The Chinatown centered on Grant Avenue and Stockton Street in San Francisco, California, is the oldest Chinatown in North America and one of the largest Chinese enclaves outside Asia. It is also the oldest and largest of the four notable Chinese enclaves within San Francisco. Since its establishment in the early 1850s, it has been important and influential in the history and culture of ethnic Chinese immigrants in North America. Chinatown is an enclave that has retained its own customs, languages, places of worship, social clubs, and identity. There are two hospitals, several parks and squares, numerous churches, a post office, and other infrastructure. Recent immigrants, many of whom are elderly, opt to live in Chinatown because of the availability of affordable housing and their familiarity with the culture. Due to a combination of factors, some more broad-based related to difficult circumstances for San Francisco itself, while other factors are more specific to this neighborhood, San Francisco's Chinatown faces a struggle for survival.
Laurence Michael Yep is an American writer. He is known for his children's books, having won the Newbery Honor twice for his Golden Mountain series. In 2005, he received the biennial Laura Ingalls Wilder Medal for his career contribution to American children's literature.
Flower Drum Song was the eighth musical by the team of Rodgers and Hammerstein. It is based on the 1957 novel, The Flower Drum Song, by Chinese-American author C. Y. Lee. It premiered on Broadway in 1958 and was then performed in the West End and on tour. It was adapted for a 1961 musical film.
Frank Chin is an American author and playwright. He is considered to be one of the pioneers of Asian-American theatre.
Chinaman's chance is an American idiom which means that a person has little or no chance at success, synonymous with similar idioms of improbability such as a snowball's chance in hell or when pigs fly. Although the origin of the phrase is unclear, it may refer to the historical misfortunes which were suffered by Chinese-American immigrants.
Randall Duk Kim is an American actor. He is a co-founder of the American Players Theatre.
This is an alphabetical index of topics related to Asian Americans.
Jeffery Paul Chan was an American author and scholar. He was a professor of Asian American studies and English at San Francisco State University for 38 years until his retirement in 2005.
Chinaman is a term referring to a Chinese man or person, a Mainland Chinese national or, in some cases, a person native to geographical East Asia or of perceived East Asian race. While the term has no negative connotations in older dictionaries and the usage of such compound terms as Englishman, Scotsman, Frenchman, Dutchman, Irishman, and Welshman are sometimes cited as unobjectionable parallels, the term is noted as having pejorative overtones by modern dictionaries. Its derogatory connotations evolved from its use in pejorative contexts regarding Chinese people and other Asians as well as its grammatical incorrectness which resembles stereotypical characterizations of Chinese accents in English-speaking associated with discrimination. While usage of the term Chinaman is nowadays strongly discouraged by Asian American organizations, it has also been used as a self-referential archetype by authors and artists of Asian descent.
Forbidden City was a Chinese nightclub and cabaret in San Francisco, which was in business from 1938 to 1970, and operated on the second floor of 363 Sutter Street, between Chinatown and Union Square.
The American Place Theatre was founded in 1963 by Wynn Handman, Sidney Lanier, and Michael Tolan at St. Clement's Church, 423 West 46th Street in Hell's Kitchen, New York City, and was incorporated as a not-for-profit theatre in that year. Tennessee Williams and Myrna Loy were two of the original board members.
Asian American theatre is theatre written, directed or acted by Asian Americans. From initial efforts by four theatre companies in the 1960s, Asian-American theatre has grown to around forty groups today. Early productions often had Asian themes or settings; "yellowface" was a common medium for displaying the perceived exoticism of the East in American performance. With the growing establishment of second-generation Asian-Americans in the 21st century, it is becoming more common today to see Asian-Americans in roles that defy historical stereotypes in the United States.
Ben Fee (张恨棠/木云) was an American writer and labor organizer who rose to prominence in the Chinatowns of San Francisco and New York in the mid-twentieth century. He was president of the Chinese Workers Mutual Aid Association and leader of the Chinese section of the United States Communist Party.
Chinese American literature is the body of literature produced in the United States by writers of Chinese descent. The genre began in the 19th century and flowered in the 20th with such authors as Sui Sin Far, Frank Chin, Maxine Hong Kingston, and Amy Tan.
Asian American literature is the body of literature produced in the United States by writers of Asian descent.
Aiiieeeee! An Anthology of Asian-American Writers is a 1974 anthology by Frank Chin, Jeffery Paul Chan, Lawson Fusao Inada, and Shawn Wong, members of the Combined Asian American Resources Project (CARP). It helped establish Asian American literature as a field by recovering and collecting representative selections from Chinese, Japanese, and Filipino Americans from the past fifty years—many of whom had been mostly forgotten. This pan-Asian anthology included selections from Carlos Bulosan, Diana Chang, Louis Chu, Momoko Iko, Wallace Lin, Toshio Mori, John Okada, Oscar Peñaranda, Sam Tagatac, Hisaye Yamamoto, Wakako Yamauchi, many of whom are now staples in Asian American literature courses. Because of this anthology and the work of CARP, many of these authors have been republished; at that time, however, they received little attention from publishers and critics because they did not subscribe to popular stereotypes but depicted what Elaine H. Kim calls the "unstereotyped aspects of Asian American experience". The "aiiieeeee!" of the title comes from a stereotypical expression used by Asian characters in old movies, radio and television shows, comic books, etc. These same stereotypes affected the anthology itself: when the editors tried to find a publisher, they had to turn to a historically African-American press because, as Chin states:
The blacks were the first to take us seriously and sustained the spirit of many Asian American writers.... [I]t wasn't surprising to us that Howard University Press understood us and set out to publish our book with their first list. They liked our English we spoke [sic] and didn't accuse us of unwholesome literary devices.
The Chinaman Pacific and Frisco R.R. Co. is a 1988 short-story collection by Frank Chin that collects many of the short stories he had published in the 1970s. It won the American Book Award. The collection deals with Chinese-American history by recalling the work of early Chinese immigrants in such jobs as "coolie, railworker and launderer".
The Chickencoop Chinaman is a 1972 play by Frank Chin. It was the first play written by an Asian American to have a major New York production.
Donald Duk is a coming-of-age novel written by Frank Chin, first published in February 1991. It is about an eleven-year-old boy turning twelve, completing a cycle of the Chinese zodiac, in San Francisco, and his struggles juggling cultures and growing into his name.
The Iron Moonhunter is a short children's picture book published in 1977, written and illustrated by the activist Kathleen Chang. The book purportedly retells a Chinese-American myth set in the Sierra Nevada mountains during the construction of the First transcontinental railroad, starting in the fall of 1866.
