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dominant image of white and
Western superiority. And the novel does so by appropriating and redeploying the hegemonic tropes of cartography and geography in ways that map Western colonialism and the buried sites (longitude and latitude figured in the parole of history) of prehistoric rivers, flora, and fauna, and 'native' resistance as well as the ongoing transgressions of African Americans, Asian migrants, Latino/as, just to name a few of the other who have and are inhabiting the geography—in the deep sense—of Los Angeles."
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is its work in decentering normative narratives of race and space in Los
Angeles and its cultural texts. Asian American literary scholar Ruth Hsu argues that the images of the novel "decenter the dominant Anglo-Euro-American narratives about Los Angeles, the ones that empower and maintain the
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as it deals with issues of contested geopolitical borders. This has been related to the study of migration and ethnic exclusion, but also in drawing connections to diasporic politics beyond single ethnic, racial, or national groups. Claudia
Sadowski-Smith writes, "Yamashita employ the same
243:. Rafaela also overhears a conversation between two men that makes her fear for the safety of herself and her son, Sol. Meanwhile, Bobby, who has been trying to locate Rafaela and Sol, is mysteriously informed of the arrival of a young Chinese girl who may or may not be a cousin of his.
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235:. Gabriel's Mexican home is the site of early anomalies that become increasingly visible and widespread as the novel progresses, including a special orange that falls from Rafaela's favorite tree at the home. This orange is picked up by the mystical
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revolves around seven distinct, yet interrelated characters and story lines (listed in bold below). The story covers the span of seven days, with each day getting its own unit, and with each character getting one chapter for each day.
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writes that the novel is "fiercely satirical" but "disappoints as it heads for the home stretch, when her playful seriousness too often gives way to pedantic polemics." Sarah LaBrie, book reviewer for the
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The novel has received extensive critical study from literary scholars, especially within the fields of Ethnic
American and Asian American literature.
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Kim, Dorothy. "Karen Tei
Yamashita's Tropic of Orange: Postcolonial Discourse and (Re)Visions of America at the Century's Edge." Ed. Koski, Lena M.
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has been generally well-received and praised for its ambition and scope, but criticized for its explicit politics. For example, Janet Kaye for the
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described the text as "an ambitious but cluttered, apocalyptic riff on immigration, the homeless, and NAFTA as the Tropic of Cancer moves north."
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Sadowski-Smith, Claudia. "The U.S.-Mexico
Borderlands Write Back: Cross-Cultural Transnationalism in Contemporary U.S. Women of Color Fiction."
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and the creation of a new urban social order by homeless population moving into the abandoned cars. One of
Gabriel's most reliable sources is
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describes the novel as "loud, ambitious, far-flung and manic," while designating it as one of the "best L.A. novels."
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and former doctor who conducts freeway traffic from an overpass as if they were symphonies.
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is a novel set in Los
Angeles and Mexico with a diverse, multi-ethnic cast of characters by
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Hsu, Ruth Y. "The
Cartography of Justice and Truthful Refractions in Karen Tei Yamashita's
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in Mexico, a shipment of poisoned oranges from Brazil, a wrestling match between "Super
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Arizona
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American Studies at the Millennium: Ethnicity, Culture & Literature.
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https://www.amazon.com/Tropic-Orange-Karen-Tei-Yamashita/dp/1566890640
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In addition to the mystical orange, the plot includes illegal human
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In Los Angeles, Japanese American television news executive,
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Transnational Asian American Literature: Sites and Transits.
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precolonial myths to simultaneously stress transnational
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Kaye, Janet. "Tropic of Orange by Karen Tei Yamashita."
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Turku, Finland: Turku University Press. 2001. 211-230.
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cross-cultural groups who populate the borderlands."
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