Adrian H. Hearn, Diaspora and Trust: Cuba, Mexico, and the Rise of China . Durham NC : Duke University Press, 2016. 266 pp. (Cloth US $ 89.95)
Diaspora and Trust offers readers a comparative look at the impact of the rise of China in Cuba and Mexico. A unique blending of macrolevel
In the conclusion to Searching for Mr. Chin , Anne-Marie Lee-Loy explains the personal origins of her interest in the subject of the Chinese in West Indian literature. Coming from an Afro-Chinese family in Jamaica, she recalls her childhood curiosity about her father’s brother, who had been sent
Bibliographic entry in Chapter 24: The United States, China, and Southeast Asia since the Vietnam War | Bibliographies and Other Reference Works authorGovernment Information Office, Republic of ChinaimprintTaipei: Government Information Office, 1989-.annotationAn official reference work with
domestic servant in Matina, Costa Rica. Along the way, they decided to enter a Chinese establishment for a ginger ale. After receiving their drinks, two Jamaican men entered the store and began conversing in English with one of the Chinese owners, Ghin S. Lung. Durán and Días could not understand their
[First paragraph]The Cuba Commission Report: A Hidden History of the Chinese in Cuba. The Original English-Language Text of 1876 (Introduction by Denise Helly). Baltimore: Johns Hopkins University Press, 1993. viii + 160 pp. (Paper US$21.95)Indentured Labor, Caribbean Sugar: Chinese and Indian Migrants to the British West Indies, 1838-1918. WALTON LOOK LAI. Baltimore: Johns Hopkins University Press, 1993. xxviii + 370 pp. (Cloth US$ 39.95)The world system formed by European mercantile and industrial capitalism and the history of transcontinental labor migrations from Africa to the Americas have been amply documented. The genesis, evolution, and demise of New World slavery are subjects much scrutinized and debated, particularly since the 1960s. Enjoying a less extensive tradition of historiography are the variously devised alternative labor schemes that came on the heels of emancipation: the colonially-orchestrated efforts to contract free and voluntary workers to take the place of slaves in a system of production theoretically the moral antithesis of that earlier "peculiar institution." Yet scholarship on indentured labor systems has consistently revealed that the "freedom" of immigrant workers was merely nominal, the "voluntary" nature of their commitments arguable, and the indenture projects often only ideally a kinder, gentier form of labor extraction.
This essay deals with the multilayered trope of food in two autobiographical works published in 2005, Diana Abu-Jaber’s The Language of Baklava and Leslie Li’s Daughter of Heaven. Both works are considered “food memoirs” and, as the very term indicates, culinary rituals, commensality, recipes, and other food-related matters constitute the backbone of the narration. Abu-Jaber and Li use food as a vehicle for the exploration of memories of past events, as well as for the analysis of issues such as ethnicity, racism, identity and community. The fact that both works feature first and second generation members of ethnic groups in the United States—Arab Americans in the case of Abu-Jaber, and Chinese Americans in the case of Li— invites the “trans-ethnic” study of the two memoirs, which, surprisingly enough, present many stylistic and thematic similarities.
This chapter argues that comparative analyses of autobiographical works by ethnic writers typically fail to consider the extent to which minority autobiographies emphasize issues of authorship and artistry. Examination of the autobiographical writing of two early-twentieth-century writers—the Native American writer ZitkalaŠa and the Chinese American writer Sui Sin Far—suggests that both writers sought to present themselves in their autobiographical texts as legitimate American authors, and not only as complex ethnic subjects. Although their autobiographic essays do not conform to typical narratives of the acquisition of literacy, both writers emphasize early experiences of storytelling and childhood encounters with art in order to construct unique yet fully intelligible identities as ethnic American authors. Their shared preoccupation with issues of artistry thus points to a promising area for further investigation into inter-ethnic American life writing.
Analyses ethnic residential patterns, in terms of spatial segregation, in Paramaribo, as these developed historically, and their correlation to the changing socioeconomic position of the various ethnic groups. Authors first point out how Paramaribo is at present one of the most multiethnic and multicultural cities of the Caribbean, and discuss the continuing importance of ethnic identity and boundaries. They further describe the history of Paramaribo's development since the period of slavery and after abolition, when many Creoles migrated to the city. Hindustani started migrating in higher numbers to Paramaribo since the early 20th c., mainly to the urban periphery, and since the 1960s also more Javanese. More recently (since the 1980s) migrants to Paramaribo include Maroons, Amerindians, Chinese, and Brazilians. Authors examine in how far the residential patterns were determined by socioeconomic factors, and/or by ethnicity. They conclude that socioeconomic factors have overall become more influential in residential patterns than ethnicity. They point out that residential ethnic mixing has increased, as almost half of Paramaribo's neighbourhoods are mixed, with no dominant ethnic group, although some ethnic concentration continues, as a quarter of the neighbourhoods can be called Creole, one-fifth of them Hindustani, and Creoles (and Maroons) reside for a higher percentage in the city centre, and Hindustani and Javanese more in the urban periphery.
[First paragraph]Caribbean Art. VEERLE POUPEYE. London: Thames and Hudson, 1998. 224 pp. (Paper US$ 14.95)Transforming the Crown: African, Asian and Caribbean Artists in Britain, 1966-1996. MORA J. BEAUCHAMP-BYRD & M. FRANKLIN SIRMANS (eds.). New York: Caribbean Cultural Center, 1998. 177 pp. (Paper US$ 39.95,£31.95)"Caribbean" (like "Black British") culture is (as a Dutch colleague once said of postmodernism) a bit of a slippery fish. One of the books under review here presents the eclectic artistic productions of professional artists with Caribbean identities of varying sorts - some of them lifelong residents of the region (defined broadly to stretch from Belize and the Bahamas to Curacao and Cayenne), some born in the Caribbean but living elsewhere, and others from far-away parts of the world who have lingered or settled in the Caribbean. The other focuses on artists who trace their cultural heritage variously to Lebanon, France, Malaysia, Spain, China, England, Guyana, India, the Caribbean, the Netherlands, the Philippines, and the whole range of societies in West, East, and Central Africa, all of whom meet under a single ethnic label in galleries in New York and London. Clearly, the principles that vertebrate Caribbean Art and Transforming the Crown are built on the backs of ambiguities, misperceptions, ironies, and ethnocentric logics (not to mention their stronger variants, such as racism). Yet far from invalidating the enterprise, they offer an enlightening inroad to the social, cultural, economic, and political workings of artworlds that reflect globally orchestrated pasts of enormous complexity.