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One of the major themes of literary texts produced in the US since Ralph Waldo Emerson called for ‘The American Scholar’ has been to explore the meanings and natures of “America” which implicitly refers to Anglo-America or the US. Yet the essays of José Martí, who worked in New York for Cuba’s independence in the late 19th century when the US was actively exerting its imperial expansion overseas, and Paule Marshall’s Brown Girl, Brownstones (1959) which depicts the black Barbadian immigrant community in Brooklyn between the two World Wars, explicitly challenge the US monopoly on the term ‘America.’ They not only effectively reveal the experiences and voices of the ‘third world’ of the Caribbean immigrants, which have long been invisible and inaudible in the metropolis, New York and in the US as a whole, but they also actively transform the so-called ‘marginal’ space of immigrants/exiles within the US national borders into the dynamic and conflicting space of the borderlands, or the ‘in-betweenness’ of the Americas. Their borderland writings redefine the US and ‘America’ by assuming an innovatively ‘American’ and transnational perspective, and bridge the gap between the Americas which are revealed to be equally multi-colored and equally white-dominated.