The follow-up to the number one bestseller, I Wrote This For You: simply The Words provides two times the variety of entries with over four hundred works from the the world over acclaimed poetry and images undertaking; together with numerous new and not ahead of visible poems. whereas focussing at the phrases from the venture, new images launches each one part which painting everyone's trip in the course of the global: Love stumbled on, Being In Love, Love misplaced, wish, melancholy, dwelling and loss of life.
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Extra resources for I Wrote This For You: Just the Words
But such a theory also partially depends, as critics have pointed out, on a conceptualization of discursive "regularities" or regularity in dispersion (by which Foucault does not dismiss incompatible or differential elements in formation processes but suggests their predictable modes of operation), as well as on a belief in the inescapable complicity between power and knowledge within the Western system of cultural production. 27 Despite its best insights, I would therefore argue, Foucault's concept of discourse reversal does not—and does not aim to—give an adequate account of the results of hegemonic encounters between Asian American and Western nationalist projects in cross-cultural and cross-linguistic situations.
John Okada, No-No Boy The changing reception of John Okada's 1957 novel No-No Boy raises important questions about the nature of its production in the Eisenhower era, of its survivability into the 1970s as a cultural agent of resistance, and of its ongoing relevance to contemporary Asian American cultural criticism. The cultural politics of No-No Boy therefore provides an initial case study of how the theorized process of negotiation which I discussed in Chapter 1 is enacted by an Asian American literary text.
For historical transitions are always ambiguous, protracted, and unpredictable, constantly throwing up obstacles to development and frequently demanding recontextualization of current problematics in light of the past and reexamination of the past in relation to its residual forms in the present. But recognizing the entangled, nonlinear, and multidimensional nature of historical development, as I have emphasized throughout this chapter, should not lead to a diminished sense of history or to giving up thinking progressively altogether.