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Course Design as Critical Creativity: Intersectional, Regional, and Demographic Approaches to Teaching Asian American Literatures
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Course Design as Critical Creativity: Intersectional, Regional, and Demographic Approaches to Teaching Asian American Literatures
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Journal Article
Course Design as Critical Creativity: Intersectional, Regional, and Demographic Approaches to Teaching Asian American Literatures
2023
Overview
[...]even as I imagine an Asian American student as an enrollee and audience (yes, Asian Americans exist in the middle of the country!), I design the course with non-Asian American and mostly white students in mind. A young adult (YA) graphic novel focused on LGBTQ+ (lesbian, gay, bisexual, transgender, queer, and related identities) youth suicide prevention (Flamer by Mike Curato) or a poetry collection about mothering, the physical environment, and animals (Oceanic by Aimee Nezhukumatathil), while authored by and featuring Asian Americans, may not readily prompt readers to categorize such texts as Asian American literature because they do not foreground race; however, such deviance from what should constitute \"Asian American\" is exactly what enables us to render Asian American subjectivity complexly Describing my curatorial practice as \"queer\" emphasizes the performative sense of \"queer,\" as \"a doing\" (rather than as \"a being\") oriented to nonnormative sensibilities, rather than simply an identity position. [...]because dominant cultural representations of Asian America are often flat and stereotypical, realist depictions of Asian American life in all their complexity as well as their mundaneness by Asian American writers can serve as a powerful antidote for readers, especially those of Asian descent who rarely get to see themselves justly represented.4 To interrupt the impulse to read and interpret Asian American literatures as purely sociohistorical truths, I teach a variety of genres (short story, novel, drama, poetry, memoir, graphic novel, YA novel) and multiple texts from the same ethnic group, refrain from over-contextualizing social history, and focus on literary interpretation. Butler concedes that \"critique is always a critique i/some instituted practice, discourse, episteme, institution, and it loses its character the moment in which it is abstracted from its operation and made to stand alone as a purely generalizable practice,\" thus emphasizing the contingent and relational nature of critique (212; original emphasis).5 They go on to emphasize that critique for Foucault ultimately is about self-fashioning, wherein a \"subject is both crafted and crafting\" in a field of power (225).
