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Full Description
How do English-speaking novelists and filmmakers tell stories of China from a Chinese perspective? How do they keep up appearances of pseudo-Sino immanence while ventriloquizing solely in the English language? Anglo writers and their readers join in this century-old game of impersonating and dubbing Chinese. Throughout this wish fulfillment, writers lean on grammatical and conceptual frameworks of their mother tongue to represent an alien land and its yellowface aliens. Off-white or yellow-ish characters and their foreign-sounding speech are thus performed in Anglo-American fiction and visual culture; both yellowface and Chinglish are of, for, by the (white) people.
Off-White interrogates seminal Anglo-American fiction and film on off-white bodies and voices. It commences with one Nobel laureate, Pearl Buck, and ends with another, Kazuo Ishiguro, almost a century later. The trajectory in between illustrates that the detective and mystery genres continue unabated their stock yellowface characters, who exude a magnetic field so powerful as to pull in Japanese anime. This universal drive to fashion a foil is ingrained in any will to power, so much so that even millennial China creates an "off-yellow," darker-hued Orient in Huallywood films to silhouette its global ascent.
Contents
List of Figures
Acknowledgments
Introduction
1. Pearl and Jade and Yellowface and Chinglish
2. Stereograph-cum-Stereotype: Maugham's and Kingston's Chinas
3. Chink in Our Holmes: Oriental Sesame and Anglo-American Detective
4. Dr. Fu-Judge Dee: Serial Yellowface of, for, by the White People
5. Ghost in the White Shell
6. What's UP, Sam Wah?: Whitewashing Chinese Laundrymen
7. Morphing Bingxue: Alchemical Poetics in Taoist Monkey and Nordic Beowulf CGI
8. China's Orient in Fan de Siècle Culture
9. An MSU-within-MSU: Mandarin-Speaking Undergraduates Writing "Chinglish"
10. Ishiguro's White Dolls
Coda: That's Rich!: Asian Americans Author(iz)ing Crazy Rich Asians
Notes
Works Cited
Index
