Walt Whitman called the Orient "The Past! the Past! the Past!" but East Asia was remarkably present for the United States in the twentieth century. Apparitions of Asia reads American literary expressions during a century of U.S.-East Asian alliances in which the Far East is imagined as both near and contemporary. Commercial and political bridges across the Pacific generated American literary fantasies of ethical and spiritual accord; Park examines American bards who capitalized on these ties and considers the price of such intimacies for Asian American poets. l l The book begins its literary history with the poetry of Ernest Fenollosa, who called for "The Future Union of East and West." From this prime instigator of the Gilded Age, Park newly considers the Orient of Ezra Pound, who turned to China to lay the groundwork for his poetics and ethics. Park argues that Pound's Orient was bound to his America, and she traces this American-East Asian nexus into the work of Gary Snyder, who found a native American spirituality in Zen. The second half of Apparitions of Asia considers the creation of Asian America against this backdrop of trans-pacific alliances. Park analyzes the burden of American Orientalism for Asian American poetry, and she argues that the innovations of Lawson Fusao Inada offer a critique of this literary past. Finally, she analyzes two Asian American poets, Theresa Hak Kyung Cha and Myung Mi Kim, who return to modernist forms in order to reveal a history of American interventions in East Asia.
Apparitions of Asia' traces a literary intimacy between the US and East Asia that spans the 20th century. Commercial and political bridges generated transpacific literary alliances, and Park analyses American bards who capitalised on these ties and interrogates the price of such intimacies in the work of Asian American poets
Cold War Friendships explores the plight of the Asian ally of the American wars in Korea and Vietnam. Enlisted into proxy warfare, this figure is not a friend but a "friendly," a wartime convenience enlisted to serve a superpower. It is through this deeply unequal relation, however, that the Cold War friendly secures her own integrity and insists upon her place in the neocolonial imperium. This study reads a set of highly enterprising wartime subjects who make their way to the US via difficult attachments. American forces ventured into newly postcolonial Korea and Vietnam, both plunged into civil wars, to draw the dividing line of the Cold War. The strange success of containment and militarization in Korea unraveled in Vietnam, but the friendly marks the significant continuity between these hot wars. In both cases, the friendly justified the fight: she was also a political necessity who redeployed cold war alliances, and, remarkably, made her way to America. As subjects in process--and indeed, proto-Americans--these figures are prime literary subjects, whose processes of becoming are on full display in Asian American novels and testimonies of these wars. Literary writings on both of these conflicts are presently burgeoning, and Cold War Friendships performs close analyses of key texts whose stylistic constraints and contradictions--shot through with political and historical nuance--present complex gestures of alliance.
Theresa Hak Kyung Cha in Black and White explores the relation between text, author, and reader – a nexus theorized as the 'apparatus' in Cha's study of cinema – by tracing two key literary intertexts in Dictée: Henry James's 'The Jolly Corner,' a submerged literary resonance in Apparatus, Cha's anthology of film theory, and the writing of Saint Thérèse of Lisieux, a primary intertext at the heart of Dictée. In Cha's film theory, black and white is the flicker of the cinematic apparatus, and the Elements readings consider this contrasting palette in self-reflexive portraits in black and white. This study reads flashes of identification, often in punishing self-encounters, and it dwells on the figure of the martyr to arrive at the death of Theresa Hak Kyung Cha, the patron saint of artists and scholars fascinated by her art and her suffering.
The amusement parks which first appeared in England at the turn of the twentieth century represent a startlingly novel and complex phenomenon, combining fantasy architecture, new technology, ersatz danger, spectacle and consumption in a new mass experience. Though drawing on a diverse range of existing leisure practices, the particular entertainment formula they offered marked a radical departure in terms of visual, experiential and cultural meanings. The huge, socially mixed crowds that flocked to the new parks did so purely in the pursuit of pleasure, which the amusement parks commodified in exhilarating new guises. Between 1906 and 1939, nearly 40 major amusement parks operated across Britain. By the outbreak of the Second World War, millions of people visited these sites each year. The amusement park had become a defining element in the architectural psychological pleasurescape of Britain. This book considers the relationship between popular modernity, pleasure and the amusement park landscape in Britain from 1900-1939. It argues that the amusement parks were understood as a new and distinct expression of modern times which redefined the concept of public pleasure for mass audiences. Focusing on three sites - Blackpool Pleasure Beach, Dreamland in Margate and Southend's Kursaal - the book contextualises their development with references to the wider amusement park world. The meanings of these sites are explored through a detailed examination of the spatial and architectural form taken by rides and other buildings. The rollercoaster - a defining symbol of the amusement park - is given particular focus, as is the extent to which discourses of class, gender and national identity were expressed through the design of these parks.
Josephine Peters, a revered northern California Indian elder and Native healer, shares her vast, lifelong cultural knowledge on personal and tribal history, gathering ethics and preparations, then offers a catalogue of the uses and doses of over 160 plants.
A preoccupied queen. An awkward king. It can't possibly be a good combination… or can it? Single mom Caroline Dunleavy is not having the easiest of times. Her job is unfulfilling (and the pay is not nearly good enough to compensate). Her dating life is nonexistent—while her ex-husband has found a vivacious new girlfriend. And her very smart, easily bored daughter Chloe is struggling at school. There is one promising new development, though: Chloe's newfound love of chess. Caroline has never played chess in her life, and doesn't feel smart enough to start. Which isn't going to stop her from bringing Chloe to Queen City Chess, the most happening chess spot in Charlotte, North Carolina. But stepping into the chess world, even as just a mom supporting her kid, means discovering big egos, obscure lingo, and international intrigue. And it also means meeting Queen City Chess's newest—and least sociable—coach, former super-grandmaster Mikhail "Misha" Kotenkov, who seems hard pressed to recognize a real world beyond the chessboard. Surely this man is not going to be the solution to any of Caroline's problems. Only then she has to deal with some new challenges, including the unearthing of long-buried family secrets. It turns out that she and Misha are more alike than either of them realized. And that sometimes love can show up in unexpected places—even in the midst of a major chess tournament…
In 1996 I celebrated a year of sobriety and began a journey of rebirth. That year I developed confidence in myself that previously I never experienced. I took my personal collection of notes, diaries, and tapes from my year in Vietnam and begin to organize them into a book. In 1997 I completed the manuscript and titled it One Heart One Mind: one man's memoir of a tour of Vietnam. The book not only dealt with my year in Vietnam but with the emotional cost of the war on my soul and psyche. With assistance from Jonathan Shay M.D., Ph.D., the author of Achilles in Vietnam (a book about combat trauma and the undoing of character), I tried unsuccessfully to get my book published. In 1998 I legally changed my name from John Joseph to Janice Josephine and my writing now included transgender issues. I felt that I had come to terms with my trauma from the Vietnam War, and I was ready to move on. In 1999-2000 I wrote and performed a play "I Was Always Me." The two-act play is a monologue of my transition from John to Janice. In the fall of 2000 I had my first article published in the Transgender Tapestry Magazine. In 2001 I was the subject of a documentary: "TransJan" produced and directed by Katherine Cronin. Its premiere at the Provincetown International Film Festival opened the door for me and after each screening; I conducted a Q&A about transgender issues. The latest screening of "TransJan" was in 2002, when it was selected to be one of the films for the Tampa Gay and Lesbian Film Festival. In 2001, in Boston, while performing readings of my poems and rants at Slams, I met the writer Toni Amato. Shortly after that meeting I begin attending Toni's creative writing workshops at Women's Words and later attended one of her weekend writer retreats. That year I presented "TransJan" and sat on panels at the Transcending Boundaries Conference at Yale University and at Speak Out, a conference at Bunker Hill Community College in Boston. My most challenging event that year was the L/B/T/Allies Strategy Summit in Vermont, sponsored by the National Organization for Women. In 2002 I continued to do workshops using creative writing as a means of getting people to open up about transgender issues. I also put together a course of study on transgender issues called "Transsexuals are Human Also." I conducted creative writing workshops at the Midwest L/G/B/T/Allies College Conference. Out of this conference came my transgender monologue,' and, as "My Vagina Monologue," I performed this at the St Petersburg Metropolitan Community Churcher's Talent Show, and it was published in the summer issue of the Transgender Tapestry Magazine. This year I have presented creative writing workshops at the International Foundation for Gender Education in Philadelphia, the New Hampshire Transgender Resources for Education and Empowerment at the University of New Hampshire in Durham, and at Silver Threads, a weekend retreat on St Pete Beach. I have put together a collection of my poems, rants and essays that are directly from a transwoman's heart called "Purple Hearts and Silver Stars." One of my short stories was published as part of Mary Boenke's Trans Forming Families, real stories about transgender loved ones. Later this year two short stories will published in anthologies, Pinned down by Pronouns (http://www.convictionbooks.com) and Trans-lating Faith, Pilgrim Press, 700 Prospect Ave., Cleveland, Ohio. I am an active member of a local group of women artists called "Women Artist Rising" with whom I share my poems, rants and stories at various WAR events (http://www.womenartistsrising.com). My new column "Perspectives from a Trans-woman" that started in a local newsletter is now in syndication.
Functional evidence obtained from somatic cell fusion studies indicated that a group of genes from normal cells might replace or correct a defective function of cancer cells. Tumorigenesis that could be initiated by two mutations was established by the analysis of hereditary retinoblastoma, which led to the eventual cloning of RB1 gene. The two-hit hypothesis helped isolate many tumor suppressor genes (TSG) since then. More recently, the roles of haploinsufficiency, epigenetic control, and gene dosage effects in some TSGs, such as P53, P16 and PTEN, have been studied extensively. It is now widely recognized that deregulation of growth control is one of the major hallmarks of cancer biological capabilities, and TSGs play critical roles in many cellular activities through signaling transduction networks. This book is an excellent review of current understanding of TSGs, and indicates that the accumulated TSG knowledge has opened a new frontier for cancer therapies.
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