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Intercultural Engagement with Japan in Contemporary Australian Literature, Cinema, and Theatre

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Intercultural Engagement with Japan in Contemporary Australian Literature, Cinema, and Theatre Becoming Mixed: Intercultural Engagement with Japan in Contemporary Australian Literature, Cinema, and Theatre Timothy Kazuo Steains Department of Gender and Cultural Studies School of Philosophical and Historical Inquiry Faculty of Arts and Social Sciences The University of Sydney A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy ii Authorship Statement This thesis contains material previously published by myself. The details are as follows: Chapter two of this thesis is published as: Steains, Timothy Kazuo. 2016. ‘Going with the Transnational Flow in Bondi Tsunami’. Continuum 30 (4): 466-76. I designed the study, analysed the material and wrote the drafts of the manuscript. A similar version to chapter four of this thesis is published as: Steains, Timothy Kazuo. 2016. ‘The Politics of Possession in Paddy O’Reilly’s The Factory’. Antipodes 30 (1): 17-29. I designed the study, analysed the material and wrote the drafts of the manuscript. Chapter eight of this thesis will be published in The Journal of Australian Studies in 2017 as ‘The Mixed Temporalities of Transnationalism in Dreams of Speaking’. I designed the study, analysed the material and wrote the drafts of the manuscript. iii Declaration I declare that the substance of this thesis has not been submitted already for any degree, nor is it currently being submitted for another degree. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis has been acknowledged. I certify to the best of my knowledge that all sources of reference and their authors, wherever known, have been acknowledged in this body of work. Timothy Kazuo Steains 22 December, 2016 iv Acknowledgements I acknowledge the Gadigal people of the Eora nation who are the traditional owners of the land on which much of the study for this thesis took place. I pay my respects to their elders past, present, and future. I’d like to offer heartfelt thanks and gratitude to my thesis supervisor Dr Jane Park. You saw promise in my work and encouraged me to grow intellectually and as a person. Thank you for the gift of a renewed relationship to writing and self-expression. Thanks also for being a companion devotee of Star Trek: The Next Generation. Thank you to my associate supervisor Dr Brigid Rooney whose very generous and sensitive feedback on my work has been an invaluable source of guidance and encouragement. Thank you to the staff at the Department of Gender and Cultural Studies. It’s difficult to describe just how personally meaningful and valuable studying in this department has been. The generosity and wisdom of many in Gender and Cultural Studies encouraged in me confidence, joy, and a deep love of learning. Thank you to all my friends and fellow students in this department – of which there are too many to name! I cherish each of you and you have been the biggest part of what has made this journey unforgettable. Thank you for the laughs, the support, and the whiskey (Alifa and Paul(s)). I wish you every success in your futures. Thank you also to my friends in English for the zany conversations and the special bond that we share. I acknowledge the Nikkei Australia group who graciously invited me in and whose dedication to highlighting Japanese Australian histories and experiences brings me great pride and inspiration. Thank you to my close friend Mario for your honesty, love, and passionate presence over the years. I’m always provoked and rejuvenated by our conversations. Thank you to the inimitable women who have been in my life during the process of writing this PhD. Sami, you are a ray of sunshine, thank you for the incredible happiness you brought into my life. Felicia, you show me again and again what it means to give and to love – I’m truly grateful for everything we share. Artemisia, you have been my teacher and v greatest inspiration, I hope we discover many moments of joy and insight together in the years to come. To my parents Satsuki and Chris who ignited in me a desire to find truth and my own potential. Your decision to bring me up in a culturally mixed environment brings me benefits every day of my life. Thank you for the many meals, the quality time shared, and your incessant support over the course of my university education. Finally, thank you to my sister Sophie. You are the reason I strive to be better. Your example is a gift that always gives. I love you very much. vi Abstract This thesis examines intercultural engagement between Australians and Japanese in a total of nine examples of contemporary Australian literature, cinema, and theatre. Given the recent political rhetoric surrounding Australia’s role in the ‘Asian century’ and its need to ‘engage’ Asia, this study considers how intercultural exchanges might lead to productive forms of cultural mixture in Australia. I use mixed racial and cultural experiences – such as my own – as a framework to think about the benefits of mixed cultural identification. I argue that cross-cultural engagement can lead individuals and societies to possessing multiple forms of cultural, national, and even racial identification. Individual moments of ‘becoming mixed’ offer ways of thinking about transnational formations of Australian cultural life and identity. This exploration takes up Ghassan Hage’s call to consider the potential of intercultural relations, given the many failures of Australian multiculturalism. In addition, by taking own mixed race position into account, this project examines the limitations of the restrictive ‘identity politics’ of many postcolonial or critical race approaches to ethnic and racial identity. I employ Kuan-Hsing Chen’s notion of ‘becoming others’ and place it in conversation with Deleuzian becoming and a version of the subject that draws on Freudian melancholia. Becoming others, or becoming mixed, allows us to consider the new possibilities of cross-cultural identifications that are not bound by rigid ethnic, racial, or national identities. The first section of this thesis examines three road movies centring on interracial desire – Sue Brooks’s Japanese Story (2003), Rachel Lucas’s Bondi Tsunami (2004), and Clara Law’s The Goddess of 1967 (2000). The second section analyses three theatre-themed texts (one novel and two plays) that explore ghostly possession and the embodiment of difference through performance – Paddy O’Reilly’s The Factory (2005), Allan Marett’s Oppenheimer Noh (2015), and Mayu Kanamori’s Yasukichi Murakami: Through a Different Lens (2014). The final section examines three novels that centre on wartime reconciliation – Richard Flanagan’s The Narrow Road to the Deep North (2013), Gail Jones’s Dreams of Speaking (2006), and Christine Piper’s After Darkness (2014). Table of Contents Authorship Statement ........................................................................................................................ ii Declaration........................................................................................................................................... iii Acknowledgements ............................................................................................................................ iv Abstract ................................................................................................................................................ vi Preface ................................................................................................................................................. viii Introduction .......................................................................................................................................... 1 Section I: Road Movies, Romance and Relations with Others .................................................. 40 1. Mourning, Melancholia, and Grief Eating in Japanese Story ................................................... 44 2. Surfing the Waves of Transnational Flow in Bondi Tsunami ................................................... 59 3. The Road to Intercultural Engagement, and The Goddess of 1967 ......................................... 77 Section II: Embodying Difference and Ghostly Possession ........................................................ 97 4. Possessing Difference in The Factory..................................................................................... 101 5. Ghostly Becomings in Oppenheimer Noh .............................................................................. 119 6. Becoming Japanese Australian in Yasukichi Murakami: Through a Distant Lens .................. 137 Section III: War and Reconciliation .............................................................................................. 154 7. Sadomasochism and becoming woman in the Narrow Road to the Deep North ................. 157 8. Mixed Temporalities and Identities in Dreams of Speaking ................................................. 183 9. Overcoming Silence: Mixed Race and Wartime Reconciliation in After Darkness ................ 202 Conclusion ......................................................................................................................................... 226 Bibliography ...................................................................................................................................... 236 Preface ix In 2011 my sister, mother, and I went on a two month holiday to Japan together. We travelled to Tokyo, Osaka, Kyoto, Hiroshima, Fukuoka, Yakushima,
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