By Thomas Girst
How can artwork, how can prose and poetry originate despite the restraints of manipulation, propaganda, and censorship? This research explores such matters by way of targeting the cultural trajectory of eastern American internment, either in the course of and after international conflict II. formerly unknown files in addition to interviews with family and friends exhibit new elements of John Okada’s (1923–1971) existence and writing, supplying a entire biographical define of the writer. The booklet refutes the belief that Okada’s novel No-No Boy was all yet refrained from while first released in 1957. a detailed studying in addition to a comparative learn concerning Italo Calvino’s (1923–1985) Six Memos for the following Millennium (1985) place Okada’s merely 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"
Cat. Jewish Museum, NY]. Of course, rather crude and banal examples like Tom Sach’s Prada Death Camp (1998), Piotr Uklanski’s The Nazis (1998), Rudolf Herz’ Zugzwang (1995), Dinos and Jake Chapman’s Hell (2000) or Zbigniew Libera’s LEGO Concentration Camp Set (1996), to name but a few, rather seem to irresponsibly exploit Holocaust imagery in self-indulgent output calculated for its shock value. See also Rohr, Susanne, “‘Playing Nazis,’ ‘mirroring evil’: Die Amerikanisierung des Holocausts und neue Formen seiner Repräsentation,” Amerikastudien/American Studies 47, 4 (2002), 539-553.
The Cultural Cold War: The CIA and the Worlds of Arts and Letters, New York: The New Press, 1999. 45 [I]t was always assumed that such detached and materially disinterested outsiders would never find themselves in conflict with America itself. 113 Only with the massive budgetary fallout after 1989 did it became apparent how little value was in truth ascribed to the arts, and for what reasons significant funding had been coming through in the decades before. 114 In the following we will therefore examine how a younger generation of Nisei, Sansei and Yonsei artists ascertained the peculiar historic situation of the Japanese Americans in the decades after the war.
I don’t want to use [them] as political propaganda,” Henry Sugimoto told 82 Higa, 15. 83 Higa, 44. 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.