Last week we discussed Angel Island Poetry and witnessed how the island itself held individuals in this no-where land, isolated from their home country and their destined country, imprisoned by walls in the middle of an ocean. This week we will discuss Lawson Fusao Inada, a third-generation Japanese American poet who was interned along with thousands of other Japanese and Japanese-American citizens during WWII. Please keep the notion of entrapment in mind while you read, paying close attention to the way in which the poems help create and break the bars of captivity. Also think about what it means to be a “hyphenated” individual, a Japanese-American or a Chinese-American etc… Who is identity shaped by both sides of the hyphen? How does Inada’s poetry reveal this notion of a ‘hyphenated’ individual, and what steps does he take to weave Japanese-American experience inside American history?
These poems are all found in a collection published in 1993 entitled, Legends from Camp. Look at the poem entitled “Legends from Camp: Prologue”- Look at how this poem is structured, how it moves between both poetry and verse, mimicking the testimonial form and the poetic. What is the overall effect for you as a reader while reading this poem? The line “10 camps, 7 states/ 120,113 residents” is used in order to emphasize the historical inside the poetic realm- history becomes EMBEDDED in this poem. The following line however, “Still, figures can lie,” seems to criticize the historical. How does this poem, among others by Inada, work to create an alternative history? What did you think of his discussion of “among others”? Do a close reading of the following lines: “until the event, the experience, the history,/slowly began to lose its memory,/ gradually drifting into a kind of fiction”— think particularly of this notion of historical amnesia and how poetry/literature tries to recall memory.
Why do you think all of the poems are “legends” of one kind or another? What is a legend? What is Inada trying to do in establishing these legends? Look throughout the rest of the poems, notice that each one takes on its own rhythm. Inada is an avid listener and admirer of jazz and we can surely feel certain beats in his writing. Look for example at the “Legend of Leaving,” and notice how the rhythm drives the poem forward, as if the words are packing themselves away from the camp as well. After reading all of these poems what sense are you left with? What did they help create for you? How do these poems illuminate both a sense of entrapment and release?
http://www.pbs.org/childofcamp/history/index.html—- If you want to read more about the Japanese Internment Camps, this is a good site!