Asian American Studies

From April to November 1975, the US military processed over 112,000 Vietnamese refugees on the unincorporated territory of Guam; from 1977 to 1979, the State of Israel granted asylum and citizenship to 366 non-Jewish Vietnamese refugees. Evyn Lê Espiritu Gandhi analyzes these two cases to theorize what she calls the refugee settler condition: the fraught positionality of refugee subjects whose resettlement in a settler colonial state is predicated on the unjust dispossession of an Indigenous population. This groundbreaking book explores two forms of critical geography: first, archipelagos of empire, examining how the Vietnam War is linked to the US military buildup in Guam and unwavering support of Israel, and second, corresponding archipelagos of trans-Indigenous resistance, tracing how Chamorro decolonization efforts and Palestinian liberation struggles are connected through the Vietnamese refugee figure. Considering distinct yet overlapping modalities of refugee and Indigenous displacement, Gandhi offers tools for imagining emergent forms of decolonial solidarity between refugee settlers and Indigenous peoples.   

In 1938, China City opened near downtown Los Angeles. Featuring a recreation of the House of Wang set from MGM's The Good Earth, this new Chinatown employed many of the same Chinese Americans who performed as background extras in the 1937 film. Chinatown and Hollywood represented the two primary sites where Chinese Americans performed racial difference for popular audiences during the Chinese exclusion era. In Performing Chinatown, historian William Gow argues that Chinese Americans in Los Angeles used these performances in Hollywood films and in Chinatown for tourists to shape widely held understandings of race and national belonging during this pivotal chapter in U.S. history. Performing Chinatown conceives of these racial representations as intimately connected to the restrictive immigration laws that limited Chinese entry into the U.S. beginning with the 1875 Page Act and continuing until the passage of the Immigration and Nationality Act of 1965. At the heart of this argument are the voices of everyday people including Chinese American movie extras, street performers, and merchants. Drawing on more than 40 oral history interviews as well as research in more than a dozen archival and family collections, this book retells the long-overlooked history of the ways that Los Angeles Chinatown shaped Hollywood and how Hollywood, in turn, shaped perceptions of Asian American identity.

Urban Chinatowns are dynamic, contested spaces that have persevered amid changes in the American cityscape. These neighborhoods are significant for many, from the residents and workers who rely on them for their livelihoods to the broader Chinese American community and political leaders who recognize their cultural heritage and economic value. In The Power of Chinatown, Laureen D. Hom provides a critical examination of the politics shaping the trajectory of development in Los Angeles Chinatown, one of the oldest urban Chinatowns in the United States. Working from ethnographic fieldwork, Hom chronicles how Chinese Americans continue to gravitate to this space--despite being a geographically dispersed community--and how they have both resisted and encouraged processes of gentrification and displacement. The Power of Chinatown bridges understandings of community, geography, political economy, and race to show the complexities and contradictions of building community power, illuminating how these place-based ethnic politics might give rise to a more expansive vision of Asian American belonging and a just city for all.