Chinese Whispers examines multiple contact zones between the Anglophone and Sinophone worlds, investigating how poetry both enables and complicates the transpacific production of meaning.  In this new book, the noted critic and best-selling author Yunte Huang explores the dynamics of poetry and poetics in the age of globalization, particularly questions of translatability, universality, and risk in the transpacific context. “Chinese whispers” refers to an American children’s game dating to the years of the Cold War, a period in which everything Chinese, or even Chinese sounding, was suspect. Taking up various manifestations of the phrase in the twentieth and twenty-first centuries, Huang investigates how poetry, always to a significant degree untranslatable, complicates the transpacific production of meanings and values.The book opens with the efforts of I. A. Richards, arguably the founder of Anglo-American academic literary criticism, to promote Basic English in China in the early twentieth century. It culminates by resituating Ernest Fenollosa’s famous essay “The Chinese Written Character as a Medium for Poetry,” exploring the ways in which Chinese has historically enriched but also entrapped the Western conception of language.

Chinese Whispers examines multiple contact zones between the Anglophone and Sinophone worlds, investigating how poetry both enables and complicates the transpacific production of meaning.  In this new book, the noted critic and best-selling author Yunte Huang explores the dynamics of poetry and poetics in the age of globalization, particularly questions of translatability, universality, and risk in the transpacific context. “Chinese whispers” refers to an American children’s game dating to the years of the Cold War, a period in which everything Chinese, or even Chinese sounding, was suspect. Taking up various manifestations of the phrase in the twentieth and twenty-first centuries, Huang investigates how poetry, always to a significant degree untranslatable, complicates the transpacific production of meanings and values.The book opens with the efforts of I. A. Richards, arguably the founder of Anglo-American academic literary criticism, to promote Basic English in China in the early twentieth century. It culminates by resituating Ernest Fenollosa’s famous essay “The Chinese Written Character as a Medium for Poetry,” exploring the ways in which Chinese has historically enriched but also entrapped the Western conception of language.

Chinese Whispers examines multiple contact zones between the Anglophone and Sinophone worlds, investigating how poetry both enables and complicates the transpacific production of meaning.   In this new book, the noted critic and best-selling author Yunte Huang explores the dynamics of poetry and poetics in the age of globalization, particularly questions of translatability, universality, and risk in the transpacific context. “Chinese whispers” refers to an American children’s game dating to the years of the Cold War, a period in which everything Chinese, or even Chinese sounding, was suspect. Taking up various manifestations of the phrase in the twentieth and twenty-first centuries, Huang investigates how poetry, always to a significant degree untranslatable, complicates the transpacific production of meanings and values. The book opens with the efforts of I. A. Richards, arguably the founder of Anglo-American academic literary criticism, to promote Basic English in China in the early twentieth century. It culminates by resituating Ernest Fenollosa’s famous essay “The Chinese Written Character as a Medium for Poetry,” exploring the ways in which Chinese has historically enriched but also entrapped the Western conception of language.

Hailed as “irrepressibly spirited and entertaining” (Pico Iyer, Time) and “a fascinating cultural survey” (Paul Devlin, Daily Beast), this provocative first biography of Charlie Chan presents American history in a way that it has never been told before. Yunte Huang ingeniously traces Charlie Chan from his real beginnings as a bullwhip-wielding detective in territorial Hawaii to his reinvention as a literary sleuth and Hollywood film icon. Huang finally resurrects the “honorable detective” from the graveyard of detested postmodern symbols and reclaims him as the embodiment of America’s rich cultural diversity. The result is one of the most critically acclaimed books of the year and a “deeply personal . . . voyage into racial stereotyping and the humanizing force of story telling” (Donna Seaman, Los Angeles Times).

This revelatory volume brings together significant works in translations from nearly fifty Chinese writers. It includes poems, essays, fiction, songs and speeches written in an astonishing array of moods and styles, from sublime lyricism to witty surrealism, poignant documentary to the ironic, the absurd, the transgressive and the defiant.Yunte Huang provides essential context in an opening essay and in headnotes, timelines and brief introductions to the Republican, Revolutionary and Post-Mao eras. Both personal and authoritative, his selections make for a joyously informative read. From belles lettres to literary propaganda, from poetic revolution to pulp fiction, The Big Red Book is an eye-opening portrait of China in the tumultuous twentieth century.

Yunte Huang takes a most original "ethnographic" approach to more and less well-known American texts as he traces what he calls the transpacific displacement of cultural meanings through twentieth-century America's imaging of Asia. Informed by the politics of linguistic appropriation and disappropriation, Transpacific Displacement opens with a radically new reading of Imagism through the work of Ezra Pound and Amy Lowell. Huang relates Imagism to earlier linguistic ethnographies of Asia and to racist representations of Asians in American pop culture, such as the book and movie character Charlie Chan, then shows that Asian American writers subject both literary Orientalism and racial stereotyping to double ventriloquism and countermockery. Going on to offer a provocative critique of some textually and culturally homogenizing tendencies exemplified in Maxine Hong Kingston's work and its reception, Huang ends with a study of American translations of contemporary Chinese poetry, which he views as new ethnographies that maintain linguistic and cultural boundaries.

Yunte Huang takes a most original "ethnographic" approach to more and less well-known American texts as he traces what he calls the transpacific displacement of cultural meanings through twentieth-century America''s imaging of Asia.Informed by the politics of linguistic appropriation and disappropriation, Transpacific Displacement opens with a radically new reading of Imagism through the work of Ezra Pound and Amy Lowell. Huang relates Imagism to earlier linguistic ethnographies of Asia and to racist representations of Asians in American pop culture, such as the book and movie character Charlie Chan, then shows that Asian American writers subject both literary Orientalism and racial stereotyping to double ventriloquism and countermockery. Going on to offer a provocative critique of some textually and culturally homogenizing tendencies exemplified in Maxine Hong Kingston''s work and its reception, Huang ends with a study of American translations of contemporary Chinese poetry, which he views as new ethnographies that maintain linguistic and cultural boundaries.

Transpacific Imaginations is a study of how American literature is enmeshed with the literatures of Asia. The book begins with Western encounters with the Pacific: Yunte Huang reads Moby Dick as a Pacific work, looks at Henry Adams’s not talking about his travels in Japan and the Pacific basin in his autobiography, and compares Mark Twain to Liang Qichao. Huang then turns to Asian American encounters with the Pacific, concentrating on the "Angel Island" poems and on works by Theresa Hak Kyung Cha, Lawson Fusao Inada, and Araki Yasusada.Huang’s argument that the Pacific forms American literature more than is generally acknowledged is a major contribution to our understanding of literary history. The book is in dialogue with cross-cultural studies of the Pacific and with contemporary innovative poetics. Huang has found a vehicle to join Asians and Westerners at the deepest level, and that vehicle is poetry. Poets can best imagine an ethical ground upon which different people join hands. Huang asks us to contribute to this effort by understanding the poets and writers already in the process of linking diverse peoples.

Twins Chang and Eng Bunker (1811-1874), conjoined at the sternum by a band of cartilage and a fused liver, were “discovered” in Siam by a British merchant in 1824. Yunte Huang depicts the twins, arriving in Boston in 1829, first as museum exhibits but later as financially savvy showmen.Their rise from freak-show celebrities to rich southern gentry; their marriage to two white sisters, resulting in twenty-one children; and their owning of slaves is here not just another sensational biography but an excavation of America’s historical penchant for finding feast in the abnormal, for tyrannising the “other”—a tradition that, as Huang reveals, becomes inseparable from American history itself.

Born into the steam and starch of a Chinese laundry, Anna May Wong (1905–1961) emerged from turn-of-the-century Los Angeles to become Old Hollywood’s most famous Chinese American actress, a screen siren who captivated global audiences and signed her publicity photos—with a touch of defiance—“Orientally yours.” Now, more than a century after her birth, Yunte Huang narrates Wong’s tragic life story, retracing her journey from Chinatown to silent-era Hollywood, and from Weimar Berlin to decadent, prewar Shanghai, and capturing American television in its infancy. As Huang shows, Wong’s rendezvous with history features a remarkable parade of characters, including a smitten Walter Benjamin and (an equally smitten) Marlene Dietrich. Challenging the parodically racist perceptions of Wong as a “Dragon Lady”, “Madame Butterfly” or “China Doll”, Huang’s biography becomes a truly resonant work of history that reflects the raging anti-Chinese xenophobia, unabashed sexism and ageism toward women that defined both Hollywood and America in Wong’s all-too-brief fifty-six years on earth.

Twins Chang and Eng Bunker (1811-1874), conjoined at the sternum by a band of cartilage and a fused liver, were “discovered” in Siam by a British merchant in 1824. Yunte Huang depicts the twins, arriving in Boston in 1829, first as museum exhibits but later as financially savvy showmen.Their rise from freak-show celebrities to rich southern gentry; their marriage to two white sisters, resulting in twenty-one children; and their owning of slaves is here not just another sensational biography but an excavation of America’s historical penchant for finding feast in the abnormal, for tyrannizing the “other”—a tradition that, as Huang reveals, becomes inseparable from American history itself.

Born into the steam and starch of a Chinese laundry, Anna May Wong (1905–1961) emerged from turn-of-the-century Los Angeles to become Old Hollywood’s most famous Chinese American actress, a screen siren who captivated global audiences and signed her publicity photos—with a touch of defiance—“Orientally yours”. Now, more than a century after her birth, Yunte Huang narrates Wong’s tragic life story, retracing her journey from Chinatown to silent-era Hollywood and from Weimar Berlin to decadent, prewar Shanghai capturing American television in its infancy. As Huang shows, Wong’s rendezvous with history features a remarkable parade of characters, including a smitten Walter Benjamin and (an equally smitten) Marlene Dietrich. Challenging the parodically racist perceptions of Wong as a “Dragon Lady”, “Madame Butterfly” or “China Doll”, Huang’s biography becomes a truly resonant work of history that reflects the raging anti-Chinese xenophobia, unabashed sexism and ageism towards women that defined both Hollywood and America in Wong’s all-too-brief fifty-six years on earth.

Chinese Whispers examines multiple contact zones between the Anglophone and Sinophone worlds, investigating how poetry both enables and complicates the transpacific production of meaning.  In this new book, the noted critic and best-selling author Yunte Huang explores the dynamics of poetry and poetics in the age of globalization, particularly questions of translatability, universality, and risk in the transpacific context. “Chinese whispers” refers to an American children’s game dating to the years of the Cold War, a period in which everything Chinese, or even Chinese sounding, was suspect. Taking up various manifestations of the phrase in the twentieth and twenty-first centuries, Huang investigates how poetry, always to a significant degree untranslatable, complicates the transpacific production of meanings and values.The book opens with the efforts of I. A. Richards, arguably the founder of Anglo-American academic literary criticism, to promote Basic English in China in the early twentieth century. It culminates by resituating Ernest Fenollosa’s famous essay “The Chinese Written Character as a Medium for Poetry,” exploring the ways in which Chinese has historically enriched but also entrapped the Western conception of language.

Chinese Whispers examines multiple contact zones between the Anglophone and Sinophone worlds, investigating how poetry both enables and complicates the transpacific production of meaning.  In this new book, the noted critic and best-selling author Yunte Huang explores the dynamics of poetry and poetics in the age of globalization, particularly questions of translatability, universality, and risk in the transpacific context. “Chinese whispers” refers to an American children’s game dating to the years of the Cold War, a period in which everything Chinese, or even Chinese sounding, was suspect. Taking up various manifestations of the phrase in the twentieth and twenty-first centuries, Huang investigates how poetry, always to a significant degree untranslatable, complicates the transpacific production of meanings and values.The book opens with the efforts of I. A. Richards, arguably the founder of Anglo-American academic literary criticism, to promote Basic English in China in the early twentieth century. It culminates by resituating Ernest Fenollosa’s famous essay “The Chinese Written Character as a Medium for Poetry,” exploring the ways in which Chinese has historically enriched but also entrapped the Western conception of language.

Chinese Whispers examines multiple contact zones between the Anglophone and Sinophone worlds, investigating how poetry both enables and complicates the transpacific production of meaning.   In this new book, the noted critic and best-selling author Yunte Huang explores the dynamics of poetry and poetics in the age of globalization, particularly questions of translatability, universality, and risk in the transpacific context. “Chinese whispers” refers to an American children’s game dating to the years of the Cold War, a period in which everything Chinese, or even Chinese sounding, was suspect. Taking up various manifestations of the phrase in the twentieth and twenty-first centuries, Huang investigates how poetry, always to a significant degree untranslatable, complicates the transpacific production of meanings and values. The book opens with the efforts of I. A. Richards, arguably the founder of Anglo-American academic literary criticism, to promote Basic English in China in the early twentieth century. It culminates by resituating Ernest Fenollosa’s famous essay “The Chinese Written Character as a Medium for Poetry,” exploring the ways in which Chinese has historically enriched but also entrapped the Western conception of language.

Hailed as “irrepressibly spirited and entertaining” (Pico Iyer, Time) and “a fascinating cultural survey” (Paul Devlin, Daily Beast), this provocative first biography of Charlie Chan presents American history in a way that it has never been told before. Yunte Huang ingeniously traces Charlie Chan from his real beginnings as a bullwhip-wielding detective in territorial Hawaii to his reinvention as a literary sleuth and Hollywood film icon. Huang finally resurrects the “honorable detective” from the graveyard of detested postmodern symbols and reclaims him as the embodiment of America’s rich cultural diversity. The result is one of the most critically acclaimed books of the year and a “deeply personal . . . voyage into racial stereotyping and the humanizing force of story telling” (Donna Seaman, Los Angeles Times).

This revelatory volume brings together significant works in translations from nearly fifty Chinese writers. It includes poems, essays, fiction, songs and speeches written in an astonishing array of moods and styles, from sublime lyricism to witty surrealism, poignant documentary to the ironic, the absurd, the transgressive and the defiant.Yunte Huang provides essential context in an opening essay and in headnotes, timelines and brief introductions to the Republican, Revolutionary and Post-Mao eras. Both personal and authoritative, his selections make for a joyously informative read. From belles lettres to literary propaganda, from poetic revolution to pulp fiction, The Big Red Book is an eye-opening portrait of China in the tumultuous twentieth century.

Yunte Huang takes a most original "ethnographic" approach to more and less well-known American texts as he traces what he calls the transpacific displacement of cultural meanings through twentieth-century America's imaging of Asia. Informed by the politics of linguistic appropriation and disappropriation, Transpacific Displacement opens with a radically new reading of Imagism through the work of Ezra Pound and Amy Lowell. Huang relates Imagism to earlier linguistic ethnographies of Asia and to racist representations of Asians in American pop culture, such as the book and movie character Charlie Chan, then shows that Asian American writers subject both literary Orientalism and racial stereotyping to double ventriloquism and countermockery. Going on to offer a provocative critique of some textually and culturally homogenizing tendencies exemplified in Maxine Hong Kingston's work and its reception, Huang ends with a study of American translations of contemporary Chinese poetry, which he views as new ethnographies that maintain linguistic and cultural boundaries.

Yunte Huang takes a most original "ethnographic" approach to more and less well-known American texts as he traces what he calls the transpacific displacement of cultural meanings through twentieth-century America''s imaging of Asia.Informed by the politics of linguistic appropriation and disappropriation, Transpacific Displacement opens with a radically new reading of Imagism through the work of Ezra Pound and Amy Lowell. Huang relates Imagism to earlier linguistic ethnographies of Asia and to racist representations of Asians in American pop culture, such as the book and movie character Charlie Chan, then shows that Asian American writers subject both literary Orientalism and racial stereotyping to double ventriloquism and countermockery. Going on to offer a provocative critique of some textually and culturally homogenizing tendencies exemplified in Maxine Hong Kingston''s work and its reception, Huang ends with a study of American translations of contemporary Chinese poetry, which he views as new ethnographies that maintain linguistic and cultural boundaries.

Transpacific Imaginations is a study of how American literature is enmeshed with the literatures of Asia. The book begins with Western encounters with the Pacific: Yunte Huang reads Moby Dick as a Pacific work, looks at Henry Adams’s not talking about his travels in Japan and the Pacific basin in his autobiography, and compares Mark Twain to Liang Qichao. Huang then turns to Asian American encounters with the Pacific, concentrating on the "Angel Island" poems and on works by Theresa Hak Kyung Cha, Lawson Fusao Inada, and Araki Yasusada.Huang’s argument that the Pacific forms American literature more than is generally acknowledged is a major contribution to our understanding of literary history. The book is in dialogue with cross-cultural studies of the Pacific and with contemporary innovative poetics. Huang has found a vehicle to join Asians and Westerners at the deepest level, and that vehicle is poetry. Poets can best imagine an ethical ground upon which different people join hands. Huang asks us to contribute to this effort by understanding the poets and writers already in the process of linking diverse peoples.

Twins Chang and Eng Bunker (1811-1874), conjoined at the sternum by a band of cartilage and a fused liver, were “discovered” in Siam by a British merchant in 1824. Yunte Huang depicts the twins, arriving in Boston in 1829, first as museum exhibits but later as financially savvy showmen.Their rise from freak-show celebrities to rich southern gentry; their marriage to two white sisters, resulting in twenty-one children; and their owning of slaves is here not just another sensational biography but an excavation of America’s historical penchant for finding feast in the abnormal, for tyrannising the “other”—a tradition that, as Huang reveals, becomes inseparable from American history itself.

Born into the steam and starch of a Chinese laundry, Anna May Wong (1905–1961) emerged from turn-of-the-century Los Angeles to become Old Hollywood’s most famous Chinese American actress, a screen siren who captivated global audiences and signed her publicity photos—with a touch of defiance—“Orientally yours.” Now, more than a century after her birth, Yunte Huang narrates Wong’s tragic life story, retracing her journey from Chinatown to silent-era Hollywood, and from Weimar Berlin to decadent, prewar Shanghai, and capturing American television in its infancy. As Huang shows, Wong’s rendezvous with history features a remarkable parade of characters, including a smitten Walter Benjamin and (an equally smitten) Marlene Dietrich. Challenging the parodically racist perceptions of Wong as a “Dragon Lady”, “Madame Butterfly” or “China Doll”, Huang’s biography becomes a truly resonant work of history that reflects the raging anti-Chinese xenophobia, unabashed sexism and ageism toward women that defined both Hollywood and America in Wong’s all-too-brief fifty-six years on earth.

Twins Chang and Eng Bunker (1811-1874), conjoined at the sternum by a band of cartilage and a fused liver, were “discovered” in Siam by a British merchant in 1824. Yunte Huang depicts the twins, arriving in Boston in 1829, first as museum exhibits but later as financially savvy showmen.Their rise from freak-show celebrities to rich southern gentry; their marriage to two white sisters, resulting in twenty-one children; and their owning of slaves is here not just another sensational biography but an excavation of America’s historical penchant for finding feast in the abnormal, for tyrannizing the “other”—a tradition that, as Huang reveals, becomes inseparable from American history itself.

Born into the steam and starch of a Chinese laundry, Anna May Wong (1905–1961) emerged from turn-of-the-century Los Angeles to become Old Hollywood’s most famous Chinese American actress, a screen siren who captivated global audiences and signed her publicity photos—with a touch of defiance—“Orientally yours”. Now, more than a century after her birth, Yunte Huang narrates Wong’s tragic life story, retracing her journey from Chinatown to silent-era Hollywood and from Weimar Berlin to decadent, prewar Shanghai capturing American television in its infancy. As Huang shows, Wong’s rendezvous with history features a remarkable parade of characters, including a smitten Walter Benjamin and (an equally smitten) Marlene Dietrich. Challenging the parodically racist perceptions of Wong as a “Dragon Lady”, “Madame Butterfly” or “China Doll”, Huang’s biography becomes a truly resonant work of history that reflects the raging anti-Chinese xenophobia, unabashed sexism and ageism towards women that defined both Hollywood and America in Wong’s all-too-brief fifty-six years on earth.