藉著討論任碧蓮的兩篇小說，《典型美國人》和《夢娜在夢土》，這篇論文試圖重新理解亞/美研究的脈絡，跳脫弱勢論述的理論侷限，提出一個較為流動。互補的理解框架來討論經驗，認同與主體性的問題。從這個思考方向出發。我援引了大衛•帕倫波劉對「斜線」的討論，試圖將亞/美理解為一個流動發展的概念，進而聯繫起亞洲移民過去的文化歷史與美國境內當下的社會交化脈絡，既不放棄對美國公民身份的認同，也不拋棄移民的歷史經驗與文化傳承。另一方面，「斜線」的重要性更在於他所蘊含的「心創」（trauma）經驗，其實是亞/美社群主體性建構的一個基礎。缺乏對「心創」經驗的認識，非但不能深入感受亞/美經驗的獨特性，更無法去理解亞/美認同本身作為政治建構的意義。正是在這個意義上我們可以看到任碧蓮小說的文化政治意涵:不論是第一代還是第二代，亞裔移民都面對著這個分裂的歷史過程--從「非亞非美」到「既亞又美」--唯有重新認識這個分裂（split）不是斷裂，而是亞/美主體性的一體兩面，亞/美社群才能發掘潛在的政治能量，將分裂的過去重新聯繫起來，跳脫弱勢論述的囿限，開展流動發展的亞/美視野。「在『斜線』上書寫」。不僅是任碧蓮的書寫策略，也是對亞/美經驗的重新理解與文化動員。

　　　　　This paper begins with a rethinking of “Asian/America” as formulated with a solidus rather than with a hyphen or a space in between. Unlike the hyphen that values Asia and America with equal weight, the solidus stresses on the interpenetration between Asian and America which concerns less about equal value but more about strategic incorporation that makes Asian/America as a cultural nexus that links Asia and America in a more transnational cultural paradigm. The solidus, read as slash, hashes Asian Americans into halves as partly Asian and partly American, having footholds on both ends, but truly belonging to nowhere. The slash is therefore a traumatic space in which Asian American subjectivity emerges in the form of schizophrenia that is heavily embedded in immigrant experience and vibrantly interactive with ethnic identification. Using Gish Jen's two novels, Typical American (1991) and Mona in the Promised Land (1996) as examples, this paper aims to tease out the issues of whiteness and subjectivity to examine the significance of identity formation in both Chinese immigrant parents and Chinese American daughters. I would argue that the immigrant experience is essentially an experience of whiteness, an experience of being cast out to the periphery of American subject, which constitutes the discourse of ethnic identification, limning out a distance between the white Other and the ethnic self. The white Other demands the ethnic self to be "white like me," but at the same time, it poses the moment of culmination on an infinite future that situates the ethnic self always in a "(not) white like me" condition. Borrowing Zygmunt Bauman's conceptual framework of modernity in his recent work, Liquid Modernity (2000), I attempt to contrast immigrant's solid and heavy identity vis-a-vis Asian American's liquid and light identity label, arid the modern project of self-development versus the postmodern program of self-fashioning. These sets of contrasts will lead us back to a reconceptualization of schizophrenic subjectivity, which is no longer a stigmatized mental disorder, but precisely a political construct that would re-vision Asian/America as a cultural-political terrain filled with rejuvenating power.