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Asian North American Adoption Narratives
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Transnational adoption from Asia began in the 1950s as an institutionalized practice. Since, hundreds of thousands of young people from countries such as South Korea, China, India, Vietnam, and the Philippines have been adopted and raised primarily in white families in places like the United States, Canada, and Australia but also Scandinavian countries and countries in western Europe. What began as a relief program for multiracial “war orphans” in South Korea has blossomed considerably and affects countries and people around the world; transnational adoption has become a popular industry that targets young people in countries including Guatemala, Brazil, Ethiopia, Nigeria, Haiti, and Russia. Today, transnational adoption continues to be a lucrative industry, though the practice seems to be dwindling in popularity and certain “sending nations” have recently declared its abolition (i.e., Ethiopia in 2017). The United States is by far the most prolific “receiving nation,” and is implicated as one of the greatest instigators, given that nation’s military presence in places such as South Korea and Vietnam in and around the years that transnational adoption expanded from those countries. While not nearly as many Canadians (in comparison to Americans) adopt from countries in Asia, adoptees raised in that country have unique experiences mainly due to vastly distinctive regionalism, that makes, for instance, the identities of Asian/Québécois adoptees uniquely precarious. Mexico is considered a “sending nation,” and since race and class factors rarely see young people both immigrating and migrating from the same nation under the auspices of transnational adoption (though it is not always the case; see, e.g., the United States’ history of sending black children for adoption to various European nations), it is mostly not included in conversations about transnational Asian/North American adoption.
For decades, literature about transnational Asian/American adoption centered on adoptive parents, social workers, and pro-adoption activists. In the 1990s, Asian adoptees around the world began to recount their experiences of racial and cultural alienation, among other things, in life writing and poetry. Adoptees in North America were no exception. Asian/North American authors (as well as non-Asian writers) began exploring these subjectivities, too, usually in the context of examining racial, cultural, and national issues related to other Asian/North American subjects who were not subjects experienced. Across most of these representations—by adoptees and non-adoptees alike—the theme of personal and collective history is a notable focus, and adoptees are imagined as another meaningful example of the paradoxical and complex ways Asian/North Americans’ paper histories, immigration rights, and so-called model minorityhood have been levied. Transnational Asian/North American adoption continues to be a topic of fascination for so many writers and audiences and these representations cross genres, aesthetic modes, and narrative styles.
Title: Asian North American Adoption Narratives
Description:
Transnational adoption from Asia began in the 1950s as an institutionalized practice.
Since, hundreds of thousands of young people from countries such as South Korea, China, India, Vietnam, and the Philippines have been adopted and raised primarily in white families in places like the United States, Canada, and Australia but also Scandinavian countries and countries in western Europe.
What began as a relief program for multiracial “war orphans” in South Korea has blossomed considerably and affects countries and people around the world; transnational adoption has become a popular industry that targets young people in countries including Guatemala, Brazil, Ethiopia, Nigeria, Haiti, and Russia.
Today, transnational adoption continues to be a lucrative industry, though the practice seems to be dwindling in popularity and certain “sending nations” have recently declared its abolition (i.
e.
, Ethiopia in 2017).
The United States is by far the most prolific “receiving nation,” and is implicated as one of the greatest instigators, given that nation’s military presence in places such as South Korea and Vietnam in and around the years that transnational adoption expanded from those countries.
While not nearly as many Canadians (in comparison to Americans) adopt from countries in Asia, adoptees raised in that country have unique experiences mainly due to vastly distinctive regionalism, that makes, for instance, the identities of Asian/Québécois adoptees uniquely precarious.
Mexico is considered a “sending nation,” and since race and class factors rarely see young people both immigrating and migrating from the same nation under the auspices of transnational adoption (though it is not always the case; see, e.
g.
, the United States’ history of sending black children for adoption to various European nations), it is mostly not included in conversations about transnational Asian/North American adoption.
For decades, literature about transnational Asian/American adoption centered on adoptive parents, social workers, and pro-adoption activists.
In the 1990s, Asian adoptees around the world began to recount their experiences of racial and cultural alienation, among other things, in life writing and poetry.
Adoptees in North America were no exception.
Asian/North American authors (as well as non-Asian writers) began exploring these subjectivities, too, usually in the context of examining racial, cultural, and national issues related to other Asian/North American subjects who were not subjects experienced.
Across most of these representations—by adoptees and non-adoptees alike—the theme of personal and collective history is a notable focus, and adoptees are imagined as another meaningful example of the paradoxical and complex ways Asian/North Americans’ paper histories, immigration rights, and so-called model minorityhood have been levied.
Transnational Asian/North American adoption continues to be a topic of fascination for so many writers and audiences and these representations cross genres, aesthetic modes, and narrative styles.
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