No-No Boy Chapter Summary

In Jamie Ford’s historical fiction Hotel on the Corner of Bitter and Sweet, this split narrative focuses on two eras: 1942 and 1986. Within these era’s, Ford’s novel focuses on a Chinese boy, Henry Lee, and what it was like to grow up in the international district with prejudice everywhere, especially in his own family being a first generation American. His novel tells the story of Henry, as well as a Japanese girl by the name of Keiko. The novel tells the story of these two young friends and the hardships faced when the government sends Keiko and her family away to the Japanese internment camps in the Northwest in the 1940’s. His novel displays the effects

There are many things that happened to Japanese-American immigrants during World War 2 that people in this time period aren’t really familiar with. A story from a Japanese woman, Jeanne Wakatsuki-Houston, who was born and lived in this era, with help from her husband, James D. Houston, explains and sheds some light during the times where internment camps still prevailed. The writing piece titled “Arrival at Manzanar", takes place during her childhood and the Second World War. In the beginning, Jeanne and her family were living a calm and peaceful life in a predominantly white neighborhood, until disaster struck the world and they were forced to move due to escalating tensions between Japanese Orientals and white Americans. At the time, Japanese-Americans, like Jeanne, were forced to live in an internment camp, which is a prison of sorts, due to the war with Japan. The text is being told through a first person point-of-view in which Jeanne herself tells the story through her experiences during the war. In that story, which contains only a part of the original text, much of the setting took place either prior to and during the time she was sent to the internment camps and describes her struggle with it. This story clearly states the importance of family and perseverance which is shown through her use of pathos, definition, and chronological storytelling.

Japanese American families were sent to internment camps located at a desert in Utah almost in less than 24 hours during World War ll. It was supposed to be luxurious and a dream, yet it was the complete opposite. In the book, When the emperor was divine, Julie Otsuka describes each character and their stories through different points of views. She tells their story by recounting each of the main character's emotional experiences while showing the life of Japanese Americans and how they were labeled in others eyes. Otsuka writes not only about the venture of being taken to an internment camp, but how each character changes in the process. Through each person comes a story and why they changed into somewhat the opposite of their

War can be loud and visible or quiet and remote. It affects the individual and entire societies, the soldier, and the civilian. Both U.S. prisoners of war in Japan and Japanese-American citizens in the United States during WWII undergo efforts to make them “invisible.” Laura Hillenbrand’s Unbroken hero, Louie Zamperini, like so many other POWs, is imprisoned, beaten, and denied basic human rights in POW camps throughout Japan. Miné Okubo, a U.S. citizen by birth, is removed from society and interned in a “protective custody” camp for Japanese-American citizens. She is one of the many Japanese-Americans who were interned for the duration of the war. Louie Zamperini, as a POW in Japan, and Miné Okubo, as a Japanese-American Internee both experience efforts to make them “invisible” through dehumanization and isolation in the camps of WWII, and both resist these efforts.

In a poem written about the calling of Japanese-Americans to internment camps during WWII, author Dwight Okita writes from the perspective of a young girl who sees herself as an American but is surrounded by those who cast her out. She does everything to prove that she belongs and justifies that by convincing the audience of her American qualities. “If it helps any, I will tell you I have always felt funny using chopsticks and my favorite food is hot dogs. My best friend is a white girl named Denise.” Okita’s use of this 14 year old girl adds power behind his words because the perspective of a child can humble a reader and bring them to a point of deeper understanding. In the poem, the girl is so young and understands nothing about what lies ahead, but she knows well enough to present herself as an American, as one who truly belongs. The pressure on immigrants to belong in the United states is imminent in this piece, and the fact that the young girl has picked up on this expectation is almost disturbing. The stigma around those who are different is also included in Okita’s

A sense of belonging is one of the most powerful feelings in the world; however, this feeling can elude immigrants or those assimilating into new environments. In the early 1940’s, the internment of individuals of Japanese descent changed the American environment into a race-based class system. Ichiro Yamada in John Okada’s novel No-No Boy struggles to find acceptance in his American community after saying “no” to two “loyalty” questions regarding participation in the United States Army. His answers are affected by his mother’s extreme Japanese nationalism. His refusal to participate in the army gives him the status of a “no-no boy.” This status result in him being constantly discriminated by other Japanese in his community, and his ethnicity gives him constant discrimination from Americans and other races. As a result of this discrimination, Ichiro becomes angry and violent towards his community. Ichiro’s violent actions and anger stem from the influence of his extremely nationalistic mother, and these actions unintentionally isolate him from the greater community.

Startled by the surprise attack on their naval base at Pearl Harbor and anxious about a full-fledged Japanese attack on the United States’ West Coast, American government officials targeted all people of Japanese descent, regardless of their citizenship status, occupation, or demonstrated loyalty to the US. As my grandfather—Frank Matsuura, a nisei born in Los Angeles, California and interned in the Granada War Relocation Center (Camp Amache)—often

Upon Ichiro’s return to Seattle, he finds himself in an America that is unwelcoming and cold towards Japanese Americans, primarily to those who refused to serve in World War II. Though the book does not delve into Ichiro’s time spent in prison, and only takes place within the after effects of his imprisonment, Ichiro’s response to his mother shows that his imprisonment has continued to follow him into his home life. Though through his birth in America making him a rightful American, he feels displaced by his own citizenship, Okada writes, “I blame myself,” (Okada 17). Ichiro blames himself for answering ‘no’ to the loyalty questions. Ichiro places blame on himself for things that are beyond his control. He is obsessed with his identity being a whole of one thing, as being “half” or

'Even with all the mental anguish and struggle, an elemental instinct bound us to this soil. Here we were born; here we wanted to live. We had tasted of its freedom and learned of its brave hopes for democracy. It was too late, much too late for us to turn back.' (Sone 124). This statement is key to understanding much of the novel, Nisei Daughter, written by Monica Sone. From one perspective, this novel is an autobiographical account of a Japanese American girl and the ways in which she constructed her own self-identity. On the other hand, the novel depicts the distinct differences and tension that formed between the Issei and Nisei generations. Moreover, it can be seen as an attempt to describe the

and had little to none affection for Japan. To Ichiro, the U.S. was his homeland, and he should be loyal to the U.S. by joining the military. This generational gap between two different immigrant generations, Ichiro and his paranoid and controlling mother, already had the potential to create conflicts; yet the war between Japan and the U.S. intensified the tension. To Ichiro, being a No-No Boy caused by his mother’s powerful influence was destructive to him. His decision was against his will; and this decision not only destroyed his future by sending him to jail for two years, but also made him no longer a true American citizen which he used to identify himself to, because he betrayed his country. However, Ichiro was not a true Japanese either, since Japan was foreign to him in the first place. Thus, Ichiro was neither a true American nor a true Japanese; both side rejected him. Failed to gain back his bright future and seek for belonging and acceptance, Ichiro was constantly in confusion and rage. And this could be seen throughout Ichiro’s character development as he never felt peaceful or relieved, and he kept regretting about his decisions, kept questioning his self-identity and self-worth, kept punishing himself by rejecting any possible opportunities which might provide him a better future… not until his mother passed away. The quote from Ichiro’s mother revealed one of the major sources that caused Ichiro’s

Wakatsuki-Houston presents an insightful portrayal of the Japanese-American internment camp in California known as Manzanar. She describes how her life changed throughout the experience as she grew from child to young woman. She captivates the reader's attention with intermittent interviews, describing the seemingly constant turmoil that each prisoner faced.

The Japanese-American author, Julie Otsuka, wrote the book When the Emperor was Divine. She shares her relative and all Japanese Americans life story while suffering during World War II, in internment camps. She shares with us how her family lived before, during, and after the war. She also shares how the government took away six years of Japanese-American lives, falsely accusing them of helping the enemy. She explains in great detail their lives during the internment camp, the barbed wired fences, the armed guards, and the harsh temperatures. When they returned home from the war they did not know what to believe anymore. Either the Americans, which imprisoned them falsely, or the emperor who they have been told constantly not to believe, for the past six years imprisoned. Japanese-Americans endured a great setback, because of what they experienced being locked away by their own government.

Mary Matsuda Gruenewald, Looking Like the Enemy: My Story of Imprisonment in Japanese American Internment Camps

The differences in Ichiro’s family contributed to his self-hatred and seemingly lost identity. To him, he was the “emptiness between the one and the other and could see flashes of the truth that was true for his parents and the truth that was true for his brother” (Okada, 19). He did not want to be Japanese because he did not know the language and was consumed with anger and hatred towards his parents because even they weren’t any less Japanese even after living in America for thirty-five years, thus utterly rejecting America (Okada, 19). In addition, his mother’s defiance of the reality of Japan’s loss in the war and their inability to go back to Japan as she hoped for, as well as his father’s lack of control and courage only increases his desire to not be Japanese. However, Ichiro’s

Ichiro Yamada’s refusal to serve in the U.S. Army presents the parental and cultural aspects that are influenced by the belief of a monoracial American identity. During the internment, the government administered a Loyalty Questionnaire to all Japanese internees. To Ichiro, this either determined his rejection or acceptance into American society. One major question was Question 27: “willing to serve whenever ordered” (10/9 Lecture). Another major question was Question 28: “swearing allegiance to the United States and forswearing allegiance to the Emperor of Japan” (10/9 Lecture). By refusing to serve in the army, American society regarded him as a disloyal American. However, in Mrs. Yamada’s eyes, his refusal affirms her pride in calling him “her son” (16). During this scene, free indirect discourse, or the “presenting of thoughts of a character as if it is from their POV via character’s ‘direct