古巴裔美國作家克里斯蒂娜·加西婭的華裔家族傳奇《獵猴記》以非洲黑奴制與亞洲勞工制的歷史聯結為背景,以華工陳潘只身移民古巴為原型,再現了華工背井離鄉來新世界謀生的移民史,以及其后代更復雜的空間位移所折射出的華人離散史。通過描寫陳潘在不同場域的生活,加西婭將古巴殖民社會不平等的種族關系以及非裔與華裔群體的聯合以空間表征的方式呈現出來,在批判(新)殖民權力的同時,呈現出歷史性、社會性和空間性的三元統一。陳潘后代所做的跨越太平洋以及橫亙美洲的空間位移則把空間想象與情感歸屬納入了離散身份構建的語境,從而解構了母國和移民國之間的二元關系,表明離散者日益增強的流動性使離散身份面臨更復雜的構建過程。

Set in the historical juncture of African slavery and Asian indentureship, Cuban American writer Cristina García’s Monkey Hunting(2003) is a Chinese family saga that depicts the history of Chinese immigration to the Caribbean and Latin America. It describes a Chinese indentured worker’s archetypal journey to Cuba and the more complicated spatial mobility of the younger generations of his family, which reflects the Chinese diasporic history in a wider diasporic space. Through the indentured worker’s struggles in different locales, García spatially represents the unequal racial relationships and the alliance of Chinse and African diasporas in the colonial Cuban society, thus showcasing the trialectics of historicity, sociality and spatiality. The transpacific and trans-American mobility of younger generations of the indentured worker’s family relate spatial imagining and emotional belonging to the construction of diasporic identity. By deconstructing the binary of "homeland" and "hostland", the novel suggests that the fluidity of diasporic geography engenders a more complicated process of identity construction.