Filipino-American Literature

 

Studying Filipino American literature brings together discussions about postcolonialism and the literary works of individuals who identify as both Filipino and American. This intersection challenges the idea that these areas should be kept separate due to the United States' historical role as a colonial power. Before American rule, the Philippines was under Spanish control for three centuries. The U.S. took control of the Philippines after the Spanish-American War (1898) and the Filipino-American War (1899-1902). The period of American control lessened during the Commonwealth Period (1935-1946), which led to Philippine independence. However, the legacy of colonization is complicated by years of enforced economic ties with the United States, even after gaining independence. This raises important questions about the impact of neocolonialism and the enduring influence of colonial attitudes on immigrants.

 

Around 150,000 Filipinos migrated to the U.S. between 1906 and 1946, with most settling in California and Hawaii. Many worked on Hawaiian sugar plantations. Filipinos faced challenges in obtaining citizenship for many years. The 1934 Tydings-McDuffie Independence Act granted them the status of "nationals" rather than "aliens." Between 1946 and 1964, approximately 30,000 Filipinos, mainly World War II veterans and their families, came to the U.S. Another wave of 630,000 Filipino immigrants arrived between 1965 and 1984, driven by factors such as the 1965 Immigration and Nationality Act and political and economic uncertainties in the Philippines under the Marcos regime.

 

Currently, the Filipino American community is the fastest-growing among Asian Americans in the U.S., and projections indicate that it will soon surpass the combined numbers of Japanese and Chinese Americans. Those born in the U.S. with Filipino heritage are sometimes referred to as "Flips." The origin of this term is uncertain, with some suggesting it may have derogatory roots from World War II. However, others have reclaimed it to convey a positive meaning, such as "fine-looking island people." Some also believe it is simply a shortened form of "Filipino."

Filipino writers and critics grapple with the challenge of defining or reclaiming their cultural identity, especially those who migrated to the U.S. in the early 20th century. They question the use of the term "Asian-American" for those like Carlos Bulosan, José García Villa, Bienvenido Santos, and N.V.M Gonzalez. These writers view the U.S. as a place for self-discovery and renewal, akin to a necessary exile.

 

Carlos Bulosan and José García Villa made significant contributions, with Bulosan's "America is in the Heart" still relevant in discussions of Filipino American identity. Critics like Oscar Campomanes and N.V.M. Gonzalez highlight discrepancies in models of Filipino American identity. They also note the success of writers like Jessica Hagedorn, whose work explores a past and national identity not central to all Filipino writers.

 

Carlos Bulosan's prominence in Filipino American literature is a subject of debate among critics. Campomanes argues that this emphasis overlooks other writers whose writing doesn't align with the immigrant experience. This raises questions about the U.S. literary market and assumptions about minority populations.

 

More recent writers like Ninotchka Rosca, Ephifanio San Juan, Linda Ty-Casper, and Michelle Skinner contribute to the complex discussion of a genuine Filipino American vision. N.V.M Gonzalez is conscious of the categories of minority literature and sees Bienvenido Santos's work as an authentic expression of racial bias, nostalgia, and alienation.

 

The Filipino American experience differs from the broader Asian American experience due to factors like the prolonged colonial history, U.S. involvement, and varying degrees of assimilation. Additionally, the complexity of the Filipino language situation and the plurality of national consciousness within the Philippines contribute to a diverse sense of "home" and "national" identity.

 

Critics emphasize the importance of imagination in Filipino-American writing. This imaginative process helps ease the sense of alienation and isolation resulting from immigration, connecting the homeland to the U.S. Elements like irony and "double perspective" play a role in constructing immigrant stories. Themes of invisibility also emerge, with distinctions made between writers advocating for solidarity against capital and those with more integrationist tendencies.