TIMOTHY YU t the start of the twenty-first century, Asian American poetry finds itself in a curious position. From one perspective, it is a mature and well-established literature that has produced several generations' worth of major writers since the 1970s, from Lawson Fusao Inada to Li-Young Lee, from Janice Mirikitani to Myung Mi Kim. Over the past two decades, Asian American poets have been widely anthologized, published by small and mainstream presses alike, and recognized with major awards. Younger Asian American writers continue to thrive, form new communities, and push the boundaries set by their predecessors. But from another perspective, Asian American poetry continues to be marginal. Even among readers and critics of Asian American literature, poetry still receives far less attention than novels or prose memoirs. The first book-length studies of the field are only now beginning to be published. Journals, presses, and institutions devoted to Asian American poetry--with a few notable exceptions--have been ephemeral. Even as the ranks of Asian American poets become more numerous and more diverse, there seems to be increasingly less agreement about what the category of "Asian American poetry" might mean (any poetry by an Asian American? poetry with recognizably Asian American
Contemporary Literature – University of Wisconsin Press
Published: Apr 13, 2011
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