The Cosmopolitan Intellectual in Younghill Kang’s East Goes West
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Younghill Kang’s autobiographical novel East Goes West (1937) depicts a set of intellectual, overly educated Korean expatriates displaced to 1920s America. Equipped with a vast amount of cultural capital－of knowledge of Western and Eastern literatures in particular－the central character Chungpa Han and his compatriots find that the “West” is not only a place of literary pursuits but of sharp economic marginalization. For Han and his fellow Korean exiles, their cultural capital is incompatible with their perceived status as “immigrants.” Kang’s narrative chronicles the tension between intellectual capital and economic disenfranchisement, of seeking literary fulfillment from a country whose residents find Han’s “Oriental” learnedness more of a curiosity than an accomplishment. East Goes West posits and then questions the possibility of a true cosmopolitan intellectual in a nation in which both the fictional Han and his creator, Kang, are marginalized on the basis of their race, circumstances in which their very literary expertise seems at least as much of an impediment as an asset.
Abstract
Younghill Kang’s autobiographical novel East Goes West (1937) depicts a set of intellectual, overly educated Korean expatriates displaced to 1920s America. Equipped with a vast amount of cultural capital－of knowledge of Western and Eastern literatures in particular－the central character Chungpa Han and his compatriots find that the “West” is not only a place of literary pursuits but of sharp economic marginalization. For Han and his fellow Korean exiles, their cultural capital is incompatible with their perceived status as “immigrants.” Kang’s narrative chronicles the tension between intellectual capital and economic disenfranchisement, of seeking literary fulfillment from a country whose residents find Han’s “Oriental” learnedness more of a curiosity than an accomplishment. East Goes West posits and then questions the possibility of a true cosmopolitan intellectual in a nation in which both the fictional Han and his creator, Kang, are marginalized on the basis of their race, circumstances in which their very literary expertise seems at least as much of an impediment as an asset.
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