A Floating Chinaman

Who gets to speak for China? During the interwar years, when American condescension toward “barbarous” China yielded to a fascination with all things Chinese, a circle of writers sparked an unprecedented public conversation about American-Chinese relations. Hua Hsu tells the story of how they became ensnared in bitter rivalries over which one could claim the title of America’s leading China expert. The rapturous reception that greeted The Good Earth—Pearl Buck’s novel about a Chinese peasant family—spawned a literary market for sympathetic writings about China. Stories of enterprising Americans making their way in a land with “four hundred million customers,” as Carl Crow said, found an eager audience as well. But on the margins—in Chinatowns, on Ellis Island, and inside FBI surveillance memos—a different conversation about the possibilities of a shared future was taking place. A Floating Chinaman takes its title from a lost manuscript by H. T. Tsiang, an eccentric Chinese immigrant writer who self-published a series of visionary novels during this time. Tsiang discovered the American literary market to be far less accommodating to his more skeptical view of U.S.-China relations. His “floating Chinaman,” unmoored and in-between, imagines a critical vantage point from which to understand the new ideas of China circulating between the world wars—and today, as well.

"A Floating Chinaman is, in the broadest sense, a book about who gets to speak for China. The title is taken from a lost manuscript by H.T. Tsiang, an eccentric Chinese immigrant writer who self-published a series of visionary novels in the 1930s, a time when China was recast as a rich, unexplored mystery to the American public. At this time the United States "rediscovered" China, and the book traces its causes and cues in a variety of sites: the comfortable, middlebrow literature of Pearl Buck, Alice Tisdale Hobart and Lin Yutang; the journalism of Carl Crow and Henry Luce; exuberant reports from oil executives proclaiming a new era in global trade. On the margins--in Chinatowns, on college campuses, in the failed avant-gardism of Tsiang--a different conversation about the possibilities of a transpacific future was taking place. The book is about the circulation of ideas about China; but it is also a book about writers, rivalries, and the acquisition of authority. It is about the creation and refinement of those ideas, as well as the spirit of competition that underlies all critical endeavors. These were decades when China represented a new area of inquiry, and the stakes for writers to flex their expertise were at once intellectual, professional, and deeply personal. The author considers a range of texts--from best-sellers to self-published paperbacks, travel literature to corporate newsletters, FBI surveillance files to flowery letters from an Ellis Island detention center--and considers the competing notions of a transpacific future that animated the literary imagination as well as some satisfying moments of revenge."--Provided by publisher.

Amitava Kumar's Every Day I Write the Book is for academic writers what Annie Dillard's The Writing Life and Stephen King's On Writing are for creative writers. Alongside Kumar's interviews with an array of scholars whose distinct writing offers inspiring examples for students and academics alike, the book's pages are full of practical advice about everything from how to write criticism to making use of a kitchen timer. Communication, engagement, honesty: these are the aims and sources of good writing. Storytelling, attention to organization, solid work habits: these are its tools. Kumar's own voice is present in his essays about the writing process and in his perceptive and witty observations on the academic world. A writing manual as well as a manifesto, Every Day I Write the Book will interest and guide aspiring writers everywhere.

Transpacific Imaginations is a study of how American literature is enmeshed with the literatures of Asia. The book begins with Western encounters with the Pacific: Yunte Huang reads Moby Dick as a Pacific work, looks at Henry AdamsÕs not talking about his travels in Japan and the Pacific basin in his autobiography, and compares Mark Twain to Liang Qichao. Huang then turns to Asian American encounters with the Pacific, concentrating on the "Angel Island" poems and on works by Theresa Hak Kyung Cha, Lawson Fusao Inada, and Araki Yasusada. HuangÕs argument that the Pacific forms American literature more than is generally acknowledged is a major contribution to our understanding of literary history. The book is in dialogue with cross-cultural studies of the Pacific and with contemporary innovative poetics. Huang has found a vehicle to join Asians and Westerners at the deepest level, and that vehicle is poetry. Poets can best imagine an ethical ground upon which different people join hands. Huang asks us to contribute to this effort by understanding the poets and writers already in the process of linking diverse peoples.

A subversively comic, genre-bending satire of bourgeois life by an essential Chinese American voice, featuring an introduction by New Yorker writer Hua Hsu, author of the acclaimed memoir Stay True A Penguin Classic It's Depression-era New York, and Mr. Nut, an oblivious American everyman, wants to strike it rich, even if at the moment he's unemployed, with no job prospects in sight. Over the course of a single night, in a narrative that unfolds hour by hour, he meets a cast of strange characters—disgruntled workers at a Communist cafeteria, lecherous old men, sexually exploited women, pesky authors—who eventually convince him to cast off his bourgeois aspirations for upward mobility and become a radical activist. Absurdist, inventive, and suffused with revolutionary fervor, and culminating in a dramatic face-off against capitalist power in the figure of the greedy businessman Mr. System, The Hanging on Union Square is a work of blazing wit and originality. More than eighty years after it was self-published, having been rejected by dozens of baffled publishers, it has become a classic of Asian American literature—a satirical send-up of class politics and capitalism and a shout of populist rage that still resonates today. Celebrate Asian American and Pacific Islander (AAPI) Heritage Month with these three Penguin Classics: America Is in the Heart by Carlos Bulosan (9780143134039) East Goes West by Younghill Kang (9780143134305) The Hanging on Union Square by H. T. Tsiang (9780143134022)

Hailed as The Awl’s 2012’s novel to anticipate, this glorious debut stars hippie detectives, a singular city, and an MFA student on the run. On a residential Bay Area block struggling with the collision of gentrifier condos and longtime residents, stymied recent MFA grad Philip Kim is sleeping the night away when bullets fly through a window in his apartment building and end up killing one of his neighbors. Philip only learns about the murder the next day when bored and Googling himself. But when he gets caught up in the investigation and becomes the focus of an elaborate, violent scheme, he will learn far more than he ever wanted to about his former four-eggs-at-a-time borrowing neighbor Dolores Stone, aka “The Grey Beaver,” and her shocking connections to an underworld only a city like this one could create. Siddhartha “Sid” Finch, a homicide detective bitter about everything except his gorgeous wife, and his phlegmatic, pock-marked partner Jim Kim, land the case. Sid and Jim race after Philip through a menacing, unknowable San Francisco fending off militant surfers, vaguely European cafes, and aggressive Advanced Creative Writing students as they all try to figure out just who’s causing trouble in this city they love to hate. Exceedingly unique, pulsing with vigor and heart, and loaded with fierce, fresh language, The Dead Do Not Improve confirms Jay Caspian Kang as a true American original as obsessed with surfing and surviving as with the power of unforgettable storytelling.

From Tony Hsieh to Amy Chua to Jeremy Lin, Chinese Americans are now arriving at the highest levels of American business, civic life, and culture. But what makes this story of immigrant ascent unique is that Chinese Americans are emerging at just the same moment when China has emerged -- and indeed may displace America -- at the center of the global scene. What does it mean to be Chinese American in this moment? And how does exploring that question alter our notions of just what an American is and will be? In many ways, Chinese Americans today are exemplars of the American Dream: during a crowded century and a half, this community has gone from indentured servitude, second-class status and outright exclusion to economic and social integration and achievement. But this narrative obscures too much: the Chinese Americans still left behind, the erosion of the American Dream in general, the emergence -- perhaps -- of a Chinese Dream, and how other Americans will look at their countrymen of Chinese descent if China and America ever become adversaries. As Chinese Americans reconcile competing beliefs about what constitutes success, virtue, power, and purpose, they hold a mirror up to their country in a time of deep flux. In searching, often personal essays that range from the meaning of Confucius to the role of Chinese Americans in shaping how we read the Constitution to why he hates the hyphen in "Chinese-American," Eric Liu pieces together a sense of the Chinese American identity in these auspicious years for both countries. He considers his own public career in American media and government; his daughter's efforts to hold and release aspects of her Chinese inheritance; and the still-recent history that made anyone Chinese in America seem foreign and disloyal until proven otherwise. Provocative, often playful but always thoughtful, Liu breaks down his vast subject into bite-sized chunks, along the way providing insights into universal matters: identity, nationalism, family, and more.

The author chronicles the lives of three generations of Chinese men in America, woven from memory, myth and fact. Here's a storyteller's tale of what they endured in a strange new land.

In the turbulent years after World War I, a transpacific community of American and Chinese writers and artists emerged to forge new ideas regarding aesthetics, democracy, internationalism, and the political possibilities of art. Breaking with preconceived notions of an "exotic" East, the Americans found in China and in the works of Chinese intellectuals inspiration for leftist and civil rights movements. Chinese writers and intellectuals looked to the American tradition of political democracy to inform an emerging Chinese liberalism. This interaction reflected an unprecedented integration of American and Chinese cultures and a remarkable synthesis of shared ideals and political goals. The transpacific community that came together during this time took advantage of new advances in technology and media, such as the telegraph and radio, to accelerate the exchange of ideas. It created a fast-paced, cross-cultural dialogue that transformed the terms by which the United States and China—or, more broadly, "West" and "East"—knew each other. Transpacific Community follows the left-wing journalist Agnes Smedley's campaign to free the author Ding Ling from prison; Pearl Buck's attempt to fuse Jeffersonian democracy with late Qing visions of equality in The Good Earth; Paul Robeson's collaboration with the musician Liu Liangmo, which drew on Chinese and African American traditions; and the writer Lin Yutang's attempt to create a typewriter for Chinese characters. Together, these individuals produced political projects that synthesized American and Chinese visions of equality and democracy and imagined a new course for East-West relations.