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Featuring essays by leading historians, including Carol Berkin, Andrew Heinze, Earl Lewis, and Mai M. Ngai, Race and Ethnicity in America is a timely introduction to the interrelated themes of race, ethnicity, and immigration in American history and a first-stop resource for students and others exploring the historical roots of today's identity politics. Spanning from 1600 to 2000 and covering everything from the Trail of Tears to the Black Power movement, the book is comprehensive both chronologically and in terms of ethnic groups addressed: It examines not only the history of black-white relations in America, but also the experiences of Irish Catholics, Native Americans, Latinos, Jews, and many others. Topics covered include anti-Catholicism and nativism, slavery and abolitionism, Indian removal, assimilation and scientific racism, the National Origins Act, the civil rights movement, and contemporary debates over affirmative action and bilingualism.

The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.

Hippo was hot and thought how wonderful it would be to live in the water. Hippo pleaded with the god of Everything and Everywhere to let him live in the rivers and streams. Ngai agreed Hippo could live in the water but only if he promised not to eat the little fishes and to come out of the water at night and eat grass.The story of how Hippo came to live in the river instead of on dry land.

The Lucky Ones uncovers the story of the Tape family in post-gold rush, racially explosive San Francisco. Mae Ngai paints a fascinating picture of how the role of immigration broker allowed patriarch Jeu Dip (Joseph Tape) to both protest and profit from discrimination, and of the Tapes as the first of a new social type--middle-class Chinese Americans. Tape family history illuminates American history. Seven-year-old Mamie attempts to integrate California schools, resulting in the landmark 1885 case Tape v. Hurley. The family's intimate involvement in the 1904 St. Louis World's Fair reveals how Chinese American brokers essentially invented Chinatown, and so Chinese culture, for American audiences. Finally, The Lucky Ones reveals aspects--timely, haunting, and hopeful--of the lasting legacy of the immigrant experience for all Americans. This expanded edition features a new preface and a selection of historical documents from the Chinese exclusion era that forms the backdrop to the Tape family's story.

The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.

Shortly before 8 am on 16 March 1968, C Company, 1st Battalion, 20th Regiment, 11th Brigade, Americal Division, on a search-and-destroy mission in Quang Ngai Province, South Vietnam, entered the hamlet of My Lai. By noon more than 400 women, children and old men had been systematically murdered. To this day, the My Lai massacre has remained the most shocking episode of the Vietnam War. Yet this infamous incident was not an exception or aberration. Based on extensive research and unprecedented access to US Army archives, and tracing the responsibility for these atrocities all the way up to the White House and the Pentagon, War Without Fronts reveals the true extent of war crimes committed by American troops in Vietnam and how a war to win hearts and minds soon became a war against civilians.

Chinese Opera looks at Chinese society through an exciting series of photographs of operatic performances from many regions of the country. The book introduces the reader to this unique theatrical form and tells the traditional stories that are its narrative foundation. Siu Wang-Ngai's extraordinary images, taken in natural light during performances, lovingly reveal the visual excitement of Chinese opera and point to the differences in costuming and presentation that distinguish each regional style and character type.

Envy, irritation, paranoia--in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situations in which action is blocked or suspended. In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity. Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called "animatedness," and a paradoxical synthesis of shock and boredom called "stuplimity." She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening.Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature--with a particular focus on those inflected by gender and race--but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.

Envy, irritation, paranoia--in contrast to powerful and dynamic negative emotions like anger, these non-cathartic states of feeling are associated with situations in which action is blocked or suspended. In her examination of the cultural forms to which these affects give rise, Sianne Ngai suggests that these minor and more politically ambiguous feelings become all the more suited for diagnosing the character of late modernity. Along with her inquiry into the aesthetics of unprestigious negative affects such as irritation, envy, and disgust, Ngai examines a racialized affect called "animatedness," and a paradoxical synthesis of shock and boredom called "stuplimity." She explores the politically equivocal work of these affective concepts in the cultural contexts where they seem most at stake, from academic feminist debates to the Harlem Renaissance, from late-twentieth-century American poetry to Hollywood film and network television. Through readings of Herman Melville, Nella Larsen, Sigmund Freud, Alfred Hitchcock, Gertrude Stein, Ralph Ellison, John Yau, and Bruce Andrews, among others, Ngai shows how art turns to ugly feelings as a site for interrogating its own suspended agency in the affirmative culture of a market society, where art is tolerated as essentially unthreatening.Ngai mobilizes the aesthetics of ugly feelings to investigate not only ideological and representational dilemmas in literature--with a particular focus on those inflected by gender and race--but also blind spots in contemporary literary and cultural criticism. Her work maps a major intersection of literary studies, media and cultural studies, feminist studies, and aesthetic theory.

This book traces the origins of the "illegal alien" in American law and society, explaining why and how illegal migration became the central problem in U.S. immigration policy―a process that profoundly shaped ideas and practices about citizenship, race, and state authority in the twentieth century. Mae Ngai offers a close reading of the legal regime of restriction that commenced in the 1920s―its statutory architecture, judicial genealogies, administrative enforcement, differential treatment of European and non-European migrants, and long-term effects. She shows that immigration restriction, particularly national-origin and numerical quotas, remapped America both by creating new categories of racial difference and by emphasizing as never before the nation's contiguous land borders and their patrol.

The zany, the cute, and the interesting saturate postmodern culture. They dominate the look of its art and commodities as well as our discourse about the ambivalent feelings these objects often inspire. In this radiant study, Sianne Ngai offers a theory of the aesthetic categories that most people use to process the hypercommodified, mass-mediated, performance-driven world of late capitalism, treating them with the same seriousness philosophers have reserved for analysis of the beautiful and the sublime.Ngai explores how each of these aesthetic categories expresses conflicting feelings that connect to the ways in which postmodern subjects work, exchange, and consume. As a style of performing that takes the form of affective labor, the zany is bound up with production and engages our playfulness and our sense of desperation. The interesting is tied to the circulation of discourse and inspires interest but also boredom. The cute's involvement with consumption brings out feelings of tenderness and aggression simultaneously. At the deepest level, Ngai argues, these equivocal categories are about our complex relationship to performing, information, and commodities.Through readings of Adorno, Schlegel, and Nietzsche alongside cultural artifacts ranging from Bob Perelman's poetry to Ed Ruscha's photography books to the situation comedy of Lucille Ball, Ngai shows how these everyday aesthetic categories also provide traction to classic problems in aesthetic theory. The zany, cute, and interesting are not postmodernity's only meaningful aesthetic categories, Ngai argues, but the ones best suited for grasping the radical transformation of aesthetic experience and discourse under its conditions.

As a first lieutenant in Bravo Company of the Third Battalion, 187th Infantry, Frank Boccia led a platoon in two intense battles in the Vietnamese mountains in April and May 1969: Dong Ngai and the grinding, 11-day battle of Dong Ap Bia--the Mountain of the Crouching Beast, in Vietnamese, or Hamburger Hill as it is popularly known. The Rakkasans, the 3/187th, are the most highly decorated unit in the history of the United States Army, and two of those decorations were awarded for these two battles. This vivid account of the author's first seven months in Vietnam gives special attention to the events at Dong Ap Bia, following the ­hard-­hit 3/187th hour by hour through its repeated assaults on the mountain, against an unseen enemy in an ideal defensive position. It also corrects several errors that have persisted in histories and official reports of the battle. Beyond describing his own experiences and reactions, the author writes, "I want to convey the real face of war, both its mindless carnage and its nobility of spirit. Above all, I want to convey what happened to both the casual reader and the military historian and make them aware of the extraordinary spirit of the men of First Platoon, Bravo Company. They were ordinary men doing extraordinary things."

Featuring essays by leading historians, including Carol Berkin, Andrew Heinze, Earl Lewis, and Mai M. Ngai, Race and Ethnicity in America is a timely introduction to the interrelated themes of race, ethnicity, and immigration in American history and a first-stop resource for students and others exploring the historical roots of today's identity politics. Spanning from 1600 to 2000 and covering everything from the Trail of Tears to the Black Power movement, the book is comprehensive both chronologically and in terms of ethnic groups addressed: It examines not only the history of black-white relations in America, but also the experiences of Irish Catholics, Native Americans, Latinos, Jews, and many others. Topics covered include anti-Catholicism and nativism, slavery and abolitionism, Indian removal, assimilation and scientific racism, the National Origins Act, the civil rights movement, and contemporary debates over affirmative action and bilingualism.

If you’re Irish American or African American or Eastern European Jewish American, there’s a rich literature to give you a sense of your family’s arrival-in-America story. Until now, that hasn’t been the case for Chinese Americans.   From noted historian Mae Ngai, The Lucky Ones uncovers the three-generational saga of the Tape family. It’s a sweeping story centered on patriarch Jeu Dip’s (Joseph Tape’s) self-invention as an immigration broker in post–gold rush, racially explosive San Francisco, and the extraordinary rise it enables. Ngai’s portrayal of the Tapes as the first of a brand-new social type—middle-class Chinese Americans, with touring cars, hunting dogs, and society weddings to broadcast it—will astonish.   Again and again, Tape family history illuminates American history. Seven-year-old Mamie Tape attempts to integrate California schools, resulting in the landmark 1885 Tape v. Hurley. The family’s intimate involvement in the 1904 St. Louis World’s Fair reveals how the Chinese American culture brokers essentially invented Chinatown—and so Chinese culture—for American audiences. Finally, Mae Ngai reveals aspects—timely, haunting, and hopeful—of the lasting legacy of the immigrant experience for all Americans.

This book traces the origins of the "illegal alien" in American law and society, explaining why and how illegal migration became the central problem in U.S. immigration policy--a process that profoundly shaped ideas and practices about citizenship, race, and state authority in the twentieth century.Mae Ngai offers a close reading of the legal regime of restriction that commenced in the 1920s--its statutory architecture, judicial genealogies, administrative enforcement, differential treatment of European and non-European migrants, and long-term effects. In well-drawn historical portraits, Ngai peoples her study with the Filipinos, Mexicans, Japanese, and Chinese who comprised, variously, illegal aliens, alien citizens, colonial subjects, and imported contract workers. She shows that immigration restriction, particularly national-origin and numerical quotas, re-mapped the nation both by creating new categories of racial difference and by emphasizing as never before the nation's contiguous land borders and their patrol. This yielded the "illegal alien," a new legal and political subject whose inclusion in the nation was a social reality but a legal impossibility--a subject without rights and excluded from citizenship. Questions of fundamental legal status created new challenges for liberal democratic society and have directly informed the politics of multiculturalism and national belonging in our time.Ngai's analysis is based on extensive archival research, including previously unstudied records of the U.S. Border Patrol and Immigration and Naturalization Service. Contributing to American history, legal history, and ethnic studies, Impossible Subjects is a major reconsideration of U.S. immigration in the twentieth century.

As a first lieutenant in Bravo Company of the Third Battalion, 187th Infantry, Frank Boccia led a platoon in two intense battles in the Vietnamese mountains in April and May 1969: Dong Ngai and the grinding, 11-day battle of Dong Ap Bia--the Mountain of the Crouching Beast, in Vietnamese, or Hamburger Hill as it is popularly known. The Rakkasans, the 3/187th, are the most highly decorated unit in the history of the United States Army, and two of those decorations were awarded for these two battles. This vivid account of the author's first seven months in Vietnam gives special attention to the events at Dong Ap Bia, following the ­hard-­hit 3/187th hour by hour through its repeated assaults on the mountain, against an unseen enemy in an ideal defensive position. It also corrects several errors that have persisted in histories and official reports of the battle. Beyond describing his own experiences and reactions, the author writes, "I want to convey the real face of war, both its mindless carnage and its nobility of spirit. Above all, I want to convey what happened to both the casual reader and the military historian and make them aware of the extraordinary spirit of the men of First Platoon, Bravo Company. They were ordinary men doing extraordinary things."