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Marilyn Chin.
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In the following essay, Uba includes Chin in a discussion of Asian-American poets writing after the 1960s and 1970s, noting that Chin, in her poetry, is skeptical of the very source of personal and et...
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In the following review, Lynch offers high praise for most of the poems in The Phoenix Gone, The Terrace Empty.
The strongest poems in Chin's second collection [The Phoenix Gone, the Terrace Em...
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In the following review, the critic praises Chin's simplicity of imagery and language in The Phoenix Gone, The Terrace Empty.
[In The Phoenix Gone, The Terrace Empty] Chin (Dwarf Bamboo) writes...
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In the following excerpt, Rothschild praises Chin's intensely personal depiction of cultural assimilation.
Marilyn Chin has a voice all her own—witty, epigraphic, idiomatic, elegiac, ear...
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In the following essay, Slowik examines the ways in which Chin and other Asian-American poets address their need to examine their cultural roots while continuing to assimilate into their new culture.
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In the following essay, McCormick places Chin's poems that examine the poet's identity in the company of feminist theory that seeks to claim both a history and a language for women of co...
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In the following essay, Gery maintains that Chin finds her own voice, and transcends the constraints confronted by women writers of color, through “articulate emptinesses” and “im...
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In the following review, the critic offers overall praise for Rhapsody in Plain Yellow.
Chin's concerns for heritage and descent, matched with confrontational rhetoric, seem to make her an old-...
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Critical Essay by George Uba
