ANALYSIS OF EXCERPT FROM JOY KOGAWA’S OBASAN

Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that. -MLK Jr.

Theme Statement Kogawa believes that the Japanese

Canadians silent, unnoticed exodus ironically reveals to the world their unwavering strength during WWII. Through changes in perspective, selection of detail, and biblical allusions, she shows her personal belief that the JC’s are also God’s children.

Literary Elements Religious allusion Metaphor Irony Diction Shift in perspective Imagery Simile Onomatopoeia

Uses religious allusion and metaphor to show JC’s tolerance and helplessness

“We are going down to the middle of the Earth… carried along by the momentum of the expulsion into the waiting wilderness.” (5-8)

“We are the chips and sand, the fragments of fragments…” (11) JC’s are minor casualties of the war

Religious allusion shows irony of JC’s silent exodus “rendered voiceless, stripped of car, radio, camera

and every means of communication” (14-15) “a trainload of eyes covered with mud and spittle.

We are the man in the Gospel of John, born into the world for the sake of the light.” (15-18) JC are blinded by society. Example of tolerance and

love of God’s people “We are sent to the sending, that we may bring

sight.” (19) JC bring sight to other Japanese

Final Line “We disappear into the future

undemanding as dew.” (27-28)

Selection of Detail – Brevity and Understatement Short dialogue

Brevity of speech and communication through actions depict quietness “Woman in the aisle seat opposite us leans over and whispers to Obasan with a

solemn nodding of her head and a flicker of her eyes indicating the young woman.” (65-66)

“Obasan moves her head slowly and gravely in a nod as she listens. ‘Kawaiso,’ she says under her breath.” (69-70)

“Kuniko-san clutches the baby against her breast and bows forward twice while accepting Obasan’s gift without looking up.” (97-99)

Understated weight of Obasan’s actions Gift of apples and oranges is a seemingly small deed But is an understatement for something much larger Paradoxically emphasizes the perseverance of the Japanese-Canadians.

And the dignity that allowed them to tolerate and cope with the injustice brought upon them.

This is why Kogawa believes they are the “man in the Gospel of John, born into the world for the sake of the light.” (16-18)

Selection of Detail - Order Much like how a child would look around a train

First notices the people “The train is full of strangers…not one of us on this journey returns home

again.” (45) Then moves on to describe the things she smells, sees, hears

“The train smells of oil and soot and orange peels and lurches groggily as we rock our way inland.” (46-47)

“Along the window ledge, the black soot leaps and settles like insects.” (47-48)

“I can barely hear [the kitten’s] high steady cry in the clackity-clack and steamy hiss of the train.” (59)

Not one line of dialogue appears in the first two thirds of second section Gives impression of a silent train ride

Emphasizes the dignity of the Japanese-Canadians and their ability to quietly tolerate their situation.

Because of their tolerance, they are able to “bring sight”

Structure Split into two sections

First First person plural—represents the Japanese Canadian’s as a

whole and how they are all affected by the injustice in society. Second

Personal account of the train ride to the internment camp More imagery than action

Describes train’s interior Action comes at the end

Obasan’s gift to Kuniko Shows Kogawa’s pride in her people’s tolerance Obasan’s benevolence intentionally highlighted

Why did Kogawa choose to emphasize such a small act? Her actions epitomize overall character of WWII Japanese

Candians

Point of View First person plural in first section

Kogawa speaks for Japanese-Candians as a whole “We are hammers and chisels…” (9) “We are the chips and sand…” (11) “We are the man in the Gospel of John…” (17) “We are the Issei and the Nisei and the Sansei…” (26)

Becomes more direct in second section Kogawa begins to use “I” and “my”

“I have a wine-colored sweater with ivory duck buttons.” (37)

“I would call her ‘o-nesan’, older sister.” (63)

What does this do? Going from being a speaker for the whole to a

personal recollection brings the piece to a more intimate level.

Reader better understands when Kogawa puts them in her shoes.

Directly shows the quiet tolerance and how the Japanese people pull together to persevere through their relocation.

Emphasizes and brings color to the bigger picture she is trying to paint It is here that she reveals her attitude toward the past

Selection of Detail Order

Much like how a child would look around a train First notices the people

“Train is full of strangers Visual, auditory, smell Dialogue comes at end, brief Action-oriented Bird-like Kuniko and red umbrella exotic

bird-baby face

Figurative Language Simile

“My umbrella with its knobby clear red handle sticks out of a box like the head of an exotic bird,” (51-53)

This relates to how the young woman also stands out among the people in the train.

Onomatopoeia “the clackity-clack and steamy hiss of the

train,” (58-59) Loud noises contrast with the silence of the

Japanese Canadians.

Connection to world Faulty hostile American attitude toward

Muslims after 9/11 Japanese attitude in reaction to recent

earthquakes/tsunami