The fiction of Chinese American poet and art critic John Yau is best understood as the transformation of a personal dilemma into a formal imperative; that is, his experience of feeling outside both ...
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In the following excerpt, Sihjeldahl offers a favorable assessment of The Sleepless Night of Eugene Delacroix.
John Yau's intense, high-strung prose-poetry [in The Sleepless Night of Eugene ...
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In the following favorable review of Corpse and Mirror, Eshleman contends that Yau's poetic abilities establish him “as one of the most genuinely gifted poets of his reticently emerging ...
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In the following favorable assessment of Big City Primer, Friedman describes the collaboration between Yau and photographer Bill Barrette.
In these pages, in 1982, I reviewed the first six books of...
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In the following essay, Foster discusses Yau as a Chinese American poet, contending that “his work has much wider implications than such labels may imply.”
You ask. What words will re...
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In the following review, Perloff surveys the broad stylistic and emotional range of verse in Forbidden Entries.
John Yau has always cultivated the image of Angry Young Man. The picture of him on th...
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In the following evaluation, Chang examines the ways in which Yau utilizes racial identity and stereotyping in Forbidden Entries.
The poetic and critical writings of John Yau present an intriguing ...
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In the following review, Devaney asserts that “spilling over with formal mastery, Borrowed Love Poems is an utterly pleasurable collection.”
John Yau's recent Borrowed Love Poe...
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In the following essay, Morris analyzes the relationship of Yau's art criticism and his poems “Electric Drills” and “The Telephone Call.”
John Yau's art wr...
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In the following essay, Xiaojing argues that Yau's “Genghis Chan” series “connects postmodernism in poetry to debates about postmodernism and Asian American identity in way...
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John Yau
Critical Review by Peter Sihjeldahl
