Almost perfect. Yamashita is such an experimental and post-modern writer. She really questions form and what precisely a novel is within her works. I've been reading her works lately and this series of novellas is a labor of love. That's all I can say. It's changed me and that's the most powerful thing a novel can do for you if that isn't the goal of an author, I don't know what is. ( )

I felt this book was confusing and uneven, though that I think was the point. There are stories contained that were more engaging than others. Overall though, a complicated and multi-angled view of a very specific place and time emerges. Something like cubism, where you are seeing as many sides as possible at once. It is disorienting and there were parts where I wasn't really enjoying the book, but I can see how it works to tell a story in a fairly realistic way. Reality doesn't have clear plot lines and beginnings or ends.
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This book is a masterpiece.

It's somewhat experimental fiction, and clearly not everyone likes that (see other reviews), but as a whole I have seen nothing that tackles the subject matter and time period with such attention to detail, spirit, and, well, affection. Not nostalgic -- if anything certain segments remind me too much of situations I'm glad I'm not in anymore -- but I Hotel distills the political time and place of SF in the '70s better than anything I have ever read.

This book makes the untold history of this time come alive. Best book I read in 2010. ( )

Relentlessly intelligent, both in terms of literary style and substance. Alternating poetry, prose, screenplay and line narrative, I Hotel runs the gamut from hip and light-hearted to horribly sad. Full of truths and insights into an explosively intense and volatile period of recent history - the life of the left in the late '60's and early '70's. The frame is the Asian American experience, particularly in NoCal, most particularly in San Francisco. Readers are treated to compelling historical fiction regarding Japanese, Filipino, Korean, Vietnamese and Chinese experiences including interments, human smuggling, sweatshops, and blatant discrimination. At the same time, diverse characters provide insight into a rich variety of political, cultural and intellectual traditions and achievements.

Told as a series of loosely interwoven stories, I Hotel can be a bit of a challenge at times. In fact, I decided to finally let go of trying to find threads between stories and characters. I found it more rewarding to enjoy each segment on its own. May be worth a re-read someday. ( )

The International Hotel (I-Hotel) was built a year after the devastating 1906 San Francisco earthquake in Manilatown, a community of some 20,000 Filipino immigrants on the edge of Chinatown. It was a residential hotel, which mainly housed Filipino and Chinese immigrant bachelors who worked in nearby businesses but couldn't afford homes, along with a smattering of artists and community and political activists that moved there in the 1960s. The I-Hotel sat in the shadow of the Financial District's famed Transamerica Pyramid, and as the area became more populated with gleaming office buildings the land adjacent to the hotel became more desirable while the building seemed more and more out of place. The hotel was purchased by a wealthy Chinese investor in 1968, who planned to tear down the building, evict its residents, and build a more profitable high-rise tower.

The residents of the hotel and community activists fought the developer and the city for years to prevent its demise. However, in 1977 the city's police department physically overpowered dozens of protesters and forcibly evicted its remaining residents, who were mostly elderly men who had lived there for decades, and the building was torn down immediately afterward. Ironically, the planned commercial development never took place, and a reincarnation of the I-Hotel for low- and middle-income residents was built on this site in 2005.

Karen Tei Yamashita, a professor of Literature and Creative Writing at UC Santa Cruz, uses the I-Hotel as the basis for this ambitious, sprawling, unique and successful novel about the Asian American civil rights movement, or Yellow Power movement, in San Francisco, Berkeley and other Bay Area cities in the 1960s and 1970s. The book is divided into 10 novellas, and each revolves around mostly fictional characters who are deeply involved in the burgeoning movement, including student protests at San Francisco State and UC Berkeley, the Native American takeover of Alcatraz Island, the efforts of farm workers to earn a decent wage and working conditions, and, of course, the unsuccessful efforts to save the I-Hotel. Yamashita uses a variety of tools to tell these stories, including poetry, portraits, graphic art, and government manuscripts.

Most of these novellas were very well done, and the book's ending was superb. Throughout the book I felt as if I was an observer being pulled along, sometimes breathlessly, from one story and one locale to another, in a whirlwind series of historical and personal narratives by a persistent and passionate guide. At the book's end I was somewhat fatigued, a bit overwhelmed, but ultimately grateful for the journey and what I learned along the way. ( )