Intro -- Contents -- Acknowledgments -- Preface -- Introduction -- PART I: VISUALITY, REPRESENTATION, AND THE GAZE -- 1 Writing Historiographic Autoethnography: Denise Chong's The Concubine's Children -- 2 A Filipino Prufrock in an Alien Land: Bienvenido Santos's The Man Who (Thought He) Looked Like Robert Taylor -- 3 Rescripting Hollywood: Performativity and Ethnic Identity in Mina Shum's Double Happiness -- PART II: TRANSFORMATIONS THROUGH THE SENSUAL -- 4 To Make Sense of Differences: Communities, Texts, and Bodies in Shirley Geok-lin Lim's Among the White Moon Faces -- 5 'Some Memories Live Only on Your Tongue': Recalling Tastes, Reclaiming Desire in Amy Tan's The Kitchen God's Wife -- 6 'Each Story Brief and Sad and Marvellous': Multiple Voices in Wayson Choy's The Jade Peony -- PART III: INVISIBLE MINORITIES IN ASIAN AMERICA -- 7 'Never Again Be the Yvonne of Yesterday': Personal and Collective Loss in Cecilia Brainard's When the Rainbow Goddess Wept -- 8 'Thrumming Songs of Ecstasy': Female Voices in Hiromi Goto's Chorus of Mushrooms -- 9 'On the Fence That Was Never Finished': Borderline Filipino Existence in Bino Realuyo's The Umbrella Country -- Afterword -- Notes -- Works Cited -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z
Summary
Through close readings grounded in the socio-historical context of each work, Ty studies the techniques of various authors and filmmakers in their meeting of the gaze of dominant culture and their response to the assumptions and meanings commonly associated with Orientalized, visible bodies
