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Alan Williams finds evidence of the will to institutionality in his discussion of Tondemonai—Never Happen! (Soon-Tek Oh, 1970), a puzzling example of an Asian American queer cultural production that has been omitted from the canon. Performed by the famed East West Players and the first commercially-produced play depicting the Japanese American incarceration, Tondemonai cannot be made representative of 1970s Asian American cultural production despite being at a “center” of it, because that would contradict the paradigmatic Asian Americanist critique of the era as beset by homophobic cultural nationalism.
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