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The Coming-of-Age Narrative of Confessional Healing in Joy Kogawa’s Obasan
김창희 한국현대영미소설학회 2015 현대영미소설 Vol.22 No.2
Kogawa’s Obasan is a bildungsroman that portrays the narrator Naomi Nakane’s transformation in the wake of her clan’s internment during WWII. Naomi reaches adulthood, in a manner that she changes from an infantile and silent Japanese subject, traumatized by the mysterious absence of her mother as well as her wartime experiences, to a “healthy” Canadian subject. Naomi’s coming of age, as a result, is accompanied by a growing pain, a racial injury and grief that she pays for, while fleshing out a new Canadian subjectivity in exchange for the memory of her “skeleton” mother.” Indebted to Anne A. Cheng’s theory of racial melancholia, this paper shows that the first step towards curing Japanese Canadians’ racial injury is to be able to recognize that they themselves are disciplined to be invisible and silent vis-à-vis white authority, thus allowing them to regain their voice and to reclaim their national identity as Japanese CANADIANs rather than JAPANESE Canadians.
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Chronotope of Congregation in Joy Kogawa’s Obasan
김대중 한국중앙영어영문학회 2013 영어영문학연구 Vol.55 No.1
In this paper, analyzing Obasan written by Joy Kogawa, a Japanese Canadian, I, as an endeavor to get over the binary system of articulation and silence, argue that Obasan dialectically goes beyond contradiction between silence and articulation. Methodologically, I use Walter Benjamin’s explanation of storyteller and storytelling as well as Maurice Merleau-Ponty’s philosophical idea of inter-subjectivity. Meanwhile, I discover that death, reminiscence, mourning and healing are central themes of the novel that constitutes a totality of the novel, the chronotope of congregation. There are four narratives in Obasan: aunt Obasan’s silence, Aunt Emily’s political articulation, Naomi’s contradictory narrative, and narrative of Naomi’s mother. In Obasan, chronotope of congregation embedding storytelling connotes complex poetic relations within the totality of commonplaces which include dialogic, heteroglossic, and intersubjective relations as well as eco-imagery and the healing ritual form. Besides, the narratives in Obasan reveal four aspects: corporeality of narratives; death as the center of the chronotope; the spider web structure within chronotope that interweaves stories (narratives) not in a harmonious but dialectical way; and discovering truth via Naomi’s active listening to her mother’s truthful stories.
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Chronotope of Congregation in Joy Kogawa’s Obasan
Kim, Dae-Joong 한국중앙영어영문학회 2013 영어영문학연구 Vol.55 No.1
In this paper, analyzing Obasan written by Joy Kogawa, a Japanese Canadian, I, as an endeavor to get over the binary system of articulation and silence, argue that Obasan dialectically goes beyond contradiction between silence and articulation. Methodologically, I use Walter Benjamin’s explanation of storyteller and storytelling as well as Maurice Merleau-Ponty’s philosophical idea of inter-subjectivity. Meanwhile, I discover that death, reminiscence, mourning and healing are central themes of the novel that constitutes a totality of the novel, the chronotope of congregation. There are four narratives in Obasan: aunt Obasan’s silence, Aunt Emily’s political articulation, Naomi’s contradictory narrative, and narrative of Naomi’s mother. In Obasan, chronotope of congregation embedding storytelling connotes complex poetic relations within the totality of commonplaces which include dialogic, heteroglossic, and intersubjective relations as well as eco-imagery and the healing ritual form. Besides, the narratives in Obasan reveal four aspects: corporeality of narratives; death as the center of the chronotope; the spider web structure within chronotope that interweaves stories (narratives) not in a harmonious but dialectical way; and discovering truth via Naomi’s active listening to her mother’s truthful stories.
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황남엽(Hwang Namyeob) 한국동서비교문학학회 2011 동서 비교문학저널 Vol.0 No.25
Hiromi Goto’s Chorus of Mushrooms and Joy Kogawa’s Obasan break the historical silence of the marginalized race using the speakers’ voices. Murasaki from Chorus of Mushrooms and Naomi from Obasan are the speaking agents or subjects that break the silence on racism and separation of the family. Shameful history and the trauma of racism are reshaped and recovered by Goto and Kogawa in Murasaki and Naomi’s narratives. Goto in Chorus of Mushrooms criticizes Kay’s method of assimilation and resolves family members’ sense of separation and conflict through Murasaki’s retelling. Goto gives voice to the silent and passive Naoe, through Murasaki’s fantasies and reflections on her own grandmother. In the process of Murasaki’s retelling of her grandmother, Naoe is reborn into an active, enthusiastic, and passionate woman giving challenge to the stereotypes of the Asian woman. Also, Murasaki’s sisterhood with her mother helps Kae to recover her Japanese roots and her relationship with Naoe. Finally Tonkatsu’s family members forgive and understand each other due to the bond of sisterhood. Kogawa in Obasan criticizes the treatment of Japanese Canadians during World War Ⅱ and reveals their hidden history. Kogawa intertwines history with fictional tragedy, and invokes themes of isolation and separation in Naomi Nakane’s narrative. The narrative reveals how both silence and voice can give strength and understanding, and brings together three generations within a family. In the process of retelling history, Naomi finally listens to the silence, Obasan’s voice, and understands her mother’s love for her children by engaging in silence. Naomi gives voice to Obasan, and eventually understands her mother’s silence as a protection against racism and prejudice, and in doing so, Naomi gains a greater understanding of her own mother. The loneliness of isolation and separation become more bearable, with the retelling narrative. Goto and Kogawa demonstrate that both Asian Canadians and Caucasians have responsibilities for the problem of racism. Both sides must make an effort to remove racial prejudices against one another to share a more harmonious experience for social integration. Goto and Kogawa, who lived as minorities in Canada, criticize racism as a creator of conflict and segregation within communities and families. Their narratives address racial prejudice by allowing readers to re-visit a Canadian history affected by racist and prejudiced laws and views. These narratives retell their own experiences as minorities in a whitecentered history. The retelling of these stories provide a better outcome for the families, than the true story. In short, Goto and Kogawa pursue into the tolerant world without any racial prejudices through the power of telling.
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