May 2025 “Leisure Reads”
“In honor of Asian American and Pacific Islander Heritage Month, this month’s “Leisure Reads” presents works by and about Japanese American writers in a variety of genres, mostly revolving around the Japanese American experience of being detained in internment camps, as well as the generations growing up in the decades following that collective trauma. Below you will find a graphic novel by George Takei about his experiences as a child detained in internment camps for Japanese Americans during World War II; an anthology of literary works produced by Japanese Americans while detained in those camps; and John Okada’s novel about the young men who famously said no twice: first to serving in the U.S. military during World War II, and second to pledging loyalty to the government that had interned their families.”
“That's how Katie Takeshima's sister, Lynn, makes everything seem. The sky is kira-kira because its color is deep but see-through at the same time. The sea is kira-kira for the same reason. And so are people's eyes. When Katie and her family move from a Japanese community in Iowa to the Deep South of Georgia, it's Lynn who explains to her why people stop them on the street to stare. And it's Lynn who, with her special way of viewing the world, teaches Katie to look beyond tomorrow. But when Lynn becomes desperately ill, and the whole family begins to fall apart, it is up to Katie to find a way to remind them all that there is always something glittering—kira-kira—in the future.” – Publisher’s Summary
“George Takei has captured hearts and minds worldwide with his magnetic performances, sharp wit, and outspoken commitment to equal rights. But long before he braved new frontiers in Star Trek, he woke up as a four-year-old boy to find his own birth country at war with his father's—and their entire family forced from their home into an uncertain future. In 1942, at the order of President Franklin D. Roosevelt, every person of Japanese descent on the west coast was rounded up and shipped to one of ten ‘relocation centers,’ hundreds or thousands of miles from home, where they would be held for years under armed guard. They Called Us Enemy is Takei's firsthand account of those years behind barbed wire, the terrors and small joys of childhood in the shadow of legalized racism, his mother's hard choices, his father's tested faith in democracy, and the way those experiences planted the seeds for his astonishing future. What does it mean to be American? Who gets to decide? When the world is against you, what can one person do? To answer these questions, George Takei joins cowriters Justin Eisinger & Steven Scott and artist Harmony Becker for the journey of a lifetime.” – Publisher’s Summary
“Even before internment, Japanese largely lived in separate cultural communities from their West Coast neighbors. The first-generation American children, the Nisei, were American citizens, spoke English, and were integrated in public schools, yet were also socially isolated in many ways from their peers and subject to racism. Their daughters especially found rapport in a flourishing network of ethnocultural youth organizations. Until now, these groups have remained hidden from the historical record, both because they were girls' groups and because evidence of them was considered largely ephemeral. In her second book, Valerie Matsumoto has recreated this hidden world of female friendship and comradery, tracing it from the Jazz Age through internment to the postwar period. Matsumoto argues that these groups were more than just social outlets for Nisei teenage girls. Rather, she shows how they were critical networks during the wartime upheavals of Japanese Americans. Young Nisei women helped their families navigate internment and, more importantly, recreated communities when they returned to their homes in the immediate postwar period. This book will be a considerable contribution to our understanding of Japanese life in America, youth culture, ethnic history, urban history, and Western history. Matsumoto has interviewed and gained the trust of many (now old) women who were part of these girls' clubs." – Publisher’s Summary
“‘No-No Boy has the honor of being among the first of what has become an entire literary canon of Asian American literature,’ writes novelist Ruth Ozeki in her new foreword. First published in 1957, No-No Boy was virtually ignored by a public eager to put World War II and the Japanese internment behind them. It was not until the mid-1970s that a new generation of Japanese American writers and scholars recognized the novel’s importance and popularized it as one of literature’s most powerful testaments to the Asian American experience. No-No Boy tells the story of Ichiro Yamada, a fictional version of the real-life ‘no-no boys.’ Yamada answered ‘no’ twice in a compulsory government questionnaire as to whether he would serve in the armed forces and swear loyalty to the United States. Unwilling to pledge himself to the country that interned him and his family, Ichiro earns two years in prison and the hostility of his family and community when he returns home to Seattle. As Ozeki writes, Ichiro’s ‘obsessive, tormented’ voice subverts Japanese postwar ‘model-minority’ stereotypes, showing a fractured community and one man’s ‘threnody of guilt, rage, and blame as he tries to negotiate his reentry into a shattered world.’” – Publisher’s Summary
“In the foothills of Pasadena, Mas Arai is just another Japanese American gardener, his lawn mower blades clean and sharp, his truck carefully tuned. But while Mas keeps lawns neatly trimmed, his own life has gone to seed. His wife is dead. And his livelihood is falling into the hands of the men he once hired by the day. For Mas, a life of sin is catching up to him. And now Bachi—the spirit of retribution—is knocking on his door. It begins when a stranger comes around, asking questions about a nurseryman who once lived in Hiroshima, a man known as Joji Haneda. By the end of the summer, Joji will be dead and Mas's own life will be in danger. For while Mas was building a life on the edge of the American dream, he has kept powerful secrets: about three friends long ago, about two lives entwined, and about what really happened when the bomb fell on Hiroshima in August 1945.” – Publisher’s Summary
“That Damned Fence paints a haunting and intimate portrait of the World War II incarceration of Japanese Americans. Drawing on fiction, journalism, poetry and art produced by the internees themselves, the book explores how factors such as the camps' physical settings; the class, gender and generational composition of their populations; and the attitudes of camp administrators toward the enterprise shaped the experiences of the detained. In so doing, it reveals the sorry and the humor, the despair and resilience with which Japanese Americans faced the injustice of their wartime incarcerations.” – Publisher’s Summary
“Julia Otsuka’s quietly disturbing novel opens with a woman reading a sign in a post office window. It is Berkeley, California, the spring of 1942. Pearl Harbor has been attacked, the war is on, and though the precise message on the sign is not revealed, its impact on the woman who reads it is immediate and profound. It is, in many ways she cannot yet foresee, a sign of things to come. She readies herself and her two young children for a journey that will take them to the high desert plains of Utah and into a world that will shatter their illusions forever. They travel by train and gradually the reader discovers that all on board are Japanese American, that the shades must be pulled down at night so as not to invite rock-throwing, and that their destination is an internment camp where they will be imprisoned ‘for their own safety’ until the war is over. With stark clarity and an unflinching gaze, Otsuka explores the inner lives of her main characters–the mother, daughter, and son–as they struggle to understand their fate and long for the father who they have not seen since he was whisked away, in slippers and handcuffs, on the evening of Pearl Harbor. Moving between dreams, memories, and sharply emblematic moments.” – Publisher’s Summary