Book #50: My Dad's Pick

“His jacket caught and tore on the barbed wire and his hands gently framed her waist, his fingers feeling the soaked sweater. He was leaning in, his forehead pressed against the cold metal wire; if there was something sharp there, he didn’t feel it. All he felt was Keiko’s cheek, wet from the rain, as she leaned in too.”
                                                                 -Jamie Ford, Hotel on the Corner of Bitter and Sweet

A few weeks ago, my dad recommended a book to me, Jamie Ford’s Hotel on the Corner of Bitter and Sweet. It’s the first novel that my father’s ever recommended to me – in a reversal of our usual ritual. Until now, I’ve been the one to suggest books to him. When he retired a few years back, he turned to me – his bookish, English professor daughter – for a reading list. What a delight that three years later, I find myself no longer a burnt-out prof and my dad has become such an avid reader that he’s telling me what to read.

Like many of my favourite historical novels, Hotel on the Corner of Bitter and Sweet alternates between past and present plotlines. The novel opens with 56-year-old Henry Lee standing on the steps of the Panama Hotel, a boarded-up hotel located at the threshold of Seattle’s Chinatown and what was once Japantown, before World War Two. After recently purchasing the hotel, the new owner has discovered in the basement a storehouse of treasured possessions that were hidden by Japanese-American families during the war – their attempt to salvage something of the past, before being dispossessed and dragged off to internment camps in remote areas of Idaho and California. But more than simply ghosts of history, these recovered objects hold deeply personal memories for Henry, triggering him to remember his childhood sweetheart, Keiko Okabe, a young Japanese-American girl whom he’s never gotten over, even after they lost touch when she was interned. Bittersweet regret and melancholy thoughts about what might have been linger on in Henry’s imagination, taking him on an emotional odyssey into the past. Although I don’t usually gravitate to sentimental novels, this one is so compelling that I found myself feeling perfectly justified in indulging in a good cry toward the end. Maybe I’m not so highbrow after all….

Perhaps I was also feeling emotional because the novel has a personal meaning for me. The depictions of camp life in Minidoka, Idaho were particularly fascinating, since I know my grandmother was interned there. “There were no trees or grass or flowers anywhere, and barely any shrubs,” Ford writes. “Just a living, breathing landscape of tar-paper barracks spotting the dry desert terrain.” Here is a photo of my grandmother raking mud at the camp (she’s three in from the right).... My dad sent me this photo a while ago, after he discovered it online, and I blogged about my initial reactions here. But now, after reading this novel, I find my thoughts straying to the question of my grandmother’s love life…. What guy was she dreaming about as she raked, that little smile playing on her lips, the murmurings of her heart a thousand miles away?

Photos from: here and here

Book #26: Outlaw Women

"My children were of me alone, of the wild blood boiling along the earth, of me and all that lived; of none and of all.  Then I found I had Jewel."   -William Faulkner, As I Lay Dying

I've been sleepless thinking about who my grandmother really was.  You see, I've been toying with writing a section of my novel in her voice.  Over the weekend, I had brunch with my dad and we listened to a tape recording of her talking about her childhood, the war, falling in love in an internment camp....  My dad made the tape during a trip to Cape Cod a few years ago, shortly before her Parkinson's got bad.  The tape intrigues yet frustrates me, because all the while I feel that my grandmother is trying to say what's expected of her.  She's trying to preserve for posterity an image of herself as the good daughter, the self-suffering wife, the devoted mother.

I long to gain access to the other side of her identity - the secrets and unspoken truths she harboured all her life.  The moments when she surprised herself by acting out of character.  What she would say, if she could speak from beyond the grave.

This is the kernel imbedded in Faulkner's As I Lay Dying, which I was reading over the weekend for the first time (even ex English profs haven't read everything by Faulkner).  It's the story of Addie Bundren on her deathbed and into the afterlife, told from the perspectives of fifteen different narrators, including her four legitimate children and one love child, Jewel.  Before dying, she expresses her wish to be buried in her hometown, Jefferson, Mississippi, and the novel chronicles her family's efforts to honour that wish, dragging her homemade casket by horse and carriage across the brutal landscape.  While all the narrators have their own unique ways of seeing Addie, the section where she reflects upon her life from beyond the grave makes all the other sections pale.  What we get is Addie's scathing denunciation of her marriage (which seems hardly more than a random occurence) and her ambivalent meditation on motherhood.  Motherhood seems to draw out her sadistic streak, and although she is possessive of her children, she is no less repulsed by them, a steady flow of babies who arrive without rhyme or reason.  Ironically, Jewel is closest to her heart, perhaps because he is the only one born of desire.  All these taboos are laid bare - with poignancy and beauty - in Addie's monologue.

I'm reminded of something Toni Morrison once said in an interview: "Outlaw women who don't follow the rules are always interesting to me, because they push themselves, and us, to the edge.  The women who step outside the borders, or who think other thoughts, define the limits of civilization, but also challenge it."  (No coincidence that Morrison wrote her master's thesis on Faulkner).

Listening to the tape of my grandmother, I find myself listening not so much to what she's saying as much as to her stammers, repetitions and evasions and I wonder what repressed "outlaw" possibilities they mask over.

Photo from: here

Book #25: That Accident Which Pricks Me....

"This second element which will disturb the studium I shall therefore call punctum; for punctum is also: sting, speck, cut, little hole - and also a cast of the dice.  A photograph's punctum is that accident which pricks me (but also bruises me, is poignant to me)."   -Roland Barthes, Camera Lucida

Since my father retired, he has been digging into family history.  The other day while I was at work, he sent me the above photo, which he found upon googling "Minidoka" - the camp where my grandmother was interned during the Second World War.  "I think your grandmother is in this photo," his email read.  "Third girl from the right, in profile.  Zoom in."

And there she is. 

A whoosh of gratitude came over me - had the camera caught her a moment before or after, her face might have been obscured, like the girl on the far right.  Quelle chance!  Then weird thoughts started rushing through my mind.  I found myself looking at the styling of her hair and wondering how, while living in an internment camp, she could manage to keep it freshly curled and glossy (while I, from the comfort of home, can barely make the effort to blow dry).  But imprisoned and made to rake mud, my grandmother would not let herself go and, though I knew that should make me happy, it made me feel sad.  Her dress remains smartly pressed, despite everything.  And while the other girls are working, she appears to me to be only pretending to work - something about the whimsical tilt of her head.  She's caught in a moment of fantasy or denial, her mind a thousand miles away.

The frailties and defenses of her personality seem to be encapsulated in that image....  For the grandmother I knew some fifty years later was a complex, cryptic woman.  She was often cool and remote in person, but had a penchant for florid language (I recall receiving a postcard that said "the stars are like chrysanthemums" and thinking, Huh?).  She shied away from talking about the past, even when my father would press her, until the very final days of her life when she began to give in.  She was a woman who seemed ill prepared to be a mother or grandmother, preferring to play the role of a younger aunt, dressing half her age.

It was as if she always wanted to remain a girl - as if some beautiful moment in her adolescence had been stolen away.

Looking at this photo makes me think of Roland Barthes' Camera Lucida, which I read years ago (back in my geeky, academic days).  At the time, I thought I understood what Barthes meant in coining the terms punctum and studium to describe two different and opposed kinds of experience upon looking at photographs.  By studium, he means the cultural and political dimensions of a photograph, all the ways in which it can be rationally discussed and made comprehensible to an audience.  By sharp contrast, punctum refers to a viewer's private experience of a photo - a purely subjective response.  To experience punctum is to feel idiosyncratic details jump out and grab you with such emotional force that you feel pierced, wounded. 

At the time of reading Camera Lucida, I had been deeply moved by certain photos which I'd viewed in various museums, galleries and books.  But I cannot say that I'd felt pierced.  Until now.


Photo from: here

Book #24: Impounded Images

Over the past few weeks, I’ve had archive fever. I’ve been reading a pile of history books on the Japanese Internment. I’m looking to gain insight into what my grandparents experienced as internees as part of my attempt to write an historical novel, centred on a secret romance in one of the camps. The idea is loosely based on snippets of stories and half-disclosures that my grandmother let slip over the years, giving me certain ideas (fantasies, really) about how she met my grandfather. The beginning of their strange, turbulent marriage.

But the problem with reading history books, I’ve come to realize, is that “facts” only get you so far as a writer. They’re full of quotations by politicians and statistical data, whereas I’m interested in accessing the taste (or lack of taste) of the camp food, the sounds and smells of the barracks, the feel of the floorboards against our heroine’s bare feet as she sneaks out at night.

So I decided to read something different. Or not read at all. The other day, I came across a collection of photographs by Dorothea Lange, who is best known for her portraits of U.S. migrant farmworkers and sharecroppers during the Depression. What is not so well known about Lange’s career is that she was commissioned by the U.S. government to document the Japanese Internment. She toured many camps in California and took a slew of stunning photographs: bewildered, beautiful girls clinging to the slip of shade outside a mess hall; the Inyo Mountains rising pale and ghostly behind the camp at Manzanar, barely visible through the dust haze; and internees gardening with the materials at hand – to describe just a few of Lange’s moving images.

More than simply documenting the group’s degraded condition, Lange’s photos distill a timeless, universal sadness to their plight. There appears something almost mythic about their suffering. Since these images were seen as so obviously sympathetic to the internees’ perspective, they were impounded by the U.S. government and not published until recently.

These photos are a wonderful source of inspiration. Looking at them, I’m able to imagine how the dust would feel sticking to my skin and mixing with my sweat and from there … the thoughts of my heroine start to come alive in my head. I can feel her yearning for some escape and becoming susceptible to the advances of a certain stranger who pushed his way into her life.

Photo from: here

Book #23: Decaying Family Ties

“Kiyo and I were too young to run around, but often we would eat in gangs with other kids, while the grownups sat at another table. I confess I enjoyed this part of it at the time.” -Jeanne Wakatsuki Houston and James D. Houston, Farewell to Manzanar

It’s a story that’s both familiar and strange to me. It might have been my mother’s story if she’d been born ten years earlier or my grandmother’s story if she hadn’t been embarrassed to tell all.

Farewell to Manzanar is Jeanne Wakatsuki Houston’s fascinating memoir about coming of age in an internment camp during the Second World War. The camp, situated in Manzanar, California, housed over 110,000 Japanese Americans in 36 blocks of hastily constructed barracks on 540 acres of sultry desert land. Jeanne goes overnight from being a carefree seven-year-old to an internee. Her father, a fisherman, is seized one day by the FBI under suspicion that his radio is being used to transmit information to Japan. By the time her father is released, her mother and the rest of the family have been forcibly relocated to cramped, dirty quarters at Manzanar, where the communal toilets are not even partitioned and the food is so terrible that most everyone falls ill.

I wonder to what extent my own family members suffered such indignities upon being interned at camps in Minadoka, Idaho, and Sandon and Kaslo, BC.

But what I find most interesting and unsettling about the tale is the erosion of communal family life. We hear of children and teenagers left to their own devices, allowed to eat in the mess hall with their friends everyday - running from one mess hall to the next in search of more palatable food - and all the while their parents are either absent (interned elsewhere) or languishing in depression and alcoholism. Gangs form, governed by violence and their own secret hierarchies. And covert romances, too (one might speculate). Although the author only touches on these aspects (as a child, she was too young to be sucked into the group dynamics that led to the infamous Manzanar Riot), she is clear about the fallout – the loss of parental authority. It was in this kind of no man’s land that my own grandparents fell in love against their elders’ wishes and ran away after the war.

Photo from: here