact on the shaping of popular perceptions of Asians in the United States. Virtually no scholarship on van Gulik’s work exists. 12. Frank Chin and Jeffrey Paul Chan, “Racist Love,” Seeing Through Shuck, ed. Richard Kostelanetz (New York: Ballantine Books, 1972): 65. 13. Viet Thanh Nguyen, Race and Resistance: Literature and Politics in Asian America (New York: Oxford University Press, 2002): 97. 14. Louis J. Beck, New York’s Chinatown (New York: Bohemia Publish- ing Co., 1898), 26. 15. Chinatown as a synecdoche for “The Orient” is a recurrent trope in American cinema and literature. For a discussion of Orientalist tropes in modernist and postmodernist imaginings of urban spaces, see Timothy Yu, “Oriental Cities, Postmodern Futures: Naked Lunch, Blade Runner,andNeuromancer,” MELUS 33.4 (Winter 2008): 45–71. 16. John Belton, “Language, Oedipus, and Chinatown,” MLN 106.5 (December 1991): 941. 17. Ibid. Interestingly and perhaps unsurprisingly, Hammett, a left-wing politico who participated in civil liberties activism for much of his life, was not immune to the pervasive racism, sexism, and homophobia of his time. As Hans Bertens and Theo D’Haen point out, “Sam Spade is pitted against a homosexual oriental, a foreign moneyshark— British but with a German-Jewish name—an Irish immigrant hussy, and a low-class gangster punk.” “In spite of his political sympa- thies,” they conclude, “[Hammett] presents a negative picture of what conservative middle America thought of as ‘undesirables.’ ” Hans Bertens and Theo D’Haen, Contemporary American Crime Fiction (New York: Palgrave, 2001): 176. 18. Maureen T. Reddy, Traces, Codes, and Clues: Reading Race in Crime Fiction (New Brunswick, NJ: Rutgers University Press, 2003): 41. 19. Ibid. 20. Leonard Chang, “Why I Love Crime Fiction.” March 3, 2009. http://www.thrillingdetective.com/non_fiction/e005.html. 156 Notes

21. Ibid. 22. Tina Chen, “Recasting the Spy, Rewriting the Story: The Poli- tics of Genre in Native Speaker by Chang-rae Lee,” Form and Transformation in Asian American Literature, ed. Zhou Xiaojing and Samina Najmi (Seattle: University of Washington Press, 2005): 262. Chen compares Chang’s novels with Chang-rae Lee’s debut novel, Native Speaker, which Chen describes as “more reluctant” in its gratification of readers’ conventional expectations. 23. Joe Hartlaub, “Interview with Naomi Hirahara,” Bookreporter.com, http://www.bookreporter.com/authors/au-hirahara-naomi.asp. 24. Ibid. 25. Daylanne K. English, “The Modern in the Postmodern: Wal- ter Mosley, Barbara Neely, and the Politics of Contemporary African-American Detective Fiction,” American Literary History 18.4 (2006): 772. English makes a persuasive case for Mosley’s and Neely’s conscious infusion of political commentary against the genre’s conventions and imperatives even as they deploy them. 26. Tzvetan Todorov, “The Typology of Detective Fiction,” The Poetics of Prose, trans. Richard Howard (Ithaca: Cornell University Press, 1977): 43. 27. Ibid. 28. Adena Rosmarin, The Power of Genre (Minneapolis: University of Minnesota Press, 1986): 12. 29. Dashiell Hammett, “Dead Yellow Women,” The Continental Op,ed. Steven Marcus (New York: Vintage, 1975). 30. Ibid., 207. 31. Ibid. 32. Ibid., 198. 33. Ibid., 242. 34. Ibid., 212. 35. Ibid., 215. 36. Ibid., 244. 37. Ibid., 213. 38. Ibid., 220, 221. 39. Ibid., 227. 40. Ibid., 228. 41. Ibid., 249. 42. John Belton, “Language, Oedipus, and Chinatown,” MLN 106.5 (December 1991): 936. 43. Hammett, “Dead Yellow Women,” 208. 44. Ibid., 249. 45. Lee Horsley, Twentieth-Century Crime Fiction (Oxford: Oxford University Press, 2005): 158. 46. Chan Is Missing, DVD, directed by Wayne Wang (1982; Koch- Lorber Films, 2006). Notes 157

47. “The Making of Chan is Missing,” Chan Is Missing, DVD, directed by Wayne Wang (1982; Koch-Lorber Films, 2006). 48. Ibid. 49. Ibid. 50. Wang, Chan Is Missing. 51. Screen notes are taken from the published transcription of the film in Diane Mei Lin Mark’s Chan Is Missing (Honolulu: Bamboo Ridge Press, 1984). 52. Ibid., 61. 53. Wang, Chan Is Missing. 54. Ibid. 55. For a reading of the ways in which Chan Is Missing dramatizes the circulation of capital as a driving force in reconceptions of Asian American identity formation, see Victor Bascara’s Model Minority Imperialism (Minneapolis: University of Minnesota Press, 2006): 59–68. 56. Ibid. 57. Ibid. 58. Ibid. 59. Ibid. 60. Ibid. 61. Ibid. 62. Mark, Chan Is Missing, 75. 63. Wang, Chan Is Missing. 64. Ibid. 65. Ed Lin, This Is a Bust (New York: Kaya Press, 2007). 66. John Scaggs, Crime Fiction (New York: Routledge, 2005): 59. 67. Michael Denning, “Topographies of Violence: Chester Himes’ Harlem Domestic Novels,” The Critical Response to Chester Himes, ed. Charles L. P. Silet (New York: Greenwood Press, 1999): 160. 68. Daniel Kim, Writing Manhood in Black and Yellow: Ralph Ellison, Frank Chin, and the Literary Politics of Identity (Stanford: Stanford University Press, 2005): 160. Kim’s reference to Baym’s formulation of “beset manhood” is derived from her influential essay, “Melo- dramas of Beset Manhood,” The New Feminist Criticism: Essays on Women, Literature, and Theory, ed. Elaine Showalter (New York: Pantheon, 1985). 69. Lin, Bust, 21. 70. Ibid., 14. 71. Ibid., 77. 72. Ibid., 54–55. 73. Ibid. 74. Ibid., 54. 75. Ibid., 58. 76. Ibid., 41. 158 Notes

77. Ibid., 59. 78. Ibid., 192. 79. Ibid., 301. 80. Homi K. Bhabha, The Location of Culture (New York: Routledge, 1994). 81. Ibid., 327. 82. Ibid., 344. 83. Ibid., 86. 84. Susan Choi, American Woman (New York: HarperCollins, 2003). 85. Correspondences between documented accounts of the kidnapping and Choi’s novelist account can be readily identified if readers con- sult two recent documentaries on the Hearst kidnapping and the rise and fall of the Weathermen group—Robert Stone’s Guerrilla: The Taking of Patty Hearst (2004) and Sam Green’s The Weather Under- ground (2002). The roman a clef elements of American Woman with respect to the Hearst kidnapping are immediately clear: the two young fugitives, essentially composite portraits of the mem- bers of the SLA who kidnapped Hearst, and their captive, modeled after Patty Hearst, is a fictionalized version of the kidnapped heiress. Generally, the plot of American Woman reflects the events of the documented account of the SLA and Hearst: the two young radicals kidnap the heiress of a wealthy California media mogul, escape the clutches of the police during a raid on their group, and hide out in a remote farmhouse in upstate New York under the care of a for- mer member of another antiwar activist group. Choi’s dramatization of the group’s internal dynamics, thought processes, and training rituals provides us with a fictionalized character study of these high- minded idealists, whose naïve impetuosity and unwitting replication of the very things they sought to fight—violence, exploitation, and repression—prove to be a destructive formula for themselves as well as for their professed enemies. Their eventual capture and the fate each meets with also expose the double standards of American law, particularly in its contradictory designation of social protest as a right of citizenship or as the high crime of treason, and which types of protestors it chooses to exonerate or convict. 86. The Weather Underground, DVD, directed by Sam Green (2002; New Video Group, 2004). 87. Choi, American Woman, 161. 88. The roman a clef correspondences between Jenny and are clear. For instance, FBI evidence shows that as an SLA member, Yoshimura tried to correspond with her former lover and SLA member Willie Brandt, who was incarcerated at Soledad, about her concern with the tension among SLA group members (though the letter, later discovered by the FBI, was apparently never Notes 159

sent). She was also arrested with Patty Hearst when the FBI cap- tured them in September 1975 in their hideout at 625 Morse, in ’s Outer Mission District. For more information regarding Yoshimura’s role in the kidnapping, see the official site for Robert Stone’s documentary, Guerrilla: The Taking of Patty Hearst, http://www.pbs.org/wgbh/amex/guerrilla/filmmore/ps_ yoshimura.html. 89. The term was first attributed to Japanese Americans in a 1966 New York Times article by sociologist William Petersen. See William Petersen, “Success Story, Japanese-American Style,” New York Times, January 9, 1966. 90. Choi, American Woman, 163. 91. Toni Morrison, “Unspeakable Things Unspoken: The Afro- American Presence in American Literature,” Michigan Quarterly Review 28.1 (Winter 1989): 1–34. 92. Anne Cheng, The Melancholy of Race (New York: Oxford University Press, 2001). 93. Choi, American Woman, 165. 94. Ibid., 78. 95. Ibid., 168. 96. “Guerrilla: The Taking of Patty Hearst” official website. January 25, 2009. http://www.guerrillathemovie.com/home.html. 97. Nancy Isenberg, “Not ‘Anyone’s Daughter’: Patty Hearst and the Postmodern Legal Subject,” American Quarterly 52.4 (2000): 660. 98. Choi, American Woman, 277. 99. Ibid., 283. 100. Ibid., 284. 101. Ibid., 276. 102. Ibid., 279. 103. Ibid., 51. 104. Ibid., 272. 105. Ibid., 271. 106. Ibid., 296. 107. Ibid., 140. 108. Ibid., 71. 109. Ibid., 67. 110. Ibid., 283. 111. The Weather Underground, DVD, directed by Sam Green (2002; New Group Studio, 2004). 112. Choi, American Woman, 198. 113. The Weather Underground. 114. Ibid. 115. Ibid. 160 Notes

Chapter 3

1. For an extended discussion of the pervasiveness of what I call “pre- modern” Orientalist tropes and motifs in American science fiction, please see my “Premodern Orientalist Science Fictions,” MELUS 33.4 (Winter 2008): 23–43. 2. Iris Chang, The Chinese in America (New York: Penguin, 2003): 130. 3. Ibid. 4. Karel Capek, R.U.R. and The Insect Play (London: Oxford Univer- sity Press, 1961). 5. For a more comprehensive history of the evolution of “yellow peril” images in science fiction, see Stephen Hong Sohn’s intro- duction to the special issue of MELUS on Asian American science fiction, “Alien/Asian: Imagining the Racialized Future,” MELUS 33.4 (Winter 2008): 5–22. 6. See my “Premodern Orientalist Science Fictions” for analyses of what I identify as premodern techno-Orientalist tropes in Ursula K. Le Guin’s and Philip K. Dick’s novels, particularly The Lathe of Heaven and The Man in the High Castle, respectively. 7. Samuel R. Delany, “Racism and Science Fiction,” New York Review of Science Fiction 120 (August 1998). http://www.nyrsf.com/racism- and-science-fiction-.html. 8. Delany, “Racism.” 9. Many have laid the groundwork for a significant and growing body of scholarship and criticism on Orientalism and Asian American literary and cultural representations in science fiction and cul- tural discourses of science more generally. See, for instance, Lisa Nakamura, Cybertypes: Race, Ethnicity, and Identity on the Inter- net (New York: Routledge, 2002); David Morley and Kevin Robins, “Techno-Orientalism: Japan Panic,” Spaces of Identity: Global Media, Electronic Landscapes, and Cultural Boundaries (London: Rout- ledge, 1995): 147–173; Wendy Hui Kyong Chun, “Orienting Orientalism, or How to Map Cyberspace,” Asian America.Net: Ethnicity, Nationalism, and Cyberculture, ed. Rachel C. Lee and Sau-ling Cynthia Wong (New York: Routledge, 2003): 3–36; Chun, “Othering Cyberspace,” The Visual Culture Reader, ed. Nicholas Mirzoeff (New York: Routledge, 1998): 243–254; Kumiko Sato, “How Information Technology Has (Not) Changed Feminism and Japanism: Cyberpunk in the Japanese Context,” Comparative Liter- ature Studies 41.3 (2004): 335–355; Toshiya Ueno, “Japanimation: Techno-Orientalism, Media Tribes, and Rave Culture,” Aliens R Us: The Other in Science Fiction Cinema, ed. Ziauddin Sardar and Sean Cubitt (Sterline: Pluto, 2002): 94–110; and the entire vol- ume of the special “Alien/Asian” issue of MELUS 33.4 (Winter Notes 161

2008), particularly guest editor Stephen Hong Sohn’s introduction, “Alien/Asian: Imagining the Racialized Future.” 10. Sven Birkerts, “Oryx and Crake: Present at the Re-Creation,” New York Times, May 18, 2003, http://www.nytimes.com/2003/05/ 18/books/review/18BIRKERT.html 11. Marleen S. Barr and Carl Freedman, PMLA: Special Topic Issue: Sci- ence Fiction and Literary Studies: The Next Millenium, 119.3 (May 2004); Edward James and Farah Mendlesohn, The Cambridge Com- panion to Science Fiction (New York: Cambridge University Press, 2003). 12. Marleen S. Barr, “Introduction: Textism—An Emancipation Procla- mation,” PMLA 119.3 (May 2004): 429–441. 13. Scott McCracken, Pulp: Reading Popular Fiction (Manchester Uni- versity Press, 1998): 102. 14. Adam Roberts, Science Fiction: The New Critical Idiom (London: Routledge, 2006): 17–18. 15. Damien Broderick, Reading by Starlight: Postmodern Science Fiction (London: Routledge, 1995): 51. 16. Roberts, Science Fiction, 17–18. 17. Ibid. 18. See, for instance, Orson Scott Card’s Xenocide, Karen Joy Fowler’s Sarah Canary, Maureen F. McHugh’s China Mountain Zhang, Octavia Butler’s Xenogenesis series, Samuel L. Delany’s Babel 17, Neal Stephenson’s The Diamond Age, and much of William Gibson’s fiction. 19. John Huntington, “Science Fiction and the Future,” Science Fiction: A Collection of Critical Essays, ed. Mark Rose (Englewood Cliffs, NJ: Prentice-Hall, 1976): 161. 20. Ibid., 160. 21. Robert Scholes, “The Roots of Science Fiction,” Science Fiction: A Collection of Critical Essays, ed. Mark Rose (Englewood Cliffs, NJ: Prentice-Hall, 1976): 47. 22. Ibid. 23. Ibid. 24. Ibid. 25. Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre (New Haven: Yale University Press, 1979). 26. Darko Suvin, “On the Poetics of the Science Fiction Genre,” Science Fiction: A Collection of Critical Essays, ed. Mark Rose (Englewood Cliffs, NJ: Prentice-Hall, 1976): 57–71. 27. Bertolt Brecht, “Kleines Organon fur das Theater (“Short Organon for the Theatre”),” Brecht on Theatre: The Development of an Aesthetic, ed. John Willett (1948; New York: Hill and Wang, 1977): 192. 162 Notes

28. Wai Chee Dimock, “Introduction: Genres as Fields of Knowledge,” PMLA 122.5 (October, 2007): 1378. 29. Paul Raven, “Book Review: ‘Stories of Your Life and Others,’ ” Velcro City, July 15, 2009. [URL] 30. China Miéville, “Wonder Boy: China Miéville revels in Ted Chiang’s High-Concept Collection, Stories of Your Life,” The Guardian, April 24, 2004. 31. Ibid. 32. Ibid. 33. Huntington, 161. 34. Ibid. 35. Ibid. 36. Ted Chiang, “,” in Stories of Your Life and Others (New York: Tor, 2002). 37. Chiang, “Story Notes,” in Stories of Your Life and Others, 328. 38. Chiang, “Story,” 124. 39. E. M. Forster, Aspects of the Novel (1927; New York: Harcourt, 1955). 40. Distinctions, and indeed, even the usefulness of the two terms are highly contested in the field, but in general, “hard SF” refers to fiction that features scientific or technical detail and emphasizes sci- entific accuracy, while “soft SF” refers to works that feature themes and issues in the social sciences and the humanities. For definitions of the terms and the debates surrounding them, see Peter Nicholls and John Clutes, New Encyclopedia of Science Fiction (New York: Orbit, 1999). 41. Chiang, “Story,” 143. 42. Ibid., 150. 43. Ibid., 165–166. 44. Ibid., 150. 45. Ibid., 173. 46. Ibid., 154. 47. Ibid. 48. Chiang, “Story,” 143. 49. Ibid., 143. 50. Ibid., 123. 51. Ibid., 134. 52. Ibid., 171. 53. Ibid. 54. Ibid., 141. 55. Ibid. 56. Ibid., 136. 57. Ibid., 135. 58. Ibid., 137. Notes 163

59. Ibid., 153. 60. Ibid., 158. 61. Ibid. 62. See my “Premodern Orientalist Science Fiction.” 63. Miéville, “Wonder Boy.” 64. Chiang, “Liking What You See: A Documentary,” Stories of Your Life and Others, 283. 65. Jeremy Smith, “The Absense of God: An Interview With Ted Chiang,” Infinityplus, http://www.infinityplus.co.uk/nonfiction/ inttchiang.htm, August 18, 2009. 66. Robot Stories, DVD, directed by Greg Pak (2003; Kino Video, 2005). Quoted dialogue and page citations are from the published shooting script, Robot Stories and More Screenplays (San Francisco: Immedium, 2005). 67. Jeremy Smith, “The Absense of God: An Interview With Ted Chiang,” Infinityplus, http://www.infinityplus.co.uk/nonfiction/ inttchiang.htm, August 18, 2009. 68. Huntington, 160. 69. Pak, Screenplays, 110–111. 70. Ibid., 111. 71. Robot Stories Official Site. May 14, 2009. http://www.robotstories. net/synopsis.html. 72. Huntington, 162. 73. Karel Capek, R.U.R.: Rossum’s Universal Robots (1920; Penguin, 2004); , I, Robot (1950; Spectra, 1991). 74. Asimov’s Three Laws of Robotics, articulated in his 1942 short story, “Runaround,” states: 1. A robot may not injure a human being or, through inaction, allow a human being to come to harm; 2. A robot must obey any orders given to it by human beings, except where such orders would conflict with the First Law; and 3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law. Isaac Asimov, “Runaround,” I, Robot. 75. Mary Shelley, Frankenstein (1818; New York: Norton, 1995). 76. Ibid. 77. Roberts, 118. 78. Pak, Robot Stories, 112. 79. Pak, Robot Stories, 169. 80. Ibid. 81. Pak, Robot Stories, 143. 82. Ibid., 144. 83. Ibid., 140, 153, 139. 84. Ibid., 144. 85. Ibid., 151. 164 Notes

86. Ibid. 87. It should be noted that the shooting script originally called for “Machine Love” to precede “The Robot Fixer.” In this order, Bernice’s dismissive treatment of Archie the “G9 iPerson” returns to her consciousness in “The Robot Fixer” as a potent source of regret for the way she had treated her own office’s equivalent of Wilson. But the order was changed during shooting to support the logical development of tonal and thematic structures, so that in the theatrical release, “The Robot Fixer” comes before “Machine Love.” According to Pak, while “rhythmically and tonally, it felt right to have the lightest film (“Machine Love”) lead, followed by a heavier film (“The Robot Fixer”)” he and the film editor decided during postproduction that “there might be a better arrangement.” Swapping the places of “Machine Love” and “My Robot Baby” for the sequence of “My Robot Baby,” “The Robot Fixer,” “Machine Love,” and “Clay,” Pak explains that “the progression of technology made sense—the science began with the clunky robot baby, devel- oped into the android Archie, and ended with the super-advanced implementation of digital immortality” (114–115). 88. Vivian Sobchack, Screening Space: The American Science Fiction Film (New Brunswick, NJ: Rutgers University Press, 1987): 237. 89. N. Katherine Hayles, How We Became Posthuman:Virtual Bod- ies in Cybernetics, Literature, and Informatics (Chicago: Uni- versity of Chicago Press, 1999): 85. Also see Donna Har- away, “A Cyborg Manifesto: Science, Technology, and Socialist- Feminism in the Late Twentieth Century,” in Simians, Cyborgs and Women: The Reinvention of Nature (New York; Routledge, 1991): 149–181. 90. Blade Runner, directed by Ridley Scott (Warner Brothers, 1982). 91. Ibid. 92. Pak, Robot Stories, 127. 93. Ibid., 128. 94. Ibid., 136–137. 95. Ibid., 138. 96. The revelation that one of these male coworkers is Roy from “My Robot Baby” also mitigates whatever sympathies the reader may have developed for him, and compels us to question his capacity to love and nurture his robot baby. 97. Pak, Robot Stories and More Screenplays, 209. 98. William Gibson, Neuromancer (New York: Ace, 1984): 12. 99. Hayles, Posthuman, 3. 100. Ibid. 101. Ibid., 5. 102. Ibid., 4. Notes 165

103. Ibid. 104. Lisa Nakamura, Cybertypes: Race, Ethnicity, and Identity on the Internet (New York: Routledge, 2002): 61. 105. Ibid. 106. Ibid., 61–62. 107. Nakamura, Cybertypes, 144. 108. Ibid., 145. 109. Huntington, 165. 110. Cynthia Kadohata, In the Heart of the Valley of Love (Berkeley: University of California Press, 1997). 111. Philip K. Dick, “Pessimism in Science Fiction,” The Shifting Realities of Philip K. Dick: Selected Literary and Philosophical Writings, ed. Lawrence Sutin (New York: Vintage, 1996): 54. 112. Min Hyoung Song, Strange Future: Pessimism and the 1992 Los Angeles Riots (Durham: Duke University Press, 2005): 63. Song also provides in the first chapter of Strange Future, “Racial Geography of Southern California,” a persuasive account of the confluence of environmental degradation and racial and class divisions that precip- itated the 1992 L.A. riots and the plethora of pessimistic fictional and nonfictional speculations of the future. 113. Lyman Tower Sargent, “US Eutopias in the 1980s and 1990s: Self- Fashioning in a World of Multiple Identitie,” Utopianism/Literary Utopias and National Cultural Identities: A Comparative Perspec- tive, ed. Paola Spinozzi (Bologna: University of Bologna, 2001): 221–232. 114. Raffaella Baccolini and Tom Moylan, “Introduction: Dystopia and Histories,” Dark Horizons: Science Fiction and the Dystopian Imagi- nation (New York: Routledge, 2003): 7. 115. Ibid. 116. Ibid. 117. Ibid. 118. Constance Penley, “Time Travel, Primal Scene, and the Critical Dystopia,” Liquid Metal: The Science Fiction Film Reader, ed. Sean Redmond (London: Wallflower Press, 2004): 126–135. 119. John Fiske, Power Plays, Power Works (London: Verso, 1993). 120. Ibid., 12. 121. Ibid. 122. Kadohata, Valley, 29. 123. Ibid., 33. 124. See Hsiu-Chuan Lee’s interview with Kadohata for Kadohata’s dis- cussion of the social implications of the 1990 Census projections. Hsiu-chuan Lee, “Interview with Cynthia Kadohata,” MELUS 32.2 (Summer 2007): 165–186. 125. Kadohata, Valley, 33. 166 Notes

126. “The Possibility of Hope,” Children of Men, DVD, directed by Alfonso Cuaron (Universal, 2007). 127. Ibid. 128. Ibid., 58. In her interview with Lee, Kadohata recounts that, as a student at City College before being admitted to UCLA, she had held similar perceptions of UCLA students. See Lee, “Interview.” 129. Ibid., 211. 130. Lisa Lowe, Immigrant Acts: On Asian American Cultural Politics (Duke University Press, 1996): 69. 131. Kadohata, Valley, 88. 132. Ibid., 120. 133. Ibid., 2. 134. Ibid., 54. 135. Ibid., 198. 136. Ibid. 137. Ibid., 197. 138. Ibid., 21. 139. Ibid., 147. 140. Fiske, Power, 12. 141. Ibid., 68. 142. Kadohata, Valley, 55. 143. Ibid., 33, 35. 144. Kadohata, Valley, 35. 145. Nguyen, Race, 152. 146. Kadohata, Valley, 92. 147. Lee, “Interview,” 168. 148. Kadohata, Valley, 12. 149. Ibid., 16–17. 150. Lee, “Interview,” 168. 151. Nguyen, Race, 151. 152. Ibid. 153. Kadohata, Valley, 200. 154. Ibid., 200–201. 155. Ibid., 46. 156. Ibid., 126. 157. Ibid., 86. 158. Ibid., 147. 159. Lowe, Immigrant Acts, 69. 160. Ibid., 203. 161. Stuart Hall, “Cultural Identity and Diaspora,” Identity: Commu- nity, Culture, Difference, ed. J. Rutherford (London: Lawrence & Wishart, 1990): 401. 162. Fiske, Power, 21. Notes 167

163. Tom Moylan, Scraps of the Untainted Sky: Science Fiction, Utopia, Dystopia (New York: Westview Press, 2000): 188. 164. Penley, 126. 165. Dick, “Pessimism,” 54.

Conclusion 1. Junot Diaz, “One Year: Storyteller-In-Chief,” New Yorker, News Desk, January 20, 2010, http://www.newyorker.com/online/blogs/ newsdesk/2010/01/one-year-storyteller-in-chief.html#ixzz0hb43r0tx. 2. Pradnya Joshi, “A Charlie Chan Film Stirs an Old Controversy,” March 7, 2010, http://www.nytimes.com/2010/03/08/business/ media/08chan.html. 3. Adena Rosmarin, The Power of Genre (Minneapolis: University of Minnesota Press, 1986): 12. 4. A special issue of JAAS: Journal of Asian American Studies devoted to the Virginia Tech shootings, guest edited by Min Hyoung Song, offers a thoughtful and insightful collection of essays on the implications and effects of the shootings, particularly in response to Song’s organizing question: “Does this tragic event occasion a change in scholarly con- versations about the topic of race and violence because it forces us to think of Asian Americans as the perpetrators of violence, as well as its objects?” Min Hyoung Song, “Communities of Remembrance: Reflections on the Virginia Tech Shootings and Race,” Journal of Asian American Studies 11.1 (2008): 1. 5. Damien Broderick, Reading by Starlight: Postmodern Science Fiction (London: Routledge, 1995): 51. 6. For a more comprehensive history of the evolution of “yellow peril” images in science fiction, see Stephen Hong Sohn’s introduction to the special issue of MELUS on Asian American science fiction, “Alien/Asian: Imagining the Racialized Future,” MELUS 33.4 (Win- ter 2008): 5–22. Also see my “Premodern Orientalist Science Fictions” for analyses of what I identify as premodern techno-Orientalist tropes in Ursula K. Le Guin’s and Philip K. Dick’s novels, particularly The Lathe of Heaven and The Man in the High Castle, respectively. 7. Quoted in Gerald Graff, Professing Literature (Chicago: University of Chicago Press, 1987): 1. 8. Diaz, “One Year: Storyteller-In-Chief,” New Yorker. Bibliography

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Note: The letter ‘n’ followed by the locators refer to notes.

Accidental Asian, The (Liu), 16 Baym, Nina, 74, 157n67 Alfred Hitchcock Mystery Series Beck, Louis, 54, 68n13 (Arthur), 56 Belton, John, 54, 65n15–16, 156n41 Alien Nation (film), 107 Benjamin, Walter, 121 Alvarez, Julia, 13, 149n9 Bertens, Hans, 155n16 American Dream narrative, 33, 35, Bhabha, Homi, 42, 80, 115n79–80 44–5, 69, 92, 118, 144 Biggers, Earl Derr, 8, 51–2, 55, 65, American Woman (Choi), 8, 51, 70–1, 155n11 80–93, 144n82 see also Chan, Charlie, character of Andrews, William L., 20, 151n36 Birkerts, Sven, 98, 161n10 Antin, Mary, 14 Blade Runner (film), 122, 128 Apocalypse Now (film), 20, 142 Boelhower, William, 14–15, 28n13, Arthur, Robert, 56 150n15, 152n63 ascent narratives, 37, 142 Bok, Edward, 14 Asimov, Isaac, 103, 115n73–4 Brandt, Willie, 158n88 assimilationism, 8, 12, 14, 16, 19, Brave New World (Huxley), 128–9 31–7, 41–5, 53, 75, 81, 95, 102, Brecht, Bertolt, 101, 161n27 115–16, 142, 145 Broderick, Damien, 99, 145n15, Atwood, Margaret, 98 167n5 autobiographic imperative, 7, 11–13, Butler, Judith, 6–7, 148n20 19, 23, 26–31, 55 Butler, Octavia E., 97, 99, 128–9, autobiography, 3, 8, 11–20, 27–32, 161n18 45, 142 see also memoir Campbell, Jr., John W., 97 Capek, Karel, 96, 115, 128n4, 163n73 Baccolini, Raffaella, 129–30, 165n114 Card, Orson Scott, 99, 161n18 “bad subject” paradigm (Nguyen), 3, Carroll, Hamilton, 32, 152n74, 49–50, 55, 82, 136 153n75–6 Baker, Graham, 107 Cawelti, John, 6 Bakhtin, Mikhail, 7 Chan, Charlie, character of, 5, 8, Barr, Marleen S., 6, 98n18, 50–5, 58–9, 62, 70–3, 143 161n11–12 Chang, Henry, 56 Barry, Lynda, 149n11 Chang, Iris, 160n2 Bascara, Victor, 157n54–60 Chang, Leonard, 56–8, 66, 73n19–20, Baudrillard, Jean, 115 155–6n20 180 Index

Chan Is Missing (Wang), 8, 51, 55, “countermemory” (Foucault), 27 65–72, 80, 93n54 Coward, Noel, 98, 147n15 Chan, Jeffrey Paul, 52, 155n12 crime fiction, 5–9, 49–59, 66–8, 72–3, Charlie Chan Is Dead (Hagedorn), 52 80, 83, 92, 95, 97–8, 101, 145 Cheng, Anne, 86, 152n74, 159n92 “critical dystopia”, 129–30, 140 Chen, Tina, 1, 52, 57n1–2, 154n8, Cuaron, Alfonso, 166n126 156n22 Cubitt, Sean, 160n9 Chiang, Ted, 9, 102–13, 145, cyberpunk, 126 162n36–8, 162n41, 163n64–5 Cybertypes (Nakamura), 126 Chinatown: Beck on, 53–4 Davis, Rocio, 16, 147n14, 150n17 binary of, 50–1, 55, 65, 67, 143 “Dead Yellow Women” (Hammett), Hammett’s, 54, 59–65 50, 59–65, 72–3 icon/trope of, 50–1, 53, 55, 59, Death in Little Tokyo (Furutani), 56 143n14 “deathly embrace” (Ma), 48 Lin’s, 72–80, 143 Deer Hunter, The (film), 20, 142 Polanksi’s, 8, 50–1, 53–5, 60, Delany, Samuel R., 97, 99n7–8, 65, 71 161n18 Wang’s, 66–72, 143 Denning, Michael, 73, 157n66 Chinatown Beat (Chang), 56 Derrida, Jacques, 3, 147n6, 148n19 Chinatown (film), 8, 50–1, 53–5, 60, D’Haen, Theo, 155n16 65, 71 Diaz, Junot, 141, 146n1, 167n8 Chin, Frank, 16, 52n11, 154n7, Dickens, Charles, 52, 155n10 155n12 Dick, Philip K., 97, 112, 129, 140n6, Choi, Susan, 8, 51, 80–93, 144n81–2, 165n111, 167n165, 167n6 158n84, 158n87, 159n90, Dimock, Wai Chee, 3–5, 7, 101n4, 159n93, 159n98, 159n112 148n17–18, 148n22, 162n28 Cho Seung-hui, 47–50, 85, 143–4 Doyle, Sir Arthur Conan, 52–3, 72n9 Chow, Rey, 153n107 Dystopian narratives, 9, 102, 128, Chrisman, Laura, 151n37 134, 136, 140 Christie, Agatha, 53 see also critical dystopia Chuh, Kandice, 44, 152n74, 154n115 Chun, Wendy Hui Kyong, 160n9 Eakin, Paul John, 17, 149n13, Chu, Patricia, 16, 150n17 150n16, 150n21–2, 151n36 Clancy, Tom, 2 Encyclopedia Brown: Boy Detective “Clay” (Pak), 113, 116, 124–7, series (Sobol), 56 164n87 English, Daylanne K., 58, 156n24 Close Encounters of the Third Kind E.T.: The Extraterrestrial (film), 107 (film), 107 Clutes, John, 162n40 Fade to Clear (Chang), 56 cognitive estrangement, 9, 101, 105, fantasy fiction, 6, 100, 102, 104, 108, 112, 145 113 Color of Water, The (McBride), 16 Fass, Paula, 32–3, 153n79 Columbine shootings, 143 Ferraro, Thomas, 15, 149n14 Comfort Woman (Keller), 152n73 Fiske, John, 130–1, 135n16, comfort women, 31–2, 34, 37, 39n74 165n119, 166n140, 166n162 communitas, 135–6, 138–40 Flanagan, Brian, 91 Continental Op, The (Hammett), 53, Flash Gordon,96 59–65, 68 Fleming, Ian, 2 Index 181

Forster, E. M., 107, 128n39 Hearst, Patty, 83, 85, 87–8, 144n82, Foucault, Michel, 27, 130 158n85 Fowler, Karen Joy, 99, 161n18 Himes, Chester, 57, 72–3 Frankenstein (Shelley), 115 Hirahara, Naomi, 56–8, 66, 73 Freedman, Carl, 6, 148n18, 161n11 “horizontal affiliations” (Lowe), Frow, John, 3, 147n5 136–8 Fu Manchu, character of, 5, 49, 62–3, Horsley, Lee, 66, 156n44 143n8 Howe, Irving, 146 Furutani, Dale, 56 How the Garcia Girls Lost Their Accents (Alvarez), 13 Gangster We Are All Looking For, The for science fiction, 103 (le thi diem thuy), 7, 17–29, 45, Huh, Jinny, 52, 154n8 72, 84, 142 Huntington, John, 100–1, 104–5, Gasa-Gasa Girl (Hirahara), 56 112–14, 128n19–20, 162n33, “genre bondage” (Miller), 14 163n68, 163n72, 165n109 genre fiction Huxley, Aldus, 128 see specific genres genre laws, 8, 25 immigrant fiction/novels, 1–2, 5–8, Gesture Life, A (Lee), 8, 17, 29–45, 12, 45, 50, 58, 95, 101 47, 73–4, 76, 78, 142 “imperializing power” (Fiske), 130–4, Gibson, William, 99, 125n18, 137–40 164n98 IntheHeartoftheValleyofLove Gilmore, Leigh, 20, 29n35, (Kadohata), 9, 102, 127–40 152n66 Isenberg, Nancy, 159n97 Gitlin, Todd, 90–1 Gong, Stephen, 67 James, Edward, 148n18, 161n11 Graff, Gerald, 12, 148n2, 167n7 Jameson, Fredric, 6, 11–12, 18–19, Gramsci, Antonio, 132 148n1, 148n4, 151n34 Green, Sam, 158n85–6, 159n111 Japanese internment camps, 83–6 Grossman, Lev, 13, 148n6 Gsoels-Lorensen, Jutta, 151n27 Johnson, Lyndon Baines, 83 Guerrilla: The Taking of Patty Hearst Joshi, Pradnya, 143, 167n2 (documentary), 87 “junk fiction”, 5, 98n15 Gunga Din Highway (Chin), 52 Kadohata, Cynthia, 9, 102, 127–40, Hagedorn, Jessica, 52, 154n7 145n109, 165n122–4, 165n125, Hall, Stuart, 6, 16, 20, 22, 166n128, 166n131, 166n142, 140n18, 151n37, 151n44, 166n144, 166n146, 166n148, 166n161 166n153 Hammett, Dashiell, 8, 50–1, 54, Kang, Laura Hyun Yi, 152n74 59–65, 67, 70–5, 79, 81n16, Keller, Nora Okra, 152n73 156n28–40, 156n42 Kim, Daniel, 74, 154n8, 157n67 Haraway, Donna, 121, 164n89 Kim, Elaine, 154n4 Harris, Eric, 143–4 Kingston, Maxine Hong, 16, 149n11 Hartlaub, Joe, 156n22–3 Klebold, Dylan, 143–4 Hawking, Stephen, 105–6 Knight, Deborah, 147n15 Hayles, N. Katherine, 121–2, 125–6, Knight, Stephen, 6 164n89, 164n99 Kostelanetz, Richard, 155n12 Hayslip, Le Ly, 142 Krupat, Arnold, 17, 150n22 182 Index

Lara, Adair, 150n25 McHugh, Maureen, 99, 161n18 Lathe of Heaven, The (Le Guin), Mehegan, David, 18, 151n31–3 160n6, 167n6 memoir, 3, 8, 13, 15–17, 30–3, 43–5, “law of genre”, 148n19 142 Lee, Chang-rae, 1–2, 8–9, 13, 16–17, see also autobiography 29–45, 59, 141–2, 152n74, Mendlesohn, Farah, 148n18, 161n11 153n84–106, 153n108–9, Metamorphoses of Science Fiction 154n110–14, 156n22 (Suvin), 101 Lee, Horsley, 156n44 Mieville, China, 102–3, 112n30–2, Lee, Hsiu-chuan, 137, 165n124 163n63 Lee, Josephine, 154n8 Miller, John, 95–6 Lee, Min Jin, 48, 154n1 Miller, Nancy K., 13–14, 30, 32–3, Lee, Rachel C., 160n9 45n7–8, 149n11–12, 152n72, Lee, Robert G., 3, 49n7, 154n3 153n77–8, 153n80–2, 154n116 Lee, Sue-Im, 4, 16n14, 150n17 Mirzoeff, Nicholas, 160n9 Le Guin, Ursula, 97, 99, 112n6 Morley, David, 160n9 Le Ly Hayslip, 142 Morrison, Toni, 86, 159n91 le thi diem thuy, 7–8, 16–30, 45, 72, Mosley, Walter, 57–8, 73n24 84, 142n23, 151n29–30, Moylan, Tom, 129–30, 140n113–16, 151n40–2, 151n45–51, 152n54, 167n163 152n56–9, 152n61–2, 152n64–5 “My Robot Baby” (Pak), 116–19, Li, David Leiwei, 149n11 121, 164n87, 164n96 “Liking What You See: A Mystery of Edwin Drood (Dickens), 52 Documentary” (Chiang), 112–13 mystery fiction, 6, 18, 52–7, 60–80, Lim, Imogene L., 154n8 107n15 Lin, Ed, 8, 51, 59, 65, 72–81, 143n64, 157n68–78 Nakamura, Lisa, 126–7, 160n9, Ling, Jinqi, 16, 150n17, 150n19 165n104, 165n107 Liu, Eric, 16 nationalism, 38–41, 43, 75–8, 85 “localizing power”, 130–40 Native Speaker (Lee), 1–2, 29–30, 35, Location of Culture, The (Bhabha), 80 141–2, 156n22 Lowe, Lisa, 132, 136, 139n129, for science fiction, 103, 166n159 105 Neely, Barbara, 58, 156n24 “Machine Love” (Pak), 119, 121, New Criticism, 109 164n87 Nguyen, Chau, 150n26 Machine Stops, The (Forster), 128 Nguyen, Viet Thanh, 3–4, 20, 22, 27, Maltese Falcon, The (Hammett), 54 49, 53, 82, 136–7, 147n8–9, Man in the High Castle, The (Dick), 147n12, 151n38–9, 151n43, 160n6, 167n6 152n60, 166n145, 166n151 “Man with the Twisted Lip, The” Nicholls, Peter, 162n40 (Doyle), 52 Nineteen Eighty-Four (Orwell), 129 Mark, Diane Mei Lin, 157n50–1, Nixon, Richard, 83, 87 157n61 novum/nova, 101–2, 105, 108, 113, Ma, Sheng-mei, 48, 154n2 126–8, 145 Matrix, The (film), 126–8, 130 Matsukawa, Yuko, 154n8 Obama, Barack, 141, 146 McBride, James, 16 O’Hagan, Andrew, 153n83 McCracken, Scott, 99, 161n13 Old Boy (film), 48, 144 Index 183

Orientalism, 3, 5–9, 49–52, 55, 57, Robins, Kevin, 160n9 59, 61–7, 71, 96–9, 102, “Robot Fixer, The” (Pak), 119–21, 111n9 164n87 Orientalist tropes, 52, 98–9, 155n14, “robot” origin of the word, 96 160n1 robot stories, 9, 96, 102, 113–28, see also techno-Orientalist tropes 145n74, 163n81, 164n97 Oryx and Crake (Atwood), 98 Robot Stories (film), 9, 102, 113–28 Over the Shoulder (Chang), 56 Rohmer, Sax, 49, 52n8 romance fiction, 6, 8, 33, 35, 45, 51, Pak, Greg, 9, 102, 113–27, 145n66, 57, 107, 144–5 163n69, 163n78–79, 164n87, “aspirational romance”, 116 164n92, 164n97 Harlequin, 6, 147n15 Parable of the Sower (Butler), 129 “liberation romance”, 38–41 Parable of the Talents (Butler), 129 “outlaw romance”, 51, 83, 87, 144 Penley, Constance, 130, 140n117, romance of radicalism, 92 167n164 “Roots of Science Fiction, The” Petersen, William, 159n89 (Scholes), 100 Phelan, James, 148n2 Rose, Mark, 148n23–4, 161n19, photographs, 22–7, 47, 49, 68, 71 161n21 Poe, Edgar Allen, 53 Rosmarin, Adena, 59, 143n27, Polanski, Roman, 8, 50–1, 53–5, 60, 167n3 65, 71 Rudd, Mark, 91 Posthumanism, 116, 125–7 “Runaround” (Asimov), 163n74 “postracial”, 126–7 R.U.R. (Rossum’s Universal Robots) Power Plays, Power Works (Fiske), (Capek), 96, 115, 128 130–1 Russ, Joanna, 99 Priestman, Martin, 148n18 Rutherford, Jonathan, 150n18, “psychotherapeutic perspective” in 166n161 memoirs, 33 Rzepka, Charles J., 51–2, 154n5–6 pulp fiction, 6, 9, 97–8 Sardar, Ziauddin, 160n9 Quan, Kenneth, 29–30, 149n10, Sargent, Lyman Tower, 129, 165n113 152n67, 152n69–71 Sassen, Saskia, 132 Quotations from Charlie Chan, 143 Savage, Marcus E., 14 Sayers, Dorothy L., 57 Rabkin, Eric, 116 Scaggs, John, 73, 157n65 Radway, Janice, 6 Scholes, Robert, 6, 9, 100–1, 116n23, Rambo (film), 48–9 161n21 Raven, Paul, 102, 162n29 science fiction, 5–9, 95–116, 121, recounting, 30, 43 128–9, 140, 145–6, 160n1, Reddy, Maureen T., 56, 155n17–18 160n5, 160n9, 162n40, 167n6 Redmond, Sean, 165n118 science fiction “paradox”, 100 refugees, 19–22, 26–7, 45, 142 Scott, Ridley, 122, 128n89–90 Regarding the Pain of Others (Sontag), Shelley, Mary, 115, 163n75 25 Shih, Shu-mei, 12–13, 148n5 “regenreing”, 4–5, 100–1, 145n17 Short Organon for the Theatre (Brecht), Robbins, Bruce, 1 101 Roberts, Adam, 99, 116n14, 161n16, Showalter, Elaine, 157n67 163n77 Silet, Charles L., 157n66 184 Index

Smith, Jeremy, 163n65, 163n67 Ueno, Toshiya, 160n9 Snakeskin Shamisen (Hirahara), 56 Underkill (Chang), 56 Sobchack, Vivian, 121, 164n88 “unofficial interpretive culture” Sobol, Donald J., 56 (Graff), 12, 18–19 Sohn, Stephen Hong, 148n18, 160n5, 161n9, 167n6 Van Gulik, Robert, 52, 155n11 Song, Min Hyoung, 129, 165n112, Vietnamese refugees, 19–22, 26–9, 45, 167n4 142 Sontag, Susan, 25, 151n52, 152n53, Vietnam War, 19, 24–9, 70, 75–6, 152n55 83–4, 87, 142 specific genres, 99 Virginia Tech shootings, 47–50, 82, Spiegelman, Art, 14 85, 143–4, 167n4 Spielberg, Steven, 107 Vonnegut, Kurt, 105 Spinozzi, Paola, 165n113 spy thriller genre, 1–2 Wachowski, Andy, 128 Star Trek, 96, 127 Wachowski, Larry, 128 Star Wars,96 Wang, Wayne, 8, 51, 55, 59, 65–72, Stephenson, Neal, 99, 161n18 80, 143n45–7, 157n48–9, 157n52–3, 157n62–3 , 88 War of the Worlds, The (Wells), 107 Stone, Robert, 87, 158n85 Weathermen, 83–4, 90n82 Stories of Your Life and Others Wells, H. G., 107, 128 (Chiang), 102–3, 112 When Heaven and Earth Changed “Story of Your Life” (Chiang), 9, 102, Places (Hayslip), 142 105–11 White, Hayden, 2, 7, 16–17, 93n3, Students for a Democratic Society 148n21, 150n20 (SDS), 83 Willett, John, 161n27 Sturgeon, Theodore, 103 Williams, Patrick, 151n37 Summer of the Big Bachi (Hirahara), 56 Woman Warrior: Memoirs of a Girlhood Suvin, Darko, 9, 101n24, 161n25–6 among Ghosts, The (Kingston), 16, Symbionese Liberation Army (SLA), 149n11 83–5, 87, 144n82, 158n85 Wong, Sau-ling Cynthia, 15, 150n16, 160n9 Taiwan, 78 World War II, 21, 31, 83n73 techno-Orientalist tropes, 5, 145n6, 167n6 Year of the Dog (Chang), 56 Terminator, The (film), 130 “yellow peril”, 3, 49, 96n5, 167n6 Tey, Josephine, 57 Yoshimura, Wendy, 85, 144n85 This Is a Bust (Lin), 8, 51, 65, 72–80, Young, John K., 12, 148n3 89, 93 Yu, Timothy, 155n14 Todorov, Tzvetan, 6, 58–9, 156n25–6 Toyotomi Blades, The (Furutani), 56 Zhou Xiaojing, 4, 147n10–11, Turner, Victor, 135 147n13, 156n22