Wednesday, May 27, 2009

When The Emperor Was Divine

Just finished When The Emperor Was Divine by Julie Otsuka. Her style is a bit minimalist, but she offers some keen cultural and historical insights via an engaging narrative. Good for a high school language arts class. I read it for an American Multicultural Lit college course and wrote the essay below about one of the characters in the story. (I got an A but I can not guarantee that's what you'll get if you plagiarize :-)

"Saying Goodbye to the Emperor"

The perspective of the young boy in Julie Otsuka’s novel, When The Emperor Was Divine, is a defining lens through which the reader can understand and experience this powerfully emotional narrative. His is one of five points of view that serve as chapters in this somewhat minimalist book about one Japanese family’s experience in an internment camp during World War II. The boy’s story is the central chapter from which the novel takes its name and recounts the loss of innocence that often accompanies difficult experiences or life transitions. In this story of struggle and survival, the boy is saying goodbye to his childhood, even his heritage, yet without an assurance that something better is waiting for him once the journey ends.

As the young boy’s narrative begins, he and his mother and sister are already in the camp behind barbed-wire fences, housed in tar-paper barracks: “It was 1942. Utah. Late summer.” (Otsuka 49) His father had been taken away months prior and the boy, naturally enough, expected to be reunited with him upon their family’s arrival at the holding facility. Confused at being separated from his dad, but harboring childlike hope, he “thought he saw his father everywhere.” (49) His expectations, however, were dashed repeatedly which led to a solemn grief that he wasn’t able to express. His older sister understood and she nudged him, somewhat cruelly, toward the cold truth when she stated directly that their papa was gone. (50)

In the absence of his protective provider, the realities of his situation eventually dawn on him. He realizes how little they have left. Their family is stripped of everything but the bare essentials, which include “three iron cots and a potbellied stove.” (50) Not only does he lose his possessions, his mother instructs him to “never say the Emperor’s name out loud.” (52) Refusing to lose all sense of identity, the boy sometimes whispers it anyway.

Then there is the dust. He and his mother and sister are in the desert; it is hot, and the perpetual dust finds its way into what little he does own. At one point the boy writes his name in the sand, but by morning the wind has blown it away. (64) Little by little he is losing himself and the drudgery of internment existence is taking over. He waits for the bells before meal times. He waits for the mail and the slim chance of hearing from his papa. He longs for the six o’clock dinner hour in his old neighborhood where in his mind he sees America as it should be – where “fathers with shiny black briefcases [burst] through front doors, shouting, ‘Honey, I’m home!’” (66)

His sense of dislocation is further aggravated when rumors sweep through the camp about what might happen to them. They might be sterilized, stripped of their citizenship, “taken out onto the high seas and then shot,” (70) or left to die on a desert island. The boy doesn’t know if he will stay or go from this camp, or whether he’ll see his father again. Still, he writes to his papa in order to stay connected to reality. Sadly he, like his sister, can’t always remember what their father’s face looked like. He tells her, “It was sort of round.” (72)

Life in the internment camp eventually settles into a workable, if not enjoyable, routine to which the boy adjusts. There was school. There was the pledge of allegiance. There were the reciting of lessons and the playing of games. There was also news about the war. The months pass. The boy could almost believe he was living something close to a normal life.

Then winter came and added another set of difficulties to life in the Japanese internment camp. The cold seeped into the barracks and wouldn’t let go; they were assigned only two army blankets per person. (92) It snowed and then rained, but “the alkaline earth could not absorb any water” (77) so there was mud everywhere. The school was shut down. Outbreaks of flu and diarrhea spread through the camp. His mother got depressed and became ill. The boy’s old life started slipping away “like a dream he could not quite remember.” (93)

Despite the various struggles, the boy never gave up hope of seeing his father again. He imagined the day they would be reunited: “He’d rest his head on his father’s shoulder and smell the dust and the sweat and the faint smell of Burma Shave and everything would be very nice.” (105) This vision helped him survive and gave him strength to face the many painful days in the camp.

After the war, the boy is indeed reunited with his father. However, life will never be the same. His father returns broken, and so does the boy to a lesser degree. He is no longer a child. During the internment he not only says goodbye to his childhood, but loses the innocent trust that a child has in governing powers. He’ll adjust, though – he did in the camp. Yet the scars will remain as memories.

Thursday, May 21, 2009

Pocho by Jose Antonio Villarreal

The 1959 novel, Pocho, by José Antonio Villarreal (also here and here) is an insightful cultural exposition told primarily from the vantage point of Richard Rubio, the coming-of-age son of immigrant Mexican parents who eventually settle in Santa Clara, California, after many seasons of migrant farm work. Although fiction, the story likely mirrors some of the experiences of the author who was born to migrant laborers in Los Angeles in 1924 and was himself a "pocho" - a child of the depression era Mexican-American transition. ("I am a Pocho," he said, "and we speak like this because here in California we make Castilian words out of English words." p 165)
Such a journey was a difficult one ("...for the transition from the culture of the old world to that of the new world should never have been attempted in one generation." p 135), and Villarreal nicely employs a cross cultural bildungsroman to explore a diversity of related themes.

Among the most prominent are strains of racism/classism, belonging and dislocation, death and meaning and self-identity, and sexual awakening. In a slim 187 pages the author competently weaves social commentary (via the seemingly innocent adolescent perspective) into a moving narrative that only occasionally veers toward the pedantic.

Some Themes Explored

Richard's father, Juan Rubio, is proud to be a Mexican and resents the Spanish people, whom he identifies as oppressors (although Juan is clearly of Spanish descent since he had "fair skin" and "blue-gray eyes" - p 1). He explains to his son, who exclaims in response to his father's prejudice, "But all your friends are Spanish!" (p 99):
"That is all there is here," said Juan Rubio, "but these people are different - they are also from the lower class, although some of them take on airs here. They are people who were stepped on, much the same as we were in our country. That is the wonder of this country of yours, my son. All the people who are pushed around in the rest of the world come here, because here they can maybe push someone else around. There is something in people, put there only to make them forget what was done to them in other times, so that they can turn around and do the same thing to other people. . .It is not in retribution because they remember they were once mistreated, my son; it is because they forget." (p 99, 100)
Another response to this clash of cultures is the emergence of the zootsuiters, a "lost race" (p149) generation filled with anger and frustration over their uncertain place in society. But Richard is fascinated by their strangeness and attended their dances and fiestas as part of his journey of self-discovery.
They had a burning contempt for people of different ancestry, whom they called Americans, and a marked hauteur toward Mexico and toward their parents for their old-country ways. The former feeling came from a sense of inferiority that is a prominent characteristic in any Mexican reared in southern California; and the latter was an inexplicable compensation for that feeling. They needed to feel superior to something, which is a natural thing. The result was that they attempted to segregate themselves from both their cultures, and became truly a lost race. (p 149)
In addition to exploring these expansive ideas on class, status, and cultural identity, Pocho works on a very personal level giving the reader insight into the mind of a maturing young man. With regard to self-identity and throwing off his Catholic upbringing, Richard states with some irony:
"There are but three things that I can say I have learned for myself. First, I know that one should never discuss matters of sex with one's parents. Second, one should not, on penalty of going to Hell, discuss religion with the priests. And, last, one should not ask questions on history of the teachers, or one will be kept in after school," he said. "I do not find it in me to understand why it is this way." (p 85, 86)
Author José Antonio Villarreal has a dry sense of humor and, as mentioned above, does a marvelous job weaving bits of wry commentary throughout the novel. Another fun quote is when Richard's sister, Luz, demonstrates her own prejudice for the newly arrived, and darker skinned, Mexicans: "Well, they ain't got nuthin' and they don't even talk good English." (p 148) 

Like Villarreal, I'm a native Californian, but not Mexican-American. I was raised during the César Chávez years in a small farming town which saw its fair share of migrant worker strikes and labor unrest. It was a difficult era for whites to understand. Now, 50 years after the novel was first written - and a lifetime removed from my upbringing - I find the story still relevant. It's an intriguing narrative and helpful in capturing the "double consciousness" that many of my Mexican-American friends that I grew up with lived with as a matter of course.

About the Book

Pocho was likely the first Mexican-American novel released by a major publisher and is considered the first of, or at least a precursor (pdf, p 8, 9) to, what is now called Chicano literature. It's not a perfect story - the POV changes from father to son on occasion, the life-lessons can seem a bit heavy handed at times, and is, in my opinion, overly concerned with sexuality. Still, it's a mature read and lends itself well for discussion at a college level (or possibly an advanced high school class if taught appropriately).

Originally an Anchor Book published by Doubleday in 1959, Pocho is still available through Anchor Books, now part of the Knopf Doubleday Publishing Group, a division of Random House. (Although it's cheaper to buy used at Amazon.)

Helpful Blog Links:

As Found in Other Books:

For Discussion:
Discussion #12 from StoryLines California.(pdf)
Pocho Lesson Plans from www.SCU.edu. (pdf)
Three Critical Texts from Stanford Uni. (pdf)

Definitions of Pocho:

Other Reviews: