By Thomas Girst
How can paintings, how can prose and poetry originate despite the restraints of manipulation, propaganda, and censorship? This learn explores such matters by way of concentrating on the cultural trajectory of eastern American internment, either in the course of and after global struggle II. formerly unknown files in addition to interviews with family and friends show new elements of John Okada’s (1923–1971) lifestyles and writing, supplying a accomplished biographical define of the writer. The ebook refutes the belief that Okada’s novel No-No Boy was all yet kept away from whilst first released in 1957. a detailed examining in addition to a comparative research concerning Italo Calvino’s (1923–1985) Six Memos for the following Millennium (1985) place Okada’s basically ebook as international literature.
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Extra info for Art, Literature, and the Japanese American Internment: On John Okada’s "No-No Boy"
Extraordinary Circumstances, Exceptional Practices: Music in Japanese American Concentration Camps,” in: Journal of Asian American Studies 8, 2 (June 2005), 171-209, 200. 108 Waseda, 200. ”109 On another level, yet comparable in its manipulative use, the WRA advocated non-objectionable activities and, in an effort to “Americanize” its prisoners, encouraged popular Western and American musical activities that even included beauty pageants and baton-twirling leagues of the cheerleading kind. 110 Keeping these issues in mind it is much simpler to recognize that after the war, on a much greater scale than within the internment camps, the infusion of Western art was in many ways politically employed to contribute to winning a budding Cold War against the Soviet Union and Communism.
108 In Nazi concentration camps, music was employed for entertainment of those in charge or “for coercing the prisoners to march in step,” “sing humiliating songs while they worked” or to “deceive visiting delegations from the Red Cross” by tolerating voluntary musical activities. At the same time “prisoners composed satirical works and secretly played compositions by Jews unknown to Germans as a means of resistance,” and made music to mentally escape their 105 Hershenson, WC 19. 106 Welchman, John C.
87 Kimmelmann, C 26. 88 Kimmelmann, C26. As late as the mid-1990’s it was still considered “surprising” that an exhibition “highly critical” of the internment stirred “little controversy,” see Golberger, Paul. ,” in: The New York Times, February 11, 1996, H1, 26. 89 Nakane, 201. 90 Ibid. 39 Renowned human-rights and feminist activist Eleanor Roosevelt even sought solace in the arts produced within the internment camps. Through the mere existence of artifacts and based on general observations she could best prove her point about the ethnic Japanese as compliant and trustworthy as any US citizen.