This book was suppose to come out in print in 1941, but due to the attack on Pearl Harbor and anti-Japanese propaganda, it postponed its release until 1949. Toshio Mori is a master of storytelling. These collections of short stories should be with such classics as Hemingway and Saroyan. Yokohoma, California is both heart-felt and humorous. It is one of the best books on the Asian American experience.

Even though Sau-ling Cynthia Wong notes that "no other Asian-American writer since has been able to match Mori's community portraits for mellowness," his portraits of Japanese-American life just before World War II show the strain of a double identity at that time. (Even the title itself serves to illustrate the cultural binary.) Mori's prose is sparse, yet it is not cold. In all of the characters, from Sessue Matoi, the philosopher who "must be drunk and sober at the same time," to "the woman who makes swell donuts," there is a warmth and humanity throughout every story, even while the hints of the coming war begin to appear

My boyfriend (he's Chinese) saw my copies of Amy Tan and Maxine Hong Kingston books, he wasn't happy with my selections of these so-called Asian-American books, so he gave me the Big Aiiieeeee! I was surprised what Tan and Kingston have done (read Frank Chin's article...it's a blast!). I have to admit that I still like their (Tan and Kingston) books, but they don't represent Asian-Americans that's for sure. There are some Asian girls I know who are ashamed of being... well, Asians, so they go out with White guys (ever heard of that bimbo Margaret Cho?). I don't have a problem with that (with people going out with different races other than their own), but it seems that they're ashamed of their own heritage. They should get this book and read Sui Sin Far. Now, my favorite author! She writes about how a White woman falls in love with a Chinese man. And in spite of laws banning interracial marriage she was still not ashamed of him!

Since the publication of this book, it has been criticized for it's "machismo, misogynist" morale. Guess who these criticisms are coming from? White feminists (or those who support them). They cannot look beyond history and textual matter, instead they force and assume their principles and try (and unforunately, they succeeded) to make this a battle of Women's rights. I have read Chin's "Come All Ye Asian American Writers of the Real and of the Fake" and in nowhere is there any misogynistic dictum. Why? Because this isn't a matter of Women's views or MEN'S! It's about history and how it should be interpreted. People like Kingston, Hwang, and Tan want to deconstruct Asian American history. Feminists want to help Kingston's and Tan's deconstructive views by arbitrarily labeling Chin as a misogynist. If Chin or the editors of The Big Aiiieeeee! were misogynist why would they have women writers in this anthology? Just because there aren't that many women writers doesn't mean it's totally and utterly sexist. Could it be because there aren't that many authentic Asian American women writers?! If there are no authentic texts to Asia America, would it hurt to say that stereotypes (or whatever) are actually right?

...Amy Tan, David Henry Hwang, Maxine Hong Kingston, Gish Jen, or Jade Snow Wong (and then some!)? YOU BETTER READ THIS BOOK! These people have reinvented Asian literature that have sold out to the Christian (and for that matter Darwinian) white-racist-stereotypical form of Asian writing. You'll read it all in this book, and it is disturbing to say the least. The editors of THE BIG AIIIEEEEE! shows how these authors hate what is Chinese and invent a fake history that appease the white racist way.

It is sad that John Okada wrote only one novel in his life, but it gives me great joy just to mention this book to anyone. _No-No Boy_ is a novel that deals with the high emotions of those felt by Japanese Americans during the tumulous times of the second world war. It is a time when American citizens are incarcerated into "relocation centers" without any wrong doing except that their last names were Okada, Sone, and Ikeda. However, as John Okada traces the story of Kenji, a nisei who refused to answer yes to the loyalty questionaire, we do not feel any strong bitterness about the whole situation that could be all too common in such a text. This touching novel is ultimately about one's search for a home, for loyalty, and for acceptance into society. These themes, while prevalent in many Japanese American texts written about this time period, are universal and can be shared by anyone who has ever felt the pangs of loneliness associated with being an outcast. If anyone is interested in reading more about fiction, good fiction on these issues, there is no book I could recommend more highly than this one. John Okada's book is the ultimate in Asian American literature and should be required reading for all those who want to read more about American history and American literature

John Okada's novel is one of the pioneering works of a growing field of American literature that shares the unique experiences of a group mostly neglected by mainstream America: Asian Americans. This category of literature, known as Asian American literature, seeks to expose the difficulty of finding identity that these Americans have faced because they don't fit in either the mainstream Caucasian American identity or the "model minority" (i.e. African American) identity that has been so prevalent in America, both past and present.
This story takes place during World War II: a terrible time for Japanese Americans, the subjects of this story. It shares the difficulty that a young Japanese American man named Ichiro faced when choosing not to fight for America, the country he always called his home. The two years in prison he spent for rejecting the draft was not nearly as painful as the difficulty of defining himself as an American. America is the country that, on one hand, is his home by birth and residence and, on the other hand, has punished his ethnic group via internment based solely on a distant place of origin. On his journey to find his identity he comes upon many characters, both Japanese Americans and others, that come to shape his perception of what it means to be an American. "No-No Boy" is a magnificent piece of Asian American literature.

In my AP English Literature class, I had a choice of reading any novel of "literary merit" I wanted, and to complete a 25 page analysis of the novel. Of the four books I analyzed in this way this year, No-No Boy was by far my favorite. I am caucasian, yet have always been interested in the dark side of America's role in World War II - the Japanese internment camps. This book is a vivid portrayal of one young man's suffering due to his decision not to swear loyalty to a country that had foresaken his rights as a citizen, and the consequences that result from this decision. Okada deals with a very touchy subject in this novel, for both the white and Japanese-American communities. Ichiro's self-inflicted punishment helps the reader to realize just how awful this experience was for the real No-no boys. This realistic portrayal is rather ironic, since Okada himself chose to serve the United States loyally in the army during World War II. Perhaps this novel was written from the side of him that related more to his Japanese roots than to his newfound American identity, and the guilt he himself must have carried when serving in the Pacific, telling Japanese to surrender in their own language. Okada also deals with a seemingly untouchable issue - that of the discrimination the Japanese-Americans themselves practiced toward other U.S. citizens, although they faced discrimination themselves. This adds to the truthfulness of the novel. Perhaps the only disappointing aspect to the novel is the all-American, happy ending that seems a little too contrived, although it must have been necessary for Okada to write the novel this way in order to gain any readers, because the novel's subject was so controversial at the time it was written. This novel should be taught in high schools and universities across the country, in American literature courses, and not just Asian-American literature courses. Now, multicultural education movements have succeeded in gaining the teaching of more women and African-American writers' novel, but Asian-American literature has still been neglected. The tolerance and understanding that students will gain from reading this novel should be evident immediately after one has read No-No Boy, even though the novel is enjoyable and is hardly preachy-sounding.

I had the great pleasure to hear Lawson Fusao Inada read some of his poems from this book. It is truly inspirational to catch a glimpse, through his words, of his view of the world. "Legends from Camp" contains poems inspired by his childhood in an internment camp for Japanese Americans during WWII, his home in the state of Oregon, and his love of Jazz. On the back cover of the book, Leslie Marmon Silko writes: "Inada's ear for the musicality of English is unsurpassed: Legends from Camp is a veritable symphony you must not miss." This is so true.

The reviewer below misses the point. This book was the first anthology of Asian American writers to come out of the period of the founding of Ethnic Studies. It focuses soley on works by Japanese, Chinese and Pilipino Americans and features the usual suspects, Frank Chin, Carlos Bulosan, etc. It does not inlcude works by Vietnamese or Thai Americans because there was next to no immigration or even refugees from those countries immigrating pre 1965. Get your facts straight and review the text in its historical context and you will find that this text is a valuable source to capture the many dilemmas that Asian American's faced in forging an identity of their own.

You guys should make an effort to buy this book (if it's still around). In it, the editors expose "Asian American" authors who thought it best to represent Asian Americans by making them love "white America" in spite of their own Asian culture! For instance, Pardee Lowe has an aversion toward the tong his father is in; and in order to keep him from these "heathen chinese" he helps convert his father into Christianity (this nation's prevalent religion). You will also learn how subtle racist figures like Charlie Chan represent what whites perceive as Asianness. Bear in mind, the editors are not segregating the term Asian to mean just Chinese, Japanese, and Filipino. Rather, they are merely using Chinese, Japanese, and Filipino literature to convey (this is a part of their argument) that these different subgroups (and then some) within Asia America were not (and are not) assimilated (they did not hate their own culture to show their patriotism toward America). They open their book with "Asian Americans are not one people but several - Chinese Americans, Japanese Americans, and Filipino Americans." They are not saying "Asian Americans are not one people but only three..." And, yes, I've met Asian Americans who are just as biased as white people, but this isn't the case that the editors are making (nor are they this way). Really, all they are doing is challenging the subtle racist stereotypical view whites have of Asians (which is a prevalent view). Some of you may not know what a stereotype of an Asian person is! Why not find out how REAL Asians are by reading this masterpiece.

You guys should make an effort to buy this book (if it's still around). In it, the editors expose "Asian American" authors who thought it best to represent Asian Americans by making them love "white America" in spite of their own Asian culture! For instance, Pardee Lowe has an aversion toward the tong his father is in; and in order to keep him from these "heathen Chinese" he helps convert his father into Christianity (this nation's prevalent religion). You will also learn how subtle racist figures like Charlie Chan represent what whites perceive as Asianness. Bear in mind, the editors are not segregating the term Asian to mean just Chinese, Japanese, and Filipino. Rather, they are merely using Chinese, Japanese, and Filipino literature to convey (this is a part of their argument) that these different subgroups (and then some) within Asia America were not (and are not) assimilated (they did not hate their own culture to show their patriotism toward America). They open their book with "Asian Americans are not one people but several - Chinese Americans, Japanese Americans, and Filipino Americans." They are not saying "Asian Americans are not one people but only three..." And, yes, I've met Asian Americans who are just as biased as white people, but this isn't the case that the editors are making (nor are they this way). Really, all they are doing is challenging the subtle racist stereotypical view whites have of Asians (which is a prevalent view). Some of you may not know what a stereotype of an Asian person is! Why not find out how REAL Asians are by reading this masterpiece.