Abstract:

While Asian American authors have certainly produced narratives of return to their or their predecessors' countries of origin, these narratives have, until recently, predominantly appeared in memoir and autobiography. Since the turn of the millennium there's been a significant uptick in the fictional portrayal of return. In stark contrast to the spiritual and filial returns in memoir, these fictional portrayals tend not to sentimentalize return. The protagonists who return more often follow economic or professional trajectories. In novels like Tao Lin's Taipei (2013), Ling Ma's Severance (2018), Han Ong's The Disinherited (2004), Ruth Ozeki's A Tale for the Time Being (2013), Brian Ascalon Roley's American Son (2001), and Lucy Tan's What We Were Promised (2018), return to Asia intensifies rather than vitiates material structures of alienation. What we find is that they tend to undermine an emerging Twenty-first century racial form that welds the Asian to neoliberal flexibility, even if they often forego critique. This article will describe contemporary Asian/American return fictions in contrast to earlier manifestations of the genre and explore their problematic relationship to categories like Asian American and Anglophone Asian fiction.

摘要：

虽然亚裔美国作家确实创作了关于返回他们或他们的前辈的原籍国的叙述，但直到最近，这些叙述主要出现在回忆录和自传中。自世纪之交以来，关于回归的虚构描述显着增加。与回忆录中的精神和孝道回报形成鲜明对比的是，这些虚构的描绘往往不会感伤回报。回归的主角往往遵循经济或职业轨迹。在陶林的《台北》 (2013)、马玲的《遣散》 (2018)、韩翁的《被剥夺的继承权》 (2004)、露丝·奥泽基的《暂时的故事》 (2013)、布莱恩·阿斯卡隆·罗利的《《美国之子》（2001）和陈露西的《我们的承诺》（2018），返回亚洲加剧而不是削弱了异化的物质结构。我们发现，他们往往会破坏二十一世纪新兴的种族形式，这种形式将亚洲人与新自由主义的灵活性结合在一起，即使他们经常放弃批评。本文将描述当代亚裔/美国回归小说，与该类型的早期表现进行对比，并探讨它们与亚裔美国人和英语亚洲小说等类别之间存在问题的关系。