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By Micheline Aharonian Marcom

Micheline Marcom describes her most recent novel, A short historical past of Yes—her first in view that 2008's scathing and erotic The reflect within the Well—as a "literary fado," pertaining to a mode of Portuguese song that, equivalent to the yank blues, is usually melancholic and soulful, and encapsulates the sensation of what the Portuguese name saudade—meaning, loosely, craving and nostalgia for whatever or an individual irrepreably misplaced. A short historical past of Yes tells the tale of the break-up among a Portuguese lady named Maria and an unnamed American guy: it's a collage-like, fragmentary novel whose shape captures the workings of appeal and grief, proving once more that American letters has no larger poet of affection and loss than Micheline Aharonian Marcom.

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An American, a democratic idea that could morally constrain and coordinate the material body of USA affluence and piratical outreach. . I too am a descendant of Walt Whitman. And I am not by myself struggling to tell the truth about this history of so much land and so much blood, of so much that should be sacred and so much that has been desecrated and annihilated boastfully. ) Borges also noted what we may call Whitman’s multiculturalism—his “ferocious tenderness” that allowed him to imagine himself as a “mother of old, condemn’d for a witch, burnt with dry wood” or a “hounded slave that flags in the race, leans by the fence, blowing, cover’d with sweat” (69–70).

The author narrowly avoids conducting an inquest on the corpse that was called multiculturalism and bemoans how no one thinks Asian American literature is for them. ” I have two constituencies. The first constituency consists of Asian Americans, many of whom do not consider themselves American and many of whom do not consider themselves Asian. ” Writers, like nerds, a nonidentical but overlapping category, are often writers because they had no choice. Writing rescued them from their loneliness, their brains, their lovable ineptness—and so, having been loners all their lives, many writers of color find themselves startled to find that their identities have become a genre, their isolation a group.

And I am not by myself struggling to tell the truth about this history of so much land and so much blood, of so much that should be sacred and so much that has been desecrated and annihilated boastfully. ) Borges also noted what we may call Whitman’s multiculturalism—his “ferocious tenderness” that allowed him to imagine himself as a “mother of old, condemn’d for a witch, burnt with dry wood” or a “hounded slave that flags in the race, leans by the fence, blowing, cover’d with sweat” (69–70). Yet Borges expanded Whitman further: “Whitman felt and was all of them, but fundamentally he was .

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