Reviewed by:

• Postcolonial Grief: The Afterlives of the Pacific Wars in the Americas by Jinah Kim
• Yên Lê Espiritu

In the context of the ongoing disavowal of military violence and imperialisms in the Pacific, Postcolonial Grief: The Afterlives of the Pacific Wars in the Americas asks: What kind of transformative politics is possible when we mourn and remember the deaths and losses that have been erased from Japanese, U.S., and Korean national histories? Insisting that the violence of past wars and colonialism shape the postcolonial present, Jinah Kim explores how the aesthetic and creative work of Korean and Japanese diasporic writers, artists, and filmmakers across the Americas illuminates how the difficult work of mourning and remembering may generate transformative and decolonial politics. Guided by comparative, relational, and critical juxtaposing perspectives, Postcolonial Grief powerfully names the interimperial complicity between U.S. and Japanese imperialisms in the Pacific and places the experiences and representations of Korean and Japanese diasporas in the Americas in conversation with other displaced and marginalized peoples.

What I appreciate most about Postcolonial Grief is its contention that Asian diasporic subjectivity exists in relation to a large constellation of actors and historical situations not only across the Pacific but also across the Americas. In four tightly-written chapters that become progressively more transnational in scope, Kim retells the violence of Japanese and American militarism in the Pacific by moving outward from Los Angeles to Japan, Peru, and South Korea, and [End Page 184] analyzing in turn the cultural politics around redress for WWII-era Japanese American internment, the Los Angeles Riots of 1992, former Korean colonial subjects and hibakushas who refuse to forget their stories, and the 1996 hostage takeover of the Japanese ambassador's home in Peru. An eloquent meditation on war, memory, empire, and grieving, Postcolonial Grief cumulatively explores the relationship of mourning and refusal to heal to transpacific subjectivities, aesthetics and decolonial politics that seek to expose Japanese and American colonial atrocities and ongoing militarized occupations.

Chapter 2, "Haunting Absence," exemplifies the book's comparative and relational approach to world history. Conceptualizing Los Angeles as a critical portal through which to engage the militarized Pacific Arena, Kim provocatively shows how the 1992 Los Angeles Riots reveals the intersections of American militarism and (neo) colonialism in South Korea and in Guatemala with Black struggles against deindustrialization and segregation in Los Angeles. Through a historical overview of the shared legacies of U.S. militarism in Korea and in Guatemala, and a critical reading of Dai Sil Kim-Gibson's film Sa-I-Gu (4-2-9, for April 29) and Hector Tobar's novel The Tattooed Soldiers, Kim maps the postcolonial grief that links these silenced military histories and peoples, showing how the eruption in seemingly local neighborhoods in Los Angeles was constructed through and connected to transnational conflict and decades of U.S. imperialism. She further shows how the absence of state protection and breakdown of social orders during the riots challenged the city's Korean Americans and Latinos to produce new critiques that establish the confluence of U.S. militarism and white supremacy. In the same way, in her analysis of Hisaye Yamamoto's 1985 short story "A Fire in Fontana," Kim illuminates how the forced relocation and incarceration and postwar relocation of Japanese Americans into U.S. cities emerges through the historical and ongoing dispossession and segregation of Blacks upheld by both white mob violence and police collusion.

Postcolonial Grief also stands out for its attentiveness to the importance of geopolitical and cultural imaginary in understanding world history. In the Introduction chapter, Kim establishes that U.S. wars in Asia and the Pacific Arena are not only historical and political events; they are also cultural-literary ones. Through analyses of the language of U.S. treaties and policies and literary and filmic archives, Kim shows that U.S. Cold War liberal governance, with its narratives of rescue and universal human liberation, silences the interimperial violence and...

审核人：

• 后殖民悲伤：美洲太平洋战争的来世by Jinah Kim
• YênLêEspiritu

在太平洋地区持续遭到军事暴力和帝国主义拒绝的背景下，《后殖民悲伤：美洲太平洋战争的来世》问：当我们哀悼并记住已消除的死亡和损失时，什么样的变革性政治是可能的来自日本，美国和韩国的民族历史？Jinah Kim坚称过去战争和殖民主义的暴力塑造了后殖民时代的存在，探索了韩国和日本的散居各地的作家，艺术家和电影制片人的美学和创造力作品如何阐明了哀悼和记忆的艰辛工作可能如何产生变革性的影响。殖民政治。在比较，关系和批判并置的观点的指导下，后殖民悲痛 有力地指出了美日帝国主义在太平洋地区之间的帝国共谋关系，并将韩裔和日本侨民在美洲的经验和代表性与其他流离失所和边缘化人民进行了对话。

对于后殖民悲痛，我最欣赏的是它的论点，即亚洲侨民的主观性不仅与整个太平洋地区而且整个美洲都与大量的演员和历史局势有关。在四封严谨的章节中，金正日逐渐从跨国界出发，通过从洛杉矶移居日本，秘鲁和韩国，重述了日本和美国在太平洋地区的军国主义的暴力行为，以及[结束第184页]反过来分析围绕第二次世界大战时期日裔美国拘留所的补救，1992年的洛杉矶暴动，拒绝遗忘自己的故事的前韩国殖民主体和hibakushas以及1996年劫持日本大使在秘鲁的人质的文化政治。后殖民悲伤是对战争，记忆，帝国和悲痛的雄辩性冥想，它累积地探索了哀悼和拒绝治愈跨太平洋的主观性，美学和非殖民政治之间的关系，后者试图揭露日美殖民主义暴行和正在进行的军事化占领。

第2章“困扰困扰”举例说明了该书对世界历史的比较和相关方法。金通过挑衅性地将洛杉矶概念化为与军事化的太平洋竞技场交战的重要门户，他挑衅地展示了1992年的洛杉矶暴动如何揭示了韩国和危地马拉的美国军国主义和（新）殖民主义与黑人为反对工业化和种族隔离而进行的斗争。洛杉矶。通过对美国在朝鲜和危地马拉的军国主义共同遗产的历史回顾，以及戴西·金·吉布森（Dai Sil Kim-Gibson）的电影《Sa-I-Gu》（4月29日，4-2-9）和赫克托·托巴尔（Hector Tobar）的小说《纹身》的批判性阅读，士兵，金（Kim）绘制了将这些沉默的军事历史和人民联系在一起的后殖民时代的悲痛，并展示了看似洛杉矶本地社区的爆发是如何通过跨国冲突和数十年来的美国帝国主义构建的，并与之联系在一起。她进一步表明，骚乱期间缺乏国家保护和社会秩序崩溃如何挑战该市的韩裔美国人和拉丁美洲人提出新的批评，从而确立了美国军国主义和白人至上主义的融合。同样，金在对山本久平（Hayaye Yamamoto）1985年的短篇小说《方塔那之火》的分析中，阐明了日裔美国人如何被迫搬迁，监禁和战后搬迁至美国。

后殖民悲伤也因其对地缘政治和文化想象力在理解世界历史中的重要性的关注而脱颖而出。在“引言”一章中，金确定了美国在亚洲和太平洋竞技场的战争不仅是历史和政治事件；他们也是文化文学的。通过对美国条约和政策以及文学和电影资料库语言的分析，金正日表明，美国冷战的自由统治及其救助和全人类解放的叙述，沉默了帝国主义之间的暴力冲突和...