Summary

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AUTHOR: Gene Luen Yang

ARTIST: Gene Luen Yang (illustrator); Lark Pien (colorist)

PUBLISHER: First Second Books

FIRST BOOK PUBLICATION: 2006

American Born Chinese, crafted by Gene Luen Yang, explores complex themes of identity and cultural belonging through its vivid storytelling and art. Debuting in 2006 after years of development, the graphic novel quickly resonated with readers due to its unique narrative structure and compelling characters. It navigates the intersecting worlds of Chinese mythology, American adolescence, and the personal journey of self-acceptance, establishing itself as a significant work in the realm of graphic novels.

Publication History

In 2000, Gene Luen Yang began sharing the early versions of American Born Chinese with a close circle, distributing photocopies to friends, family, and fellow comic enthusiasts. Some elements of the book, such as the character Chin-Kee, had been conceived long before, inspired by stereotypical portrayals in media and cartoons from Yang's childhood. Yang's connection with Derek Kirk Kim, a fellow artist and future collaborator, proved pivotal when Kim forwarded some pages of American Born Chinese to Mark Siegel at First Second Books. Captivated by the narrative, Siegel promptly contacted Kim to set up a meeting with Yang, eventually leading to the book's publication. Yang's partnership with colorist Lark Pien further enriched the project, showcasing their collaborative synergy previously seen in The Rosary Comic Book (2003).

Plot Summary

The narrative of American Born Chinese unfolds through three interwoven tales that initially appear unrelated, all centered around the experiences of a Chinese American childhood. It opens with the tale of the Monkey King, who, after being humiliated by the heavenly gods, punishes them with his kung fu prowess. This defiance leads to his imprisonment by Tze-Yo-Tzuh, the creator god, under a mountain. Eons later, a monk chosen by Tze-Yo-Tzuh embarks on a quest to the west, tasked with gathering disciples, including the Monkey King. The Monkey King eventually escapes by embracing his true nature, realizing that a monkey has no need for shoes.

The central thread follows Jin Wang, who moves from Chinatown to a suburban neighborhood. Reflecting on his life, he remembers his mother's visits to an herbalist, where he receives the cryptic advice: “It’s easy to become anything you wish . . . so long as you’re willing to forfeit your soul.” Jin's first day at his new school, Mayflower Elementary, is marred by racial prejudice, but he yearns for acceptance. Initially reluctant, Jin befriends Wei-Chen Sun, a new student from Taiwan, who becomes his closest friend.

As the boys enter junior high, Jin starts developing feelings for Amelia Harris but misses his chance to connect with her due to his reluctance in taking care of class pets. However, a twist of fate brings them closer when Wei-Chen and Amelia get trapped in a closet, and Jin rescues them. This gives Jin the courage to ask Amelia to a movie, although he has to deceive his parents about his whereabouts with Wei-Chen's help.

Conflict arises when Greg, an all-American classmate, warns Jin against pursuing Amelia, implying racial incompatibility. The tension escalates when Suzy Nakamura, another Asian student, is targeted with a racial slur, prompting Jin to impulsively kiss her. This act fractures his friendship with Wei-Chen, who feels betrayed. That night, Jin's dreams transform him into Danny, marking a pivotal shift in the story.

The final narrative strand is presented as a sitcom, "Everyone Ruvs Chin-Kee," featuring Danny, an archetypal American teen, constantly embarrassed by his Chinese cousin, Chin-Kee. Chin-Kee's antics lead to a confrontation where Danny knocks off Chin-Kee's head, only to reveal that he is the Monkey King in disguise. This...

(This entire section contains 1430 words.)

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revelation ties back to Jin's storyline, reconnecting the various threads.

As Jin returns to his original form, he learns that Wei-Chen is actually the Monkey King's son, sent to Earth as a test of virtue. However, Jin's betrayal led Wei-Chen to give up his divine mission and embrace a mortal life of indulgence. The Monkey King advises Jin with wisdom gained from his own journey, prompting Jin to seek reconciliation with Wei-Chen and accept his identity as a Chinese American.

Character Descriptions

•Jin Wang embodies the struggle of a second-generation Chinese American, grappling with cultural identity in the face of prejudice and the typical trials of adolescence. He undergoes a transformation, both physically and metaphorically, as he learns to embrace his dual heritage.

•Monkey King of Flower Fruit Mountain is a powerful deity trapped in a monkey's form. His journey from hubris to humility mirrors the classic "Journey to the West." As Chin-Kee, he teaches Danny about true identity.

•Tze-Yo-Tzuh, the wise creator god, enforces cosmic order while demonstrating compassion. His presence underscores the theme of life lessons learned through experience.

•Wei-Chen Sun starts as a typical immigrant stereotype, but his character evolves, mirroring Jin's journey. Originally the Monkey King's son, he becomes disillusioned after Jin's betrayal and adopts a rebellious persona.

•Suzy Nakamura navigates the challenges of her dual identity and faces discrimination. Her relationship with Wei-Chen adds depth to her character as she seeks balance between her cultural background and her contemporary life.

•Danny represents Jin's conflicted identity, forced to change schools due to Chin-Kee's embarrassing behavior. His transformation back to Jin marks a key moment of self-acceptance.

•Chin-Kee, exaggerated in his depiction, acts as a catalyst for Jin's self-realization, ultimately unveiled as the Monkey King.

•Amelia Harris and Greg represent typical American youth, serving as contrasts to Jin's experience and highlighting societal prejudices and misconceptions.

•Wong Lao-Tsu, a monk, serves as a guide on the journey, assisting the Monkey King in his path to self-discovery.

Artistic Style

The visual elements of American Born Chinese are as impactful as its narrative. The cover art, featuring a sunny yellow backdrop and an orange silhouette of the Monkey King, draws readers into the story. Inside, the layout is meticulous, with panels set in a grid surrounded by ample white space, creating a clean and inviting aesthetic. Each chapter is marked by wood-block prints, adding a touch of traditional Asian artistry to the book's modern feel. Lark Pien's colors complement Yang's solid black outlines, balancing vibrancy and subtlety to enhance the storytelling.

The artwork also evokes a sense of place, from the divine landscapes of the Monkey King's realm, adorned with intricate details, to the mundane settings of American life, each rendered with care and authenticity. Chinese pictographs interspersed throughout the text add layers of cultural significance, while speech rendered in bracketed English captures linguistic nuances. Sound effects and laugh tracks are cleverly integrated, complementing the humor and tone of the story.

Themes

The themes of American Born Chinese delve into cultural alienation and the quest for identity. Reflecting on his own experiences, Yang crafts Jin Wang's narrative as a journey of self-discovery, navigating between the worlds of his immigrant parents and the broader American culture. This duality is further explored through the Monkey King's story, which blends Eastern and Western philosophies, culminating in a unique cultural synthesis.

The novel also engages with youthful exploration, using humor and cultural references to address deeper issues like alienation and prejudice. Jin's love for Transformers toys symbolizes his desire for transformation, both literal and figurative. The book’s exploration of identity and belonging resonates with readers, offering insights into the Asian American experience while maintaining a universal appeal through its engaging storytelling.

Impact and Legacy

Upon its release, American Born Chinese positioned Gene Luen Yang as a prominent figure in the Asian American independent comics scene, alongside peers like Derek Kirk Kim and Lark Pien. The graphic novel, with its innovative blend of art and narrative, gained widespread acclaim and opened doors for Yang to publish further works. Its inclusion in educational curricula underscores its significance as a culturally relevant and insightful piece of literature, enhancing the recognition of graphic novels as a legitimate and meaningful form of expression.

Bibliography

Beeler, Monique. “A Born Storyteller. The ABCs of Graphic Novelist and National Book Award Finalist Gene Yang ’03.” Cal State East Bay Magazine, Spring/Summer, 2009, 11-17.
Boatwright, Michael D. “Graphic Journeys: Graphic Novels’ Representation of Immigrant Experiences.” Journal of Adolescent and Adult Literacy 53, no. 6 (March, 2010): 468-476.
Song, Hyoung Song. “‘How Good It Is to Be a Monkey’: Comics, Racial Formation, and American Born Chinese.” Mosaic: A Journal for the Interdisciplinary Study of Literature 43, no. 1 (March, 2010): 73-92.
Yang, Gene Luen. “Printz Award Winner Speech.” Young Adult Library Services 6, no. 1 (Fall, 2007): 11-13.

American Born Chinese. In Critical Survey of Graphic Novels: Independents & Underground Classics by Bart H. Beaty and Stephen Weiner. 2012. Salem Press.