아시안 아메리칸 트랜스그레시브 텍스트로서데이빗 구터슨의 『삼나무에 내리는 눈』 연구
Reading David Guterson’s Snow Falling on Cedars as an Asian American Transgressive Text
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My study explores the redefinition of Asian American literature by questioning how Asian American scholars have come to define Asian American literature and by taking on transgressive texts—texts in which the identity of the author does not correspond to the identity of the author does not correspond to the identity of the main protagonist or main characters of the work in question. According to Shelly Fisher Fishkin, transgressive texts are those “in which black writers create serious white protagonists, and white writers black ones.” Although Fishkin’s study concentrates on African American writers who depict whiteness, she acknowledges the theme of transgressive texts is applicable to other ethnic American literatures, such as Asian American. Currently the field of Asian American literature expands beyond the borders of the US nation-state, and the literary criticism of Asian American works increasingly focuses on nonracial issues that impact Asian American lives. If we agree that authenticity becomes a suspect category when evaluating the degree of Asian Americanness a work or a writer exhibits, what would the field look like if it included both non-Asian American authors writing about Asian American topics and Asian American writers expressing non-Asian American themed fiction? To address these questions, I’ll read Snow Falling on Cedars by US white male author David Guterson as an Asian American transgressive text. Actually, it is not cataloged in Asian American Literature. Some people questioned whether a white writer could write about Asians. One thing that distinguishes Guterson’s work from those of Monica Sone and John Okada is the elaborate attention he gives to the natural setting. Snow Falling on Cedars, although written by an author of non-Japanese ancestry, also portrays the experience of people of Japanese descent and their interaction with their “white” neighbours, internment camps during WWⅡ, and Alien Land Laws. In so doing, I’ll argue that including transgressive texts into the canon of Asian American literature allows us to envisage Asian American epistemology as a subjectless discourse that has come into being through various core of power.
Abstract
My study explores the redefinition of Asian American literature by questioning how Asian American scholars have come to define Asian American literature and by taking on transgressive texts—texts in which the identity of the author does not correspond to the identity of the author does not correspond to the identity of the main protagonist or main characters of the work in question. According to Shelly Fisher Fishkin, transgressive texts are those “in which black writers create serious white protagonists, and white writers black ones.” Although Fishkin’s study concentrates on African American writers who depict whiteness, she acknowledges the theme of transgressive texts is applicable to other ethnic American literatures, such as Asian American. Currently the field of Asian American literature expands beyond the borders of the US nation-state, and the literary criticism of Asian American works increasingly focuses on nonracial issues that impact Asian American lives. If we agree that authenticity becomes a suspect category when evaluating the degree of Asian Americanness a work or a writer exhibits, what would the field look like if it included both non-Asian American authors writing about Asian American topics and Asian American writers expressing non-Asian American themed fiction? To address these questions, I’ll read Snow Falling on Cedars by US white male author David Guterson as an Asian American transgressive text. Actually, it is not cataloged in Asian American Literature. Some people questioned whether a white writer could write about Asians. One thing that distinguishes Guterson’s work from those of Monica Sone and John Okada is the elaborate attention he gives to the natural setting. Snow Falling on Cedars, although written by an author of non-Japanese ancestry, also portrays the experience of people of Japanese descent and their interaction with their “white” neighbours, internment camps during WWⅡ, and Alien Land Laws. In so doing, I’ll argue that including transgressive texts into the canon of Asian American literature allows us to envisage Asian American epistemology as a subjectless discourse that has come into being through various core of power.
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