![]() HH: When I started graduate school in 2000, there was a really firm distinction between academic writing and writing for a public. I also really wanted free records.ĬZ: Did your thinking about such writing change? But at the time, I just wanted to have a voice and to shape a voice. Making zines was positioned against unidirectional, authoritarian flows of knowledge. Now I can look back and project a story of how I was resisting authoritarianism, which is what some histories describe as the roots of criticism. Hua Hsu (HH): I can’t actually recall the first piece of critical writing I ever did, because I’m in my 40s and I started off making zines and writing for them back in the ’90s. ![]() Hsu and I spoke over Zoom in the fall of 2020.Ĭaitlin Zaloom (CZ): What was the first critical essay that you remember writing? ![]() He has written for outlets like The Atlantic, Artforum, Grantland, and the Village Voice at the New Yorker he has written on, among other topics, Guy Fieri, The Simpsons, Bon Iver, De La Soul, Maxine Hong Kingston, and Stuart Hall. He is the author of A Floating Chinaman: Fantasy and Failure Across the Pacific, which discusses the rising influence and bitter rivalries of Chinese American authors during the interwar years. ![]() A staff writer at the New Yorker and an associate professor of English at Vassar College, Hua Hsu is a paradigmatic public intellectual. ![]()
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