By Thomas Girst
How can paintings, how can prose and poetry originate despite the restraints of manipulation, propaganda, and censorship? This examine explores such matters via concentrating on the cultural trajectory of eastern American internment, either in the course of and after international conflict II. formerly unknown records in addition to interviews with family and friends show new facets of John Okada’s (1923–1971) existence and writing, supplying a complete biographical define of the writer. The publication 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 learn concerning Italo Calvino’s (1923–1985) Six Memos for the following Millennium (1985) place Okada’s in basic terms publication as global literature.
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Extra info for Art, Literature, and the Japanese American Internment: On John Okada’s "No-No Boy"
84 Omata, Donna Rise. “The Desert in Bloom: Art from the Japanese American Internment,” in: The Washington Post, November 8, 1987, W42 (Inside/Out); Kimmelmann, Michael. “‘The View from Within’: Japanese-American Art from the Internment Camps, 1942-1945,” [exh. review] in: The New York Times, June 16, 1995, C26; Nakane, Kazuko. “The View from Within: Japanese American Art from the Internment Camps 1942-1945 [exh. ]” [book review] in: Amerasia Journal 19, 1 (1993), 200- 202, 201. 85 Ten years before, the Whitney Museum of American Art had already staged an exhibition titled Executive Order 9066, presenting documentary photography only.
129 127 Buruma, Ian. “Pioneer,” in: The New York Review of Books, May 15, 2003, 12-15, 13. 128 For Americans in Japan and their encounters during the Meji period, see Rosenstone, Robert A. The Mirror in the Shrine, Cambridge: Harvard College, 1988. Rosenstone’s account mainly focuses on the experiences of the Japan experts Willie Griffis, Edward Morse and Lafcadio Hearn. ). The Third Mind: American Artists Contemplate Asia, 1860-1989, London: Thames & Hudson, 2009 [exh. 130 Yet all things considered, it was more harmony and balance than exuberance which attracted Western artists to Eastern concepts of aesthetics and beauty.
The Redress movement fought for compensation in economic (financial) and political (official apology) terms. Artists and their creative output, seemingly affirmative or in stark opposition to their condition, are as such first and foremost established through aesthetic judgments. Most of the art created – in light of possible censorship, propaganda and manipulation as well as measured by the interference of those in power cracking down on real acts of sabotage and armed resistance – is primarily positive and harmless, even when dealing with bleak subject matter.