Introducing Asian Women’s Voices into the U.S.: Changes in Chinese and Japanese Women’s Anthologies in English Translation
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The paper engages with several sets of questions regarding the representation of Asian women in the U.S. Recognizing that images of monolithically rendered Asian women are quite prevalent in both cultural and academic sites of the U.S., I turn to possible alternative stories of Asian women in translation as potential tools that disrupt the enduring stereotypes of Asian women. Briefly reviewing Chinese and Japanese women’s literature in English anthologies published in the past three decades or so, the paper considers how the marker, Asian women as a term referring to Asian women located in Asia has been translated and consumed in the U.S. site. Then, the paper attempts a closer reading of two specific anthologies, Red is Not the Only Color, a collection of stories by Chinese female writers and Inside and Other Short Fiction by Japanese women writers. Without overlooking the problem involved in the term “alternative” or “new” used to introduce divergent voices of heterogeneous Asian women, the paper calls the attention to the importance of active critical interventions on the part of various scholars and translators involved in the field of cross cultural representation of Asia.
Abstract
The paper engages with several sets of questions regarding the representation of Asian women in the U.S. Recognizing that images of monolithically rendered Asian women are quite prevalent in both cultural and academic sites of the U.S., I turn to possible alternative stories of Asian women in translation as potential tools that disrupt the enduring stereotypes of Asian women. Briefly reviewing Chinese and Japanese women’s literature in English anthologies published in the past three decades or so, the paper considers how the marker, Asian women as a term referring to Asian women located in Asia has been translated and consumed in the U.S. site. Then, the paper attempts a closer reading of two specific anthologies, Red is Not the Only Color, a collection of stories by Chinese female writers and Inside and Other Short Fiction by Japanese women writers. Without overlooking the problem involved in the term “alternative” or “new” used to introduce divergent voices of heterogeneous Asian women, the paper calls the attention to the importance of active critical interventions on the part of various scholars and translators involved in the field of cross cultural representation of Asia.
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