Gilvarry reels us into what at first seems like an absurdist, post-modern satire on the endless “war on terror.”
Between the lines of Carlos Villa's artwork is a
Filipino American history of migrants, empire, and selfhood -- but only if you look closely.
The Buddha in the Attic does far more than recover Japanese American history; it gestures toward a broader critique of US national culture.
In June 2002, Schenectady’s mayor set out to recruit Indo-Guyanese immigrants from Queens to his rust-belt city three hours North. What did it mean for city officials to be actively “looking for a new ethnic group”?
Maxine Hong Kingston’s latest memoir, I Love a Broad Margin to My Life, attempts to deconstruct the memoir form by playing on the central tension between preservation and erasure.