Because U.S. writers of color write in a society and in a language that historically has defined them in devalued, stereotypical terms, that "portrayed them as different, incomprehensible, inscrutable, and uncivilized—in short as 'others'" (Cyrus 2014, 13), I want to loosely use Gilles Deleuze and Felix Guattari's concept of a "minor literature" to frame my discussion of the emergence, renaissance, and transformation of multicultural American literatures from the 1960s to the early 2000s. Because it has no passion for the codes of the majority language, the minor literature has no desire "to assume a major function in the majority language, to offer its service as a sort of state language, an official language," which has denied it its own validity, its own complex existence (27). ...African American poetry and drama flourished in the 1980s, 1990s and early 2000s. ...fiction, such writers as David Wong Louie (Pangs of Love and Other Stories, 1991), Wakako Yamauchi (Songs My Mother Taught Me, 1994), Sara Chin (Below the Line, 1997), and Lan Samathana Chang (Hunger, 1998) have been similarly acclaimed.