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The article discusses theater and aesthetic form in the context of Asian American studies. Some differences between Asian American theater and Asian American literature are noted. The theories of the writer Gilles Deleuze are cited, and a deconstructive model of critique proposed by Kandice Chuh in her book "Imagine Otherwise" is mentioned. A distinction between the terms "Asian/American" and "Asian American" is presented, and a formalist interpretation of two plays by Naomi Iizuka, "At the Vanishing Point" and "36 Views," is included.

This essay examines the proliferation of Asian American studies in educational institutions in Taiwan since the 1980s, citing the popularity of Amy Tan's "The Joy Luck Club" and David Henry Hwang's "M. Butterfly." It is evident in the involvement of scholars in organizing conferences on Asian American literary studies and publishing their research in international journals and in the interest of students in the critical study of Chinese American literature.

This essay foregrounds and interrogates what is resistant to intelligibility in John Yau's "Genghis Chan: Private Eye" poetry series. I argue that the force of this resistance is not only meaningful to the (un)reading of the poem but to the "subjects" of Asian American studies and Asian Americans, as it gestures toward the indeterminate as a site in and through which to imagine being and doing otherwise in the world. This "otherwise" hinges on what must be suppressed and elided in the process of making the "subjects" of Asian American studies and Asian Americans intelligible, a largely institutionalized process that is in opposition to what I refer to as the pleasure of indeterminacy. Taking a cue from Yau's own foregrounding of "gesture" as a mode of telling, I examine how the poetics at work and in play in Yau's poem demands the suspension of the post-Enlightenment mode of reading the word and world as intrinsically open to interpretation and intelligibility. I associate this post-Enlightenment mode of reading to the racialized lens through which the "subjects" of Asian American studies and Asian Americans must always already appear intelligible, or as Antonio Viego would say, dead. [ABSTRACT FROM AUTHOR]

The article presents an interview with American comedian, Kristina Wong when asked about her work being featured this past March in Image Movers, the film festival for the fiftieth anniversary of the UCLA Center for Asian American Studies; discusses selections from oeuvre that were included in that festival and what was left out; and talks about the series "Radical Cram School" which invokes different kinds of racial icons and history is really compelling.