The entire section is 5, words. I wait for imminent death. Chin uses the "I" persona to illustrate the extent to which, for her, neither gender, ethnic, racial nor national identity is a fixed quantity. This tribalism was a common way of negotiating identity, especially valuable as an ethnographic signifier of resistance to an oppressive, well-armed, and thoroughly entrenched dominant culture.
But with a difference.
She shunts dynamically between these poles of identity that are imposed upon her in order to show that the complex "I" she envisions is "Not One, not two either," but is more associated with ambivalent spaces of possibility, as seen in the chasm referred to below: As poet, she teases the language in order to develop a dynamism that stands in opposition to the "mesmerized squatter" she portrays herself as in the poem.
Not One, not two either. Akin to the jungle.
Not only must their names and customs change to match that which is dubbed most "American," but they also enter into the beauty game by which all American women are measured against an archetype of beauty, the "blonde bombshell" Her treatment of Asian American identity in particular addresses national identification and the contradictions involved in being asked, on the one hand, to assimilate to mainstream American culture, while on the other, being made to feel irrevocably foreign.
On the other hand, a pot is a normal deep round pot used by people to cook stew, or soups. This word is usually associated with witches using cauldron to make potions. For Chin and Mura—although in different ways—conceiving identity is only possible by foregrounding its partialities, while for Yau every version of identity is radically contestable because of the unstable nature of the tools used to conceptualize it.
What images or connections does this word evoke? This "transliteration" marks the impossibility of identity for Chin. Like the jowls of a mighty white whale, or the jaws of a metaphysical Godzilla, it swallowed her whole.
Chin is also acutely aware of how historical contingencies intrude upon every version of identity. Marilyn Chin and Victoria M.
A third, the sad, brutish one may never, never marry. By extending these critiques to questions of national identification, colonization, and sexual exploitation, Chin builds upon the intersectionality that has characterized feminist theorizing by contemporary Asian American feminists such as Trinh T.
In dedicating her book Dwarf Bamboo to the Communist poet and revolutionary Ai Qing, Marilyn Chin reveals an affinity with the collectivist politics of the activist poets. The author of five poetry collections, she currently serves as a Chancellor of the Academy of American Poets.
The Selected Poems of Ai Qing. The author might be sarcastic of the traditional Chinese culture that caused Chinese people to do things following the tradition, and ended up dead like Uncle Wu, mentioned in stanza 2, line Chin the infamous, sister of a dozen, cousin of a million, survived by everbody and forgotten by all.
One way to avoid the continued marginalization of non-abstract modes of theorizing, Donald GoeUnicht argues, "is to read Asian American texts as theoretically informed and informing rather than as transparently referential human documents over which we place a grid of sophisticated Euro-American theory in order to extract meaning" More Poems by Marilyn Chin.
Millennium, Six Songs. By Marilyn Chin. Horse Horse Hyphen Hyphen. Twenty Five Haiku By Marilyn Chin About this Poet Poet Marilyn Chin was born in Hong Kong but grew up in Oregon, in the U.S.
Northwest. A noted anthologist, translator and educator as well as a poet and novelist, Chin’s work distills her.
Marilyn Chin - Poet - Marilyn Chin was born in Hong Kong and raised in Portland, Oregon. The author of five poetry collections, she currently serves as a Chancellor of the Academy of American Poets.
Marilyn Chin was born in Hong Kong and raised in Portland, Oregon. Evident in her poems, Chin successfully expresses important social issues. Growing up during the era of great sociopolitical change, Chin was deeply affected by activist poets like Adrienne Rich and continues to stress the importance of an activist voice in her work: “I don’t quite believe in art’s sake.
"'Being Without': Marilyn Chin's Poems as Feminist Acts of Theorizing"--An Essay by Adrienne McCormick M arilyn Chin's "I" poems do not merely reflect the rich and varied modes of Asian American feminist literary theory which predate her work, but are themselves acts of theorizing.
Poet Marilyn Chin was born in Hong Kong but grew up in Oregon, in the U.S. Northwest. She earned a BA from the University of Massachusetts and MFA from the Iowa Writers’ Workshop. A noted anthologist, translator and educator as well as a poet and novelist, Chin’s work distills her experiences as an Asian American and feminist.
Her poetry is noted for its direct and often confrontational. Marilyn Chin was born in Hong Kong and raised in Portland, Oregon. She received a BA from the University of Massachusetts and an MFA from the University of Iowa. The Norton Introduction to Poetry, The Oxford Anthology of Modern American Poetry, Unsettling America, The Open Boat, How I Got That Name.
Marilyn Chin. an essay on assimilation.Download