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Applying Critical Race Theory to Multicultural Children’S Books: Race and Racism in Korean-Canadian Children’S Books

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Applying Critical Race Theory to Multicultural Children’S Books: Race and Racism in Korean-Canadian Children’S Books APPLYING CRITICAL RACE THEORY TO MULTICULTURAL CHILDREN’S BOOKS: RACE AND RACISM IN KOREAN-CANADIAN CHILDREN’S BOOKS by CAROLYN KIM BA., The University of British Columbia, 2002 A THESIS SUBMITTED [N PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Children’s Literature) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2008 © Carolyn Kim, 2008 Abstract The metaphor of Canadian society as a “mosaic” had been used to describe Canada’s diverse society, even before Canada’s adoption of the Multicultural Act in 1988, with the government policy “to recognize all Canadians as full and equal partners in Canadian society.” The government’s aims suggest comfortable integration, but racism is a part of Canada’s history and remains a problem, though this has been overlooked since Canadians have clung to the vision of Canada as a tolerant society. Canadian children’s books reflect some of the racial oppression that certain cultures endured but they do not overall serve well in representing distinct cultural groups in Canada and their diverse racial experiences. The year 2002 was a milestone for Korean-Canadian children’s literature with Janie Jaehyun Park’s The Tiger and the Dried Persimmon earning a place as a finalist for the prestigious Canadian Governor General’s Literary Award for Illustration and winning the Elizabeth Mrazik-Cleaver Picture Book Award. Canada has not seen an abundance in the publication of Korean-Canadian children’s books as America has seen with Korean American children’s books, but there have been a handful of books that involve Korean Canadian characters and culture, most of which have not been written by Korean-Canadian authors. This observation led to my research questions: “Are there any observable biases in the books that have been published about Koreans and Korean Canadians?” Also, “How does the racial identity of the authors or illustrators shape their views when writing books for children?” I discovered that the sample size of Korean-Canadian books is very small (only 10 published thus far), as I undertook research to qualitatively determine racial biases through the application of key principles from Critical Race Theory. In looking at Korean-Canadian children’s books and their background, I outlined not only the history of Korean immigration and social history in Canada, but China’s history of racism in Canada, which acted as a precursor to 11 racial sentiments that contributed to stereotyping of Asians to this day. And, since a common mistake among people is the grouping of all Asians as Chinese, I determined to show that Korean culture has not been treated as distinct. Investigation of the Korean-Canadian books published so far shows that a very limited range of experiences is represented for child readers, and that crucially missing are the voices from the Korean-Canadian community to tell their stories for children. 111 .Table of Contents Abstract ii Table of Contents iv List of Illustrations v Acknowledgements vi Dedication vii Chapter One: Introduction 1 Historical Background of Chinese in Canada: Immigration and Race Relations 5 Historical Background of Koreans in Canada: Immigration and Social History 13 Multiculturalism in Canada and Its Relation to Children’s Reading 32 Chapter Two: Literature Review 36 Chapter Three: Theoretical Framework: Critical Race Theory (CRT) 55 Background in Legal Studies and Race 56 Critical Race Theory in Education and Its Application to Children’s Literature 56 Critical Race Theory in Canada 63 Chapter Four: Korean Canadian Children’s Books 67 Criteria and Methodology 67 Discussion 70 Chapter Five: Conclusion 114 Works Cited 120 Appendices 134 A: Carolyn Kim’s Checklist 134 B: Sarah Park’s Checklist 136 C: Annotated Bibliography of Korean-Canadian Children’s Books 139 D: Illustrations 145 E: Chronology: Chinese/Korean-Canadian Children’s Books (spreadsheet) 148 iv List of Illustrations (See Appendix D) 1. Gold, Gold in Cariboo (frontispiece) by [Godfrey C. Hilldley] 145 2. Young Canada Picture Book — The Children of Korea. Artist unknown 146 3. Korean Boy (cover). Artist unknown 147 V Acknowledgements This thesis is submitted for the degree of Master of Arts in Children’s Literature offered by the University of British Columbia’s multidisciplinary Master of Arts in Children’s Literature Program. This program is offered jointly by the School of Library, Archival and Information Studies, the Department of English, the Department of Language and Literacy Education, and the Department of Theatre, Film and Creative Writing. I owe an enormous debt to many people who supported, encouraged and assisted me in the completion of this thesis. First, I am indebted to my supervisor, Professor Jane Flick for taking me on as a long-distance thesis student, for sticking by me through all these years, for her extraordinary patience, generosity, and loving attention to all details of this thesis. I also wish to thank Professor Judi Saitman for her time, constant encouragement, and inspiration to apply to the program in the first place. I also wish to extend my gratitude to the following Toronto public librarians: Yuka Kajihara-Nolan, Leslie McGrath, and Mariella Bertelli from the Osborne Collection of Early Children’s Books, Toronto Public Library, who went out of their way in assisting me, for always showing an interest in my topic, and encouraging me with respect to the importance of writing about it. Also, I wish to thank Theo Heras, a children’s librarian at Lillian H. Smith Library and Brenda Halliday at the Canadian Children’s Book Centre for their time in enthusiastically assisting me with my needs as well. I owe much thanks and love to my friends and family both in Vancouver and Toronto for all their support and love through these years. And to my parents, to whom I am forever grateful for the sacrifices they made in immigrating to Canada. vi Dedication I want to dedicate this thesis to my loving and faithful husband, James and to our beautiful and awe-inspiring children, Ella and Eva. vii Chapter One - Introduction if you are racially hyphenated in a way that is immediately visible, then you confront the fact of your hyphen every day. Not always in a negative sense, but in an unavoidable one. This is something that others sometimes fail to understand, and it’s surprising given that we all have moments when we are judged by our appearance. Whether it’s because you’re old, or young, or female, or male in a group like this one, or have a physical handicap, or are obese, or blond, or very attractive—especially if you’re blond and very attractive—you have experienced the feeling of being judged by people before you do or say a single thing. Being visibly hyphenated in a racial sense, those experiences are a constant in your life. As an Asian-American, I am well aware that my family and I experienced racism for the most part in far more benign ways than most African- Americans. There was hostility only rarely. But the countless, daily, often seemingly harmless encounters—the assumptions people made about me based on my race alone—have worked to shape what would eventually become my writing sensibility. Linda Sue Park, “Life With A Hyphen: Reading and Writing as a Korean- American” Linda Sue Park is writing about her experiences as a Korean-American, but she is recording common experiences for Korean-Canadians too, as I well know as one born in Canada to Korean immigrant parents. Though I was “made” in Canada, I have been made aware of how my physical appearance places me within the realm of “multicultural” Canada and not in “mainstream” Canadian culture. Also, I am aware of being seen as not only Korean-Canadian, but even more frequently as Chinese-, Japanese-, or Filipino-Canadian. I never gave this much thought growing up. This changed, however, when I was sitting in a university-level class studying multicultural children’s literature. Reading Linda Sue Park’s first novel A Single Shard was like an epiphany, an experience of profound “cultural connectedness” for me. Let me explain before I start sounding melodramatic. Park is writing 12th about century Korea in a language and sensibility that resonated with me as Korean 1 Canadian. I was learning something about the history of my culture not from a dry textbook but from historical fiction aimed at a young audience. That got me excited because I had never read anything like it growing up. And most important of all, to me, was the fact that she was Korean- American and she wrote well. It gave me a sense of pride seeing someone who shared my bicultural identity being published and critically lauded for her works. It also meant that one could be Korean and have a voice and be distinct from being Chinese. So, it made me wonder what was happening in Canada. Were there any Korean-Canadian authors writing for children? Perhaps I had just not come across their books growing up. Thus, I began my research. One of Canada’s most distinctive characteristics is that it is a nation of immigrants. Among the various groups, Asians make up a large component of the immigrants in Canada. According to the 2006 Statistics Canada Census, over five million Canadians are visible minorities, with Chinese and South Asians accounting for almost half of this number. Other major groups are Filipinos, Southeast Asians, Koreans, and Japanese. Asians share common experiences with Western European immigrants, such as adapting to a new land and language and many times taking menial jobs to support their families. However, Asian culture and physical appearances distinctly separated them from the majority and, as Peter Ward observes, “complicated the process of their integration” (10).
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