Orientalism, according to Edward Said, is a constructed idea of the Orient that differs from its real image, as it positions the West over the Orient in a hierarchical order. Thus, the discourse of Orientalism accentuates the polarity of self/other. The Other is hence often restrained by the stereotypical representations of the domineering group. These anachronistic depictions are signs of how Orientalism breaks in upon the Other's space and identity. However, the power of Orientalism can be resisted through exposing its aspects to criticism. In that way, Orientalism can ironically give power to the subservient subject. That is what David H. Hwang, an Asian American writer, tries to do in his Fresh off the Boat (1979). In this play, he aims at contesting and resisting Orientalism through criticizing the representation of Asian Americans in America. Then he suggests ways through which they can re-appropriate their stereotypical representations and set themselves free from the fetters of Orientalism. The most effective means of doing that, according to Hwang, is through adhering to one's mythic past. That is to say, for Asian Americans to achieve relocation, they must refer to the literary legend of the past. In brief, this proposed paper will attempt to point up how Hwang resists Orientalism in his play FOB.
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