In discussing the legacy and impact of Le Ly Hayslip and the overall responsibility of Asian American authors in depicting Asian Americans in literature, specific ideas about gender and sexuality frame such discussions. On one side specifically among Asian American women, there is great criticism against the backlash and condemnation that was levelled against Le Ly Haislip’s When Heaven and Earth Changed Places and Lois-Ann Yamanaka’s Blu’s Hanging due to such attacks being sexist and patriarchal in nature. The opposing side would argue that such depictions within the narratives only serve to reaffirm negative stereotypes of Asian males as violent, misogynistic individuals. In such arguments, there is implicit power dynamics that impact the status and role of both Asian men and women. As a result, these narratives are
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In Chin and Kingston’s rivalry was a divide on whether to affirm Asian identity or not. This would be evident in Chin’s conscious effort in espousing Chinese mythology like the Romance of the Three Kingdoms (Major Problems 461). Through these actions, Chin sets out to solidify the heroes of Asian folklore to be on par with that of the European knight and American cowboy. In that respect, he feels angry for it because he feels alone in fighting for Asian pride within art (Major Problems 461). Interestingly, such tensions in the Asian American community are framed within traditional gender roles. Le Ly Hayslip is seen through her memoir and the film as a weak, feeble Asian women who is bossed around by mostly men to some individuals. In critiquing Hayslip and the veracity of her claims, there are underlying assumptions on Asian women being deceptive in their personal accounts. This is further compounded by some individuals criticizing Hayslip for not standing up against Oliver Stone in adapting her work (Lecture 4-29). As if she is to be blamed on the production of the
In Chin and Kingston’s rivalry was a divide on whether to affirm Asian identity or not. This would be evident in Chin’s conscious effort in espousing Chinese mythology like the Romance of the Three Kingdoms (Major Problems 461). Through these actions, Chin sets out to solidify the heroes of Asian folklore to be on par with that of the European knight and American cowboy. In that respect, he feels angry for it because he feels alone in fighting for Asian pride within art (Major Problems 461). Interestingly, such tensions in the Asian American community are framed within traditional gender roles. Le Ly Hayslip is seen through her memoir and the film as a weak, feeble Asian women who is bossed around by mostly men to some individuals. In critiquing Hayslip and the veracity of her claims, there are underlying assumptions on Asian women being deceptive in their personal accounts. This is further compounded by some individuals criticizing Hayslip for not standing up against Oliver Stone in adapting her work (Lecture 4-29). As if she is to be blamed on the production of the