On the Loss of Identity in When the Emperor Was Divine

Total Page:16

File Type:pdf, Size:1020Kb

On the Loss of Identity in When the Emperor Was Divine Gao Peng EN2302 Level III English, Fall 2010 School of Teacher Education Kristianstad University Lena Ahlin On the Loss of Identity in When the Emperor was Divine The novel When the Emperor Was Divine tells a story of a Japanese American family’s ordeal in internment camps during World War Two. The father is arrested by the FBI because he is suspected a spy. The mother has to take care of her two children and move to the internment camp in Utah. After three years, the family is released from the internment camp; then they come back to their house and wait for the father’s return. However, after the father returns home thin and worn, the family—forever changed—attempts to piece together their new existence. It is strange that the main characters in the novel are nameless, while there are so many named unimportant characters. The change of the father and the roles the mother and children play in the novel also serve as the theme of the book. This essay aims to study the comparison of the named and nameless characters as well as the different personalities of the main family members. Through the analysis of their loss of identity, the essay also reveals the sufferings of Japanese Americans at that time vividly and draws attention to that history. To begin with I will provide a brief background on the Japanese American during World War Two. Since the Pearl Harbour Attack on December 7th 1941, the U.S opened hostilities with Japan and the relationship between the two countries reached a tense situation. The profound influence of the war is that numerous Japanese started their sufferings and hardships in the next several years. At the start of the war, the American government took a series of measures aiming at Japanese Americans in the U.S. All the Japanese Americans, no matter who they were, adults or children, had been suspected spies. In addition, more than 120,000 Japanese Americans had been sent into internment camps, which were also called relocation centers. With all kinds of unbearable treatments during the internment, a lot of Japanese chose 1 to commit suicide. The measures taken by the American government brought a lot of harm to thousands of Japanese American families mentally and physically. In When the Emperor was Divine , the author depicts the Japanese family members’ lives and ordeals in order to portray the situation in which they lose their identity at that time. The structure of this essay will contain two parts: the first one is to demonstrate the loss of identity through the study of the named and nameless characters: the second one is through the analysis of the Japanese family members' characters and experiences to indicate their loss of identity. At first, the four main characters are all nameless but with the appellation---the father, the son, the daughter and the mother. Generally speaking, if authors want their writings to be understood easily, they always choose to set names for the characters, which also can avoid confusion. But in When the Emperor was Divine, the author must mean to express a special meaning through the nameless main characters. On one hand, it is thought that the experiences of this nameless Japanese American family is not a single example but the epitome of what all Japanese American encountered at that time. Nearly 120,000 Japanese American were taken from their homes in the spring and early summer of 1942 and incarcerated in concentration camps by the United States government.(Roger Daniels, 3) So, as the quotation shows, these four nameless characters can be any Japanese in the U.S and there are still numerous Japanese trapped in that similar situation. On the other hand, what is more significant, the namelessness of the characters also indicates the loss of their identities. Because they are Japanese Ameican, they are different from the real American natives in their habits, world views and values. They live in an environment with mixed American and Japanese cultures. Even they are obsessed by their Japanese identities in American society. For example, when the mother 2 and children come back from the interment camp, they find that everything is changed and their Japanese identities may cause trouble for them. So the children say like this: We would change our names to sound more like theirs. And if our mother called out to us on the street by our real names we would turn away and pretend not to know her. We would never be mistaken for the enemy again! (Otsuka,114) From what is above, we find although the children have their own Japanese names, but they cannot use them because that may cause trouble for them. As to the relationship between name and identity, Seeman argues: “Identity, though complex, can be encoded in a name.”(Seeman, 1 paragraph) In other words, the name is the most obvious symbol of the identity. However, in order to avoid troubles, Japanese children even want to change or give up their Japanese names. In addition, they should also behave as the native American and only in this way they can never be mistaken for the enemy again. In fact, no matter how the children pretend they are no different from the natives, they are only “American-born Japanese”. They want to be the same as the natives, but they have to drop the right to use their names to avoid trouble, which is a kind of helpless sorrow. Through this arrangement of the author, readers can realize the Japanese hardships in the U.S during World War Two. In addition, there are also a lot of statements about the nameless Japanese in the novel: “We were just numbers to them, mere slaves to the Emperor. We didn't even have names. I was 326.” (Otsuka,119) This is said by a Japanese who has been arrested as a spy. When compared to the previous example, the difference between them is obvious. In the former example, the children do not want to use their real names for that their real names will expose their identities and cause trouble for them at that particular time. However, what this Japanese says manifests that they do not have the right to own their names. Even the basic right to use their own names is rejected after they are arrested. In other words, with the right to use their 3 names being deprived, they also lose their identifications. Moreover, when the Japanese family lives in the internment camp, there is also another event of the children describing the misery of them: One evening, before he (the son) went to bed, he wrote his name in the dust across the top of the table. All through the night, while he slept, more dust blew through the walls. By morning his name was gone. (Otsuka, 64) When deeply analyzing it, this plot means to express the helplessness and the suffering of nameless Japanese in the U.S. The son writes his name on the table in the evening, but by morning the name is gone. The author never explains that why his name is gone or who makes his name gone. It is not necessary to make it clear that who on earth takes his name gone, because the phrase “By morning his name was gone” has already express the helplessness of the children. This irony manifests that even though the Japanese want to record their names, there are still people who can take their name away. They have been deprived of their basic rights to prove their identities, and all of these are represented through the nameless characters depicted by the author. In addition to the main characters in the book, there is still another example relating to nameless Japanese in the internment camp. On a warm evening in April a man was shot dead by the barbed- wire fence. The guard who was on duty said the man had been trying to escape. He'd called out to him four times, the guard said, but the man had ignored him. (Otsuka, 101) This event happens in the internment camp where the Japanese family lives. In the camp, the lives of the Japanese Americans are cruel and repeating. Initially, camp authorities spied on internee activities in the different blocks in addition to the twenty-four-hour watch by armed sentries in surrounding watchtowers.( Creef,85) Everyday, everything, including eating and sleeping, they do should be supervised. They have no freedom in the internment camp; 4 they do not even have the right to take a walk in the internment camp freely. This man’s death attributes to that he has not heard the warning of the guard and his names has not been mentioned even at his funeral. Being deprived of the right to own their names is just the same as being deprived of their freedom. In the internment camp, the Japanese eventually know what the significance of the identity is. Loss of identity means they cannot be treated as human but a kind of animal which should be monitored in the internment camp. About the ordeal of Japanese in the internment camps, Renteln’s argues that: “[S]ome lost their lives as well as their dignity.” (Renteln, paragraph 6) For the guard, this man’s life is valueless because he can decide to shoot when he thinks this man is intractable. As the guard takes this man’s life, he also takes this man’s dignity. This dead man’s loss of dignity can manifest his loss of identity.
Recommended publications
  • M.A. Russian 2019
    ************ B+ Accredited By NAAC Syllabus For Master of Arts (Part I and II) (Subject to the modifications to be made from time to time) Syllabus to be implemented from June 2019 onwards. 2 Shivaji University, Kolhapur Revised Syllabus For Master of Arts 1. TITLE : M.A. in Russian Language under the Faculty of Arts 2. YEAR OF IMPLEMENTATION: New Syllabus will be implemented from the academic year 2019-20 i.e. June 2019 onwards. 3. PREAMBLE:- 4. GENERAL OBJECTIVES OF THE COURSE: 1) To arrive at a high level competence in written and oral language skills. 2) To instill in the learner a critical appreciation of literary works. 3) To give the learners a wide spectrum of both theoretical and applied knowledge to equip them for professional exigencies. 4) To foster an intercultural dialogue by making the learner aware of both the source and the target culture. 5) To develop scientific thinking in the learners and prepare them for research. 6) To encourage an interdisciplinary approach for cross-pollination of ideas. 5. DURATION • The course shall be a full time course. • The duration of course shall be of Two years i.e. Four Semesters. 6. PATTERN:- Pattern of Examination will be Semester (Credit System). 7. FEE STRUCTURE:- (as applicable to regular course) i) Entrance Examination Fee (If applicable)- Rs -------------- (Not refundable) ii) Course Fee- Particulars Rupees Tuition Fee Rs. Laboratory Fee Rs. Semester fee- Per Total Rs. student Other fee will be applicable as per University rules/norms. 8. IMPLEMENTATION OF FEE STRUCTURE:- For Part I - From academic year 2019 onwards.
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay
    [Show full text]
  • Young Adult Realistic Fiction Book List
    Young Adult Realistic Fiction Book List Denotes new titles recently added to the list while the severity of her older sister's injuries Abuse and the urging of her younger sister, their uncle, and a friend tempt her to testify against Anderson, Laurie Halse him, her mother and other well-meaning Speak adults persuade her to claim responsibility. A traumatic event in the (Mature) (2007) summer has a devastating effect on Melinda's freshman Flinn, Alexandra year of high school. (2002) Breathing Underwater Sent to counseling for hitting his Avasthi, Swati girlfriend, Caitlin, and ordered to Split keep a journal, A teenaged boy thrown out of his 16-year-old Nick examines his controlling house by his abusive father goes behavior and anger and describes living with to live with his older brother, his abusive father. (2001) who ran away from home years earlier under similar circumstances. (Summary McCormick, Patricia from Follett Destiny, November 2010). Sold Thirteen-year-old Lakshmi Draper, Sharon leaves her poor mountain Forged by Fire home in Nepal thinking that Teenaged Gerald, who has she is to work in the city as a spent years protecting his maid only to find that she has fragile half-sister from their been sold into the sex slave trade in India and abusive father, faces the that there is no hope of escape. (2006) prospect of one final confrontation before the problem can be solved. McMurchy-Barber, Gina Free as a Bird Erskine, Kathryn Eight-year-old Ruby Jean Sharp, Quaking born with Down syndrome, is In a Pennsylvania town where anti- placed in Woodlands School in war sentiments are treated with New Westminster, British contempt and violence, Matt, a Columbia, after the death of her grandmother fourteen-year-old girl living with a Quaker who took care of her, and she learns to family, deals with the demons of her past as survive every kind of abuse before she is she battles bullies of the present, eventually placed in a program designed to help her live learning to trust in others as well as her.
    [Show full text]
  • Socialist Realism Seen in Maxim Gorky's Play The
    SOCIALIST REALISM SEEN IN MAXIM GORKY’S PLAY THE LOWER DEPTHS AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters By AINUL LISA Student Number: 014214114 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 SOCIALIST REALISM SEEN IN MAXIM GORKY’S PLAY THE LOWER DEPTHS AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters By AINUL LISA Student Number: 014214114 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 i ii iii HHaappppiinneessss aallwwaayyss llooookkss ssmmaallll wwhhiillee yyoouu hhoolldd iitt iinn yyoouurr hhaannddss,, bbuutt lleett iitt ggoo,, aanndd yyoouu lleeaarrnn aatt oonnccee hhooww bbiigg aanndd pprreecciioouuss iitt iiss.. (Maxiim Gorky) iv Thiis Undergraduatte Thesiis iis dediicatted tto:: My Dear Mom and Dad,, My Belloved Brotther and Siistters.. v vi ACKNOWLEDGEMENTS Firstly, I would like to praise Allah SWT for the blessings during the long process of this undergraduate thesis writing. I would also like to thank my patient and supportive father and mother for upholding me, giving me adequate facilities all through my study, and encouragement during the writing of this undergraduate thesis, my brother and sisters, who are always there to listen to all of my problems. I am very grateful to my advisor Gabriel Fajar Sasmita Aji, S.S., M.Hum. for helping me doing my undergraduate thesis with his advice, guidance, and patience during the writing of my undergraduate thesis. My gratitude also goes to my co-advisor Dewi Widyastuti, S.Pd., M.Hum.
    [Show full text]
  • Sof'ia Petrovna" Rewrites Maksim Gor'kii's "Mat"
    Swarthmore College Works Russian Faculty Works Russian 2008 "Mother", As Forebear: How Lidiia Chukovskaia's "Sof'ia Petrovna" Rewrites Maksim Gor'kii's "Mat" Sibelan E.S. Forrester Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-russian Part of the Slavic Languages and Societies Commons Let us know how access to these works benefits ouy Recommended Citation Sibelan E.S. Forrester. (2008). ""Mother", As Forebear: How Lidiia Chukovskaia's "Sof'ia Petrovna" Rewrites Maksim Gor'kii's "Mat"". American Contributions to the 14th International Congress of Slavists: Ohrid 2008. Volume 2, 51-67. https://works.swarthmore.edu/fac-russian/249 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Russian Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Mother as Forebear: How Lidiia Chukovskaia’s Sof´ia Petrovna Rewrites Maksim Gor´kii’s Mat´* Sibelan E. S. Forrester Lidiia Chukovskaia’s novella Sof´ia Petrovna (henceforth abbreviated as SP) has gained a respectable place in the canon of primary sources used in the United States to teach about the Soviet period,1 though it may appear on history syllabi more often than in (occasional) courses on Russian women writers or (more common) surveys of Russian or Soviet literature. The tendency to read and use the work as a historical document begins with the author herself: Chukovskaia consistently emphasizes its value as a testimonial and its uniqueness as a snapshot of the years when it was writ- ten.
    [Show full text]
  • ENDER's GAME by Orson Scott Card Chapter 1 -- Third
    ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table.
    [Show full text]
  • STUDENT Nature by Self-Taught Artists
    TRLBOTRKE GLASGOW GALLERY HER-ALD Old College I MODERN PRIMITIVES AWARD 26 Oct-23 Nov An exhibition of paintings and WINNER sculpture of a highly personal STUDENT nature by self-taught artists. Mon-Sat IO am-5 pm 1985 21.11.85 Edinburgh University Student Newspaper A strong attack was made against the "enemies of light in our society" in this year's Ken­ neth Allsop Memorial Lecture, given last Thursday by Donald frelford, editor of The Observer. He attacked espe­ cially the present governmeht for their apparent obsession with secrecy. Terry and In a hard hitting speech under the title of 'Pressures on the Press', Mr Gerry Trelford made a detailed survey of both the obvious and the hidden threats to Press freedom. Mr Trelford opened his case by citing the phrase 'the half free Press' , coined by former Times and Sunday Times editor Harold Evans to contrast Press freedom in Britain !Wi th that of the United States. "But , if ten years ago, our media had half the freedom of the US", Mr Trelford said, "no one can seri­ ously doubt that our rating now is consiflerably less than 50%." "Lonnie Donegan?? Never heard He continued by describing how of 'im!!" - so claim Terrr and Gerry. those Jpveable pionCers of this freedom was being subverted the radical new musical genre tha~ by "the slow creep of bureaucratic Photo: Dave Yarrow 1he kids on the street are ca lling regulations that go unchecked", e Observer editor attacks government SKJFFtE. and mentioned in particular legisla­ tion such as the contempt of Court Act 1981 and the Police and Crimi­ -page6 nal Evidence Act 1984.
    [Show full text]
  • Economies of Russian Literature 1830-1850 by Jillian
    Money and Mad Ambition: Economies of Russian Literature 1830-1850 By Jillian Elizabeth Porter A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Harsha Ram, chair Professor Irina Paperno Professor Luba Golburt Professor Victoria Bonnell Spring 2011 Money and Mad Ambition: Economies of Russian Literature 1830-1850 © 2011 by Jillian Elizabeth Porter 1 Abstract Money and Mad Ambition: Economies of Russian Literature 1830-1850 by Jillian Elizabeth Porter Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Harsha Ram, chair This dissertation offers a sustained examination of the economic paradigms that structure meaning and narrative in Russian literature of the 1830s-1840s, the formative years of nineteenth-century Russian prose. Exploring works by Alexander Pushkin, Nikolai Gogol, Fyodor Dostoevsky, and Faddei Bulgarin, I view tropes such as spending, counterfeiting, hoarding, and gambling, as well as plots of mad or blocked ambition, in relation to the cultural and economic history of Nicholas I’s reign and in the context of the importation of economic discourse and literary conventions from abroad. Furthermore, I consider the impact of culturally and economically conditioned affects—ambition, avarice, and embarrassment—on narrative tone. From the post-Revolutionary French plot of social ambition to
    [Show full text]
  • Smash Hits Volume 36
    4pril 17-30 ^ 1980 m 30p 1 4. \ t, i% \ '."^.iiam 1 \ # »^» r ,:?^ ) ^ MARNF B. A. ROBERTSON NONKEES THE originals/ The Atlantic Masters — original soul music from the Atlantic label. Ten seven inch E.P.s, each with four tracks and at least two different artists. Taken direct from the original master tapes. Re-cut, Re-issued, Re-packaged. £1.60^ 11168 2 SMASH HITS April 17-30 1980 Vol 2 No. 8 WILL I HOLD IT right there! Now before WHAT DO WITHOUT YOU? you all write in saying how come Lene Lovich 4 there's only four of Madness on CLEAN CLEAN the cover, we'll tell ya. That heap of metalwork in the background The Buggies 5 IS none other than the Eiffel DAYDREAM BELIEVER Tower and the other trois {that's i'our actual French) scarpered off The Monkees 7 up it instead of having their photo MODERN GIRL taken. Now you know why Sheena Easton 8 they're called Madness! More nuttiness can be found on pages SILVER DREAM RACER 12 and 13, and other goodies in David Essex 14 this issue include another chance to win a mini-TV on the I'VE NEVER BEEN IN LOVE crossword, a binder offer for all Suzi Quatro 15 your back issues of Smash Hits CHECK OUT THE GROOVE (page 36), another token towards Mandging Editor your free set of badges (page 35) Nick Logan Bobby Thurston 19 and our great Joe Jackson SEXY EYES competition featuring a chance to Editor himself! (That's Dr. Hook 22 meet the man on Ian Cranna page 28).
    [Show full text]
  • Mother Courage and Her Children
    1 These notes are designed as a reference for students and teachers who have viewed Belvoir’s 2015 production of Mother Courage and Her Children. They intend to support discussion of this particular production in the classroom. Contents i. Production credits ii. Key biographies iii. Promotional image and marketing copy for the production iv. Character list v. Scene-by-scene synopsis of Michael Gow’s translation of Mother Courage and Her Children (2015) vi. A note on the translation and Eamon’s motivation to work on the play vii. A note on the time, place and production design viii. Set and costume design images ix. A note on Brecht, Belvoir and this production x. A note on the music and songs xi. The character of Mother Courage xii. Plucking up her courage: Robyn Nevin in conversation with Clive Paget (Limelight, June 2015) xiii. Mother Courage: A triumph for Robyn Nevin John McCallum (The Australian, June 2015) xiv. Will’s Final Speech: An extract from Michael Gow’s play Once in Royal David’s City, which premiered at Belvoir in February 2014 (Mother Courage and Her Children show program, 2015) xv. Brecht on the web: Online resources suggested by Belvoir Brecht & Political Theatre tutor Shannon Murphy xvi. Interview with Shannon Murphy (Radio National, March 2015) xvii. Acknowledgements 2 Belvoir presents MOTHER COURAGE AND HER CHILDREN By BERTOLT BRECHT Translation MICHAEL GOW Music Composition STEFAN GREGORY Director EAMON FLACK Set Designer ROBERT COUSINS Costume Designer ALICE BABIDGE Lighting Designer BENJAMIN CISTERNE Fight Choreographer
    [Show full text]
  • A Dictionary of Men's Wear Works by Mr Baker
    LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000
    [Show full text]
  • Alexandre Dumas (1802-1870)
    Alexandre Dumas (1802-1870) BLACK EUROPEANS: A British Library Online Gallery feature by guest curator Mike Phillips Thomas-Alexandre Dumas was the son of Marquis Alexandre-Antoine Davy de la Pailleterie, and a slave, Louise-Céssette Dumas, from the Caribbean island colony of Saint Domingue (or Santo Domingo, known as Haiti after 1804). Returning to France in 1780, De La Pailleterie consented to his son joining the army on condition that he did not use his name. Thomas-Alexandre Dumas’ courage and strength became legendary and by 1793 he was a general at 31. Following a successful campaign with Napoleon in Egypt, Dumas seemed set for a brilliant future but, because of his involvement in a republican plot, he was despatched to France, captured during the journey and imprisoned. Freed after 20 months, he was lame, deaf in one ear, partly paralysed and penniless. At the age of 35 he was obliged to retire to Villers-Cotterêts, a quiet village near Paris where he had married Marie-Louise Elizabeth Labouret in 1792. Alexandre was born on 24 July 1802. Madame Dumas was in raptures because of his fair skin and blue eyes. A few days before she had seen a puppet show with a black devil called Berlick, and she had been terrified at the prospect of giving birth to a Berlick. Alexandre adored his father, who died in 1806. Told that his father been taken away by God the four-year-old Dumas angrily declared his intention of going up to heaven and demanding satisfaction. In adult life he was to fictionalise many of his father’s real life exploits in his famous novel The Three Musketeers.
    [Show full text]