Summary   Gene Yang's graphic novel American Born Chinese, the 2007 Michael L. Printz Award winner and National Book Award Finalist, melds three unique story lines together to make a statement about being young, being socially conscious, and being an American-born Chinese. The first plot concerns the traditional Chinese tale of the Monkey King. Though revered by his monkey subjects, the Monkey King is looked down upon by outsiders. The Monkey King trains himself to be all-powerful, but still encounters difficulties being recognized by the gods as a god himself. He is sent on a quest of sorts to overcome his pride and understand true respect. The second story thread follows Jin Wang, the son of Chinese immigrants, whose family moves from the comfort of Chinatown to a suburban nightmare. As one of only a handful of Asians in his school, Jin is immediately pegged into stereotypes and assumptions that hold him back and hurt his feelings. His situation is complicated when he falls for Amelia, a Caucasian, “all-American” girl. Jin must carve out a place for himself at school and figure out how to win the affections of Amelia. The third story line features Danny, a Caucasian boy, whose Chinese cousin comes to pay a visit, and systematically destroys his reputation and social life. The cousin, Chin-kee, is the worst of all Chinese stereotypes blended into one. This plot quite bluntly exposes unfair assumptions about the Chinese people; Danny must learn to come to terms with his overwhelming disgust with Chinese culture. The three stories come together into a single plot in the end, revealing the true nature of being Chinese and being accepted in American culture. Perhaps the most winning characteristic of American Born Chinese is its graphic novel format. It is very clear and easy to read, and because of the illustrated content, it reads quickly. Also, the dialogue for the teenagers in the Jin Wang and Danny stories is far from intimidating; the novel never strays into complicated descriptions or advanced word choice. Beyond the physical aspects of the novel, the content is widely applicable and understandable to students. Though the book focuses on the cultural aspects of being Chinese American, and does so in a way that naturally invites conversation about prejudice and tolerance, the moral voice of the novel applies to students of every ethnicity and culture. Yang's essential message to readers is to be proud and continually aware of who you are, and to be able to keep an honest perspective of one's own cultural heritage, as well as the hegemonic culture in which one lives. Teachers can use the novel to discuss Chinese heritage, traditions of legends and folklore, prejudice issues, the graphic novel and comics medium, personal encounters with ignorance and intolerance, and ways to alleviate those situations. This novel is well-suited for a late junior high to early high school classroom. Yang's characters are wonderfully candid, so some “bathroom humor” does crop up at points, but obscene language is absent, as are overt sexual references and violence beyond playground squabbles. On the whole, American Born Chinese provides opportunities for discussion, artistic creativity, and exploration of diverse traditions in a way most text novels cannot do. READING ACTIVITIES (compiled by Hilary Watkins) |During Reading|After Reading| American Born Chinese – Before Connections 1. Understanding the Shift from Comic Books to Graphic Novels “A Brief History of the Comics.” 2007. Diamond Comics. Accessed 22 Sep. 2007. <http://bookshelf.diamondcomics.com/public/default.asp?t=1&m=1&c=20&s=164&ai=37667>. A visual timeline of the comics medium, culminating in 2006 with American Born Chinese being nominated for the National Book Award. Students can see the direction in which graphic novels are headed, and what shaped comics into the book they are about to read.   2. Learning About and Applying Jin's Move to a New Place “A Virtual Journey into San Francisco 's Chinatown .” Update/creation date unavailable. Harcourt School Publishers. Accessed 22 Sep. 2007. < http://www.harcourtschool.com/activity/chinatown/intro.html>. An interesting look at Chinatown and the Chinese American culture of that area. This will help give students an idea of the area Jin left in American Born Chinese . Have students compare Chinatown with maybe a typical suburban area, and suggest reasons why it was difficult for Jin to fit in at his new school at first. Students may write a response about how they would handle moving to a completely different area.   3. Understanding Why Jin Felt Alienated at School “Anti-Chinese Agitation.” 15 Mar. 2005. American Memory from the Library of Congress. Accessed 22 Sep. 2007. < http://memory.loc.gov/ammem/ndlpedu/collections/chinese/history4.html> . This site provides a comprehensive background to the beginnings of anti-Chinese sentiment in the United States . The site also provides excellent primary sources, including photos and letters, which illustrate the conditions faced by early Chinese immigrants, as well as connection questions to help students begin to think about the social history of Yang's book.   4. More About Chinese Immigration Patterns “The Chinese.” Update/creation date unavailable. ThinkQuest. Accessed 22 Sep. 2007. < http://library.thinkquest.org/20619/Chinese.html>. A much more in depth history of Chinese immigration during the nineteenth and early twentieth centuries. Students can study this information to get a feel for the pattern of Chinese immigration that set the stage for Jin's parents to come to this country, and perhaps some of the opposition facing them and other Chinese immigrants over the decades.   5. The Tradition of Staying Close “Setting the Stage.” Update/creation date unavailable. Teaching with Historical Places. Accessed 22 Sep. 2007. < http://www.nps.gov/history/nr/twhp/wwwlps/lessons/locke/losetting.htm>. This site provides a good explanation of why early Asian immigrants tended to settle together, including a background of the political and social atmosphere. In light of American Born Chinese , you may want to emphasize with your students the tradition of living together, and how frightening it might be for someone to move away from such a close-knit community.   6. Understanding Self-Imposed Labels Watkins, Hilary. Original idea. “What Are You?” Brigham Young University . 22 Sep. 2007. Have students fold a paper in half lengthwise. In one column, have students list everything about them they believe is defining, such as race, religion, height, gender, language, etc. In the other column, have students write if the label is positive, negative, or both. This exercise should help students' awareness of labels, as well as their influence on their own self-imposed labels.   7. Strong Writing and Effective Comics Yang, Gene Luen. 2004. Humble Comics. Accessed 22 Sep. 2007. < http://www.humblecomics.com/comicsedu> . The author of our focus book created this website about his vision of using the comic format in the classroom. He outlines “five strengths” of the comics medium, as well as the history of educational comics. Students can internalize these strengths and understand how to apply certain aspects of these strengths into their own writing.   8. The Influences Behind the Book Yang, Gene Luen. Personal web log. Update/creation date unavailable. Humble Comics. Accessed 22 Sep. 2007. <http://www.humblecomics.com/blog/index.php>. Yang's blog is a great way to become familiar with the man who wrote the book. He has many links to sites relating both to Chinese Americans and to the comics medium, which students can view to help round out their understanding of the traditional and cultural background of American Born Chinese .   9. More About ABC 's Three Stories Yang, Gene Luen. Professional web log. Update/creation date unavailable. First Second. Accessed 22 Sep. 2007. <http://www.firstsecondbooks.net/authors/geneYangBlogMain.html>. This page explains the origin of the three story threads featured in this book. Yang's own explanation helps students understand the “whys” of writing these stories, and the significance of these stories to him as a Chinese American.   10. Negative Perceptions that Persist Today Yi, Matthew and Ryan Kim. “Asian Americans seen negatively: Results of landmark survey startling, disheartening.” San Francisco Chronicle 27 Apr. 2001, A1. < http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2001/04/27/MN199998.DTL>. This article, contemporary to American Born Chinese , explains the unpleasant sentiments towards Asian Americans that still persist from earlier centuries. This article would be a good springboard for class discussion about race perceptions.   American Born Chinese – During Connections 1. The Role of 20 th -Century Chinese Americans “Becoming American: The Chinese Experience.” Mar. 2003. Public Broadcasting Service. Accessed 29 Sep. 2007. <http://www.pbs.org/becomingamerican/>. Program 3 of this 3-part series is directed especially at mid- to late twentieth century Chinese immigrants and Chinese Americans. The documentary explores racial identity of the Chinese in America at that time, as well as the Chinese place in pop culture, academia, and the world. This film could be used during reading to help students understand more of the cultural background of this demographic in America . 2. The History Behind Chinese Names “Family Tree of Chinese Last Names Dating Back to 5,000 Years!” 2000. Yutopian Online. Accessed 29 Sep. 2007. < http://www.yutopian.com/names/>. Students can reference this site during their reading to discover the meanings of the names that come up in the book. The traditions behind these names may help students to understand Yang's selection in his novel.   3. Finding Legends Around the World “Mythology & Legends.” Update/creation date unavailable. ThinkQuest. Accessed 29 Sep. 2007. < http://www.thinkquest.org/library/cat_show.html?cat_id=131>. As students begin to look for their own tale to write about in a personal narrative and to incorporate into a comic strip, this site can help introduce them to a broad range of myths and legends from around the world. Many sites will then help students narrow down their search.   4. Negative Racial Images in Art “Racial Stereotypes in Popular Cultural.” 15 Mar. 2005. American Memory from the Library of Congress. Accessed 29 Sep. 2007. < http://memory.loc.gov/ammem/ndlpedu/collections/chinese/langarts.html>. This site provides a wealth of racially stereotyped cartoons from an era of Chinese immigration to the United States . In light of the comic style of this book, the cartoons show how Chinese Americans used to be perceived and portrayed in popular American culture. Teachers can underscore with students the need to be responsible in the art and literature they create, as it will influence many who participate in it.   5. What It Takes to Make a Comic Freeman, John. “Comic Storytelling Tips That Work.” Writing Comics: A Guide . 12 Sept. 2007. Down the Tubes. Accessed 29 Sep. 2007. < http://www.downthetubes.net/writing_comics/index.html>. Since the students have an opportunity to create their own comic, this site will help them understand more of the commercial aspects of producing a comic, and understand the huge amount of work that goes into publishing a comic in either strip or book form.   6. Sample Short Stories or Personal Narratives Jen, Gish. Who's Irish? New York : Random House, Jun. 2000. Students can read an excerpt from this book of short stories to help flesh out their understanding of contemporary Chinese Americans, and the issues they face in carving out an identity combining their Chinese roots with the American reality. Students can also model their own personal narratives after some of Gish Jen's short stories.   7. More Chinese Legends Jordan, David K. “Chinese Tales.” Personal website. U of California , San Diego . Accessed 29 Sep. 2001. < http://weber.ucsd.edu/~dkjordan/chin/hboperaplots.html>. Students can reference this site for ideas for their comic strip. This emeritus professor's page contains links to dozens of traditional Chinese stories he has collected in his research. Many would be appropriate for a student to involve in their personal narratives and then draw into a comic.   8. Pre-Write Practice Watkins, Hilary. Original idea. “Cultural Comic Strip Pre-Write.” Brigham Young University . 29 Sep. 2007. Since students will eventually be writing their own comic strips, modeled after Yang's work, have them begin to collect information about a traditional tale they would like to illustrate. It could be another Chinese traditional story, a story from their own personal cultural tradition, or any other story that would lend itself to the assignment. Remind students that comic strips convey very basic information in each cell, and help them economize on words and get a solid story down.   9. Expository Writing Exercise Watkins, Hilary. Original idea. “Personal Narrative Reflecting a Cultural Tale.” Brigham Young University . 29 Sep. 2007. After the pre-write, students may write a personal narrative blending their own accounts of an issue with which they were faced with a story or legend of their choice that emphasizes, parallels, or foreshadows their personal narrative. This was a technique Yang used in his graphic novel, and writing a personal narrative will help flesh out the story for the comic the students will write.   10. Self-Illustration Watkins, Hilary. Original idea. “Self as Comic Character.” Brigham Young University . 29 Sep. 2007. Since Jin Wang, in many ways, is an autobiographical character for Gene Yang. Have students draw themselves as comic strip characters. Discuss as a class that comic strip characters aren't realistic depictions, but capture the essence of that person in simply and sometimes emphasized ways. You may also discuss outfit decisions and hair style as they reflect on the character. Reference Yang's characters for examples.   11. Who Was the Monkey King? Yang, Gene Luen. “The Monkey King.” 2001. Humble Comics. Accessed 29 Sep. 2007. < http://www.humblecomics.com/monkey/>. The story of the monkey king is probably foreign to most students. Yang created an in-depth site about the history and variations on the traditional tale, as well as his Christian reinterpretation of a piece of his Chinese heritage. This is a very student-friendly site; they can explore this after reading the first section on the monkey king in the novel. American Born Chinese – After Connections 1. Making Your Comic Valid Lavin, Michael R. “Do Comic Books Belong in Libraries?” Comic Books for Young Adults . 25 Sep. 2000. Accessed 7 Oct. 2007. <http://ublib.buffalo.edu/lml/comics/pages/do-comics.html>. Have students explore this site, keeping in mind that they must create and defend their own comic about their own personal life. Students can search in pairs, and identify reasons why the comics genre is valid. Then have pairs present to the class why they think a comic would be an effective way to tell their unique stories.   2. The Serious Side of Comics Satrapi, Marjane. Persolopis . Paris : Pantheon, 2003. Students can thumb through this book for examples of darker themes in a graphic novel. There is a persistent idea that comic books are all positive and happy, and deal with no serious subjects. This book details several serious incidences in an Iranian girl's life, and uses the comics genre to discuss deep issues.   3. The Emotional Side of Comics Spiegelman, Art. “Abstract Thought Is a Warm Puppy.” An Anthology of Graphic Fiction, Cartoons, & True Stories . New Haven : Yale UP, 2006. When Charles Schultz retired his famous Peanuts comic strip, the world mourned its end. Several artists paid tribute to him, including Art Spiegelman. Students can read this short comic to internalize the effect.   4. The Everyday Side of Comics Thompson, Craig. Blankets . Marietta , Georgia : Top Shelf Productions, 2006. This particular graphic novel will be useful for giving examples of everyday life illustrated effectively in comics form. The story follows teenagers in rural Wisconsin , showing beautifully how normal life can be viewed through the lens of art. Though the book deals with mature themes of sexual abuse and marital conflict, there are several sections of the book about activities as simple as making snow angels that are significant to students preparing to make a comic.   5. Why Comics Work Updike, John. “Cartoon Magic.” McSweeney's Quarterly Concern . San Francisco : McSweeney's Global Enterprises, 2004. Updike's article will help students understand the attraction and thrill of writing comics as they prepare to create their own. The class can read this in partners or groups, and discuss what they hope to convey in their own personal comics.   6. The Emotional Side of Comics, Part 2 Ware, Chris. “Charlie Brown, Snoopy, Linus, Lucy…” An Anthology of Graphic Fiction, Cartoons, & True Stories . New Haven : Yale UP, 2006. This strip, accompanied by the Spiegelman strip, can help solidify for students that comics have a wide-reaching cultural impact. Students will face the challenge of creating a meaningful strip with their own life as material.   7. Thinking Outside the Cell Box Ware, Chris. “The Remaining Winter.” An Anthology of Graphic Fiction, Cartoons, & True Stories . New Haven : Yale UP, 2006. When students are given materials to create their own comic strip, again reference examples from other strips and graphic novels. This excerpt of a graphic novel by Chris Ware, in particular, demonstrates creativity in cell layout, and can give students ideas to get their own comics off the ground.   8. Create Your Own Comic Watkins, Hilary. Original idea. “Create Your Own Comic.” Brigham Young University . 7 Oct. 2007. Provide students with their own blank paper. Provide rulers and pencils for the students, and reference the Ware strip for ideas for alternative cell layout. Students should have been preparing throughout the unit to create their own comic strip, drawing from life experiences. Have students create their strip using text, dialogue, and visual images.   9. Finding Application in Popular Comics Watkins, Hilary. Original idea. “Identifying Effective Comics.” Brigham Young University . 7 Oct. 2007. Students, in preparation for their own comic strip, research popular comics (for example, Calvin and Hobbes, Dilbert, Far Side, or anything in the newspaper) and find a strip or page that links directly to something current in their cultural experience. Students can present the comics on an overhead to the class and cover a few basic points of the strip's applicability.   10. Class Presentation Watkins, Hilary. Original idea. “Share Your Comic.” Brigham Young University . 7 Oct. 2007. When they are finished creating their own comics, have students rotate around the room, observing each other's work. When they have seen them all and you have graded them, you can either bind their comics into a class book, or make inexpensive copies for each student to have their own comic book.   11. Grading the Comics Yang, Gene Luen. “Comics Rubric.” 2003. Humble Comics. Accessed 7 Oct. 2007. <http://www.humblecomics.com/comicsedu/web.html>. This is a good sample rubric from the man who has mastered the comics genre. Incidentally, Yang is also a high school teacher, and has created this rubric to serve grading purposes for third to twelfth graders.