Bøger af Marilyn Chin

In her galvanizing sixth collection of poems, Marilyn Chin once again turns moral outrage into unforgettable art. A rambunctious take on our contemporary condition, Sage shifts skillfully in tone and register from powerful poems on social justice and the pandemic to Daoist wild girl satire.A self-described "activist-subversive-radical-immigrant-feminist-transnational-Buddhist-neoclassical-nerd poet," Chin is always reinventing herself. In Sage, she sings fearless identity anthems, pulls farcical details from an old diary, and confronts the disturbing rise in violence against Asian Americans. Leaping between colloquialisms and vivid imagery, anger and humor, she merges the personal and political with singular, resilient spirit.Whether she is spinning tall tales, mixing Chinese poems with hip-hop rhymes, reinventing lovelorn folk songs with a new-world anxiety, or penning a raucous birthday poem, a heartrending elegy, or an "un-gratitude" prayer, Chin offers dazzling surprises at every turn.

An uproarious debut that lays bare the complicated generational relationships of Chinese American women.

Spanning thirty years of dazzling work-from luminous early love lyrics to often-anthologized Asian American identity anthems, from political and subversive hybrid forms to feminist manifestos-A Portrait of the Self as Nation is a selection from one of America's most original and vital voices. Marilyn Chin's passionate, polyphonic poetry travels freely from the personal to the mythic, from the political to the spiritual. Deeply engaged with the complexities of cultural assimilation, feminism, and the Asian American experience, she spins precise, beautiful metaphors as she illuminates hard-hitting truths.A Portrait of the Self as Nation celebrates Chin's innovative activist poetry: her fearless and often confrontational early collections, Dwarf Bamboo and The Phoenix Gone, the Terrace Empty; the rebellious, vivid language of Rhapsody in Plain Yellow; and the erotic elegies of Hard Love Province. Also included are excerpts from Chin's daring novel, Revenge of the Mooncake Vixen, and a vibrant chapter of new poems and translations.In poems that are direct and passionately charged, Marilyn Chin raises her voice against systems of oppression even as her language shines with devastating power and beauty. Image after image, line by line, Chin's masterfully reinvented quatrains, sonnets, allegories, and elegies are unforgettable.

Since Milkweed Editions’ original publication of The Phoenix Gone, the Terrace Empty, Marilyn Chin has been widely celebrated as a consummate poet of the hybrid experience. At once ancient and contemporary, personal and political, grounded and yet uniquely dazzling, this extraordinary collection blends Asian and Western sensibilities in a pioneering way.Here, with wit and energy, Chin defines her existence as a first-generation Asian American woman, effectively straddling two cultures. And she spins virtuoso jazz in her juxtaposition of the contemporary with images and metaphors from Chinese tales and classic poems, creating an expansive poetry of self.Featuring an afterword by the author addressing the collection’s effect and the developments in her work since, this edition reintroduces a modern classic to a new generation of readers.

Moonie and Mei Ling are looked after by their grandmother, an indomitable matriarch, ruthless manager of 'The Double Happiness' restaurant and fount of endless titbits of Chinese mythology. Feared and renowned in the neighbourhood - and stubbornly attached to the giant meat cleaver she keeps in her handbag - eccentric Grandma Wong weaves a magical world of surreal stories and ancient wisdom around her two wayward granddaughters. However, the girls' lives are also being drawn forward by the inexorable pace of assimilation and the ever-beckoning American dream, and as fascinated as they might be by Buddhist philosophy, they are also cool, hip American girls with straight-A grades and scores to settle - with the neighbourhood boys who tease them and with the unforgiving media, which tells them that they should look like Barbie dolls and not like Chinese girls.

A fusion of east and west, high culture, popular culture, and ancient Chinese history mark this distinguished collection.