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...
Read more
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...
Read more
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...
Read more
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...
Read more
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.
...
Read more
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...
Read more
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...
Read more
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-...
Read more
