중국계 쿠바인의 이주 역사와 디아스포라 정체성: 크리스티나 가르시아의 『원숭이 사냥』
The History of Migration of a Chinese Cuban and Disapora Identity: Cristina García's Monkey Hunting
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Cristina García's Monkey Hunting examines the history of Chinese Cubans who went to Cuba as contract laborers in the late nineteen century. As the text portrays the experiences of Chinese transnational migrants and their encounters with European colonialists, Cuban natives and African slaves, it can be defined as an “Asian global narrative” which thematizes globalization and its ensuing phenomenon of cultural and racial hybridization. The family saga of Chen Pan, a Chinese Cuban, begins with his marriage to an African slave woman in Cuba, and spans four generations of his descendants and covers their serial migration to America, Vietnam, and Shanghai. Although their lives are intertwined with the historical and political turmoil of European colonialism, the Cuban Revolution, and the Vietnam War, García focuses upon the personal struggles of Asian and African diasporas and their descendants who must continually negotiate their racial and cultural identities. García recuperates the history of Chinese migrant laborers who not only participated in but also made significant contributions to the nation building project of Cuba. In doing so, she presents Chinese Cubans as Cuban national and historical subjects. Claiming that “traditional history obviates women and the evolution of home, family, and society,” she portrays women as historical subjects as they construct their subjectivities and create their home and family in spite of racial discrimination and ideological obstacles. García, in creating a fiction about a Chinese migrant laborer who marries an African slave woman and creates a family in Cuba, expands not only the category of Asian American literature but also that of African American literary studies.
Abstract
Cristina García's Monkey Hunting examines the history of Chinese Cubans who went to Cuba as contract laborers in the late nineteen century. As the text portrays the experiences of Chinese transnational migrants and their encounters with European colonialists, Cuban natives and African slaves, it can be defined as an “Asian global narrative” which thematizes globalization and its ensuing phenomenon of cultural and racial hybridization. The family saga of Chen Pan, a Chinese Cuban, begins with his marriage to an African slave woman in Cuba, and spans four generations of his descendants and covers their serial migration to America, Vietnam, and Shanghai. Although their lives are intertwined with the historical and political turmoil of European colonialism, the Cuban Revolution, and the Vietnam War, García focuses upon the personal struggles of Asian and African diasporas and their descendants who must continually negotiate their racial and cultural identities. García recuperates the history of Chinese migrant laborers who not only participated in but also made significant contributions to the nation building project of Cuba. In doing so, she presents Chinese Cubans as Cuban national and historical subjects. Claiming that “traditional history obviates women and the evolution of home, family, and society,” she portrays women as historical subjects as they construct their subjectivities and create their home and family in spite of racial discrimination and ideological obstacles. García, in creating a fiction about a Chinese migrant laborer who marries an African slave woman and creates a family in Cuba, expands not only the category of Asian American literature but also that of African American literary studies.
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