Representations of Home in Obasan and Nihonjin: The Issei, Nisei, Sansei of Canada and Brazil

Cecily Raynor McGill University [email protected]

A Journal of Canadian Literary and Cultural Studies ISSN 2254-1179 VOL. 6 (2017) pp. 35-45 • ARTICLES 6ƮƛƦƢƭƭƞƝ $ƜƜƞƩƭƞƝ 01/03/2016 18/01/2017

.ƞƲưƨƫƝƬ Migration; diaspora; Japanese-Brazilian; space; home; time

$ƛƬƭƫƚƜƭ Joy Kogawa’s Obasan (1981) and Oscar Nakasato’s Nihonjin (2011) are two novels that narrate the lives of Japanese diaspora in Canada and Brazil respectively. Both countries share a rich tradition of Japanese migration during the late 19th and early 20th centuries, which, while distinct in important ZD\VKDVUHVXOWHGLQDVLJQL¿FDQWERG\RIFXOWXUDOSURGXFWLRQ,QWKLVDUWLFOH,H[DPLQHVSDWLRWHPSRUDO treatments of the home space in Obasan and Nihonjin, arguing that this realm serves two primary IXQFWLRQV DVDVLWHIRUWKHH[SUHVVLRQDQGFRQVWUXFWLRQRILGHQWLW\ DVDSRLQWRIGLVUXSWLRQ DQG UHVLVWDQFH LQ WKH IDFH RI FXOWXUDO OLQJXLVWLF DQG QDWLRQDO DOLHQDWLRQ ([DPLQLQJ -DSDQHVH migration literature from a comparative lens sheds light on the past as a gateway to the present, while nuancing national discourses around race and ethnicity. Although these two narratives are VHSDUDWHGE\WKRXVDQGVRIPLOHVDQGWKLUW\\HDUVLQWKHLUSXEOLFDWLRQGDWHV-DSDQHVHPLJUDQWWDOHV IURP%UD]LODQG&DQDGDWHDFKXVGLYHUVHDQGLQWHUVHFWLQJOHVVRQVDERXWHWKQLFKHULWDJHDQGFXOWXUDO SOXUDOLW\7KHGRPHVWLFVSDFHLVSDUWLFXODUO\FULWLFDOIRUREVHUYLQJWKHVHFURVVLQJVDVLWVDWWHQWLRQWR ODQJXDJHIRRGFXOWXUHDQGRWKHUDUWLIDFWVUHYHDOVDPXOWLOD\HUHGH[SHULHQFH

36 [2254-1179 (2017) 6, 35-45] ,QThe Practice of Everyday Life0LFKHOGH&HUWHDXDVVHUWVWKDWHYHU\WDOHFDQEH ,QWKHFRXQWU\UHSRUWHGMXVWRYHUFLWL]HQVRI-DSDQHVHRULJLQRQHWHQWKWKDW UHDGDVDVSDWLDOSUDFWLFHDGYDQFLQJDORQJDQDUUDWLYHWUDMHFWRU\  ,QGHHGQDUUDWLRQ RI%UD]LOH[SODLQHGLQSDUWE\LWVFHDVLQJWRDOORZ-DSDQHVHLQWRWKHFRXQWU\LQGXH DVDPRGHRIPRYHPHQWFDQEHXQGHUVWRRGEURDGO\ZLWKWKHPRVWXQDVVXPLQJRIHYHQWV WR-DSDQ¶VDOOLDQFHZLWK1D]L*HUPDQ\ Statistics Canada 2011). Nevertheless, Japanese propelling a story forward. Unsurprisingly, narratives on migration and migrants are FXOWXUDOKHULWDJHKDVOHIWLWVPDUNRQERWKQDWLRQVDQLPSRUWDQWFRQVLGHUDWLRQDVZHPRYH frequently less focused on the literal migratory voyage than they are on the journey of EH\RQG VRPH RI WKH WKHRUHWLFDO OLPLWDWLRQV RI PXOWLFXOWXUDOLVP /LWHUDWXUH EULQJV WKHVH WKHSV\FKHµ7KHUH¶LVH[SUHVVHGERWKVSDWLDOO\WKURXJKWKHDFWRIFUHDWLQJDQGSHUIRUPLQJ histories to life in critical ways, illuminating intersections and divergences as well as cultural place, as well as temporally, through the keeping of multilayered time, often conveyed SUDFWLFHVDQGHQFRXQWHUV,QWKLVDUWLFOH,H[DPLQHVSDWLRWHPSRUDOWUHDWPHQWVRIWKHKRPH as frozen or slow-moving.1 Joy Kogawa’s Obasan (1981) and Oscar Nakasato’s Nihonjin space in Obasan and Nihonjin, arguing that this realm serves two primary functions: 1) as  H[HPSOLI\WKHVHWUHQGVUHOD\LQJWZRWDOHVRI-DSDQHVHPLJUDQWIDPLOLHVLQ&DQDGD DVLWHIRUWKHH[SUHVVLRQDQGFRQVWUXFWLRQRILGHQWLW\DQG DVDSRLQWRIGLVUXSWLRQDQG and Brazil respectively.2 Both countries share a rich tradition of Japanese migration during UHVLVWDQFHLQWKHIDFHRIFXOWXUDOOLQJXLVWLFDQGQDWLRQDODOLHQDWLRQ([DPLQLQJ-DSDQHVH the late 19th and early 20th centuries, resulting in important literary production.3 While Brazil migration literature from a comparative lens sheds light on the past as a gateway to the houses the largest Japanese population in the world outside of Japan, forecasted to top present, while nuancing national discourses around race and ethnicity. RYHUPLOOLRQFLWL]HQVDVRI ,%*( WKHFDVHRI&DQDGDKDVEHHQRQHRIUHVWULFWLRQ4 Both Obasan, written in English, and Nihonjin, ZULWWHQLQ3RUWXJXHVHIDOOZLWKLQWKH JHQUHRIKLVWRULFDO¿FWLRQDQGQDUUDWHWKHOLYHVRIWZR-DSDQHVHIDPLOLHVDFURVVVHYHUDO 17KLVLVREVHUYDEOHLQRWKHUFRQWHPSRUDU\PLJUDWLRQQDUUDWLYHVIURP%UD]LOLQFOXGLQJ7DWLDQD decades. Obasan’s point of departure is 1972, and the novel commences from the Levy’s A chave da casa (2007), an introspective look at a Turkish-Brazilian’s retracing of her family perspective of a Japanese-Canadian schoolteacher in her mid-thirties, Naomi, who has KHULWDJH EDFN WR 7XUNH\ DQG 3RUWXJDO 'HVSLWH WKH VSDWLDO WUDMHFWRU\ FRYHUHG LQ WKH QRYHO LW LV OLYHGVLQFHWKHRXWEUHDNRIZDUZLWKKHUDXQW2EDVDQDQGKHUXQFOHKHUPRWKHUKDYLQJ ultimately grounded in the protagonist’s memories, which are interspersed with her travel. 2 Both novels’ titles are left in the Japanese, an important marker of language. Obasan means EHHQWUDSSHGE\WKHZDUZKLOHRQDYLVLWWR-DSDQDQGKHUIDWKHULQWHUQHGVHSDUDWHO\7KH $XQWDQGGUDZVDWWHQWLRQWRWKHFORVHUHODWLRQVKLSEHWZHHQWKHSURWDJRQLVW1DRPLDQGKHUHOGHUO\ ORVVRIKHU8QFOHSURPSWVDGLJUHVVLRQLQWRWKHSDVWIURP3HDUO+DUERUWRWKHERPELQJRI $XQWUHIHUUHGWRRQO\DV2EDVDQZKRORVHVKHUKXVEDQG1DRPL¶V$XQW(PLO\DOZD\VUHIHUUHGWR Nagasaki, where, she discovers much later, she has lost her mother. Obasan’s language LQ(QJOLVKDV$XQW(PLO\DOVREHFRPHVDQLPSRUWDQWLQÀXHQFHDV1DRPLPDWXUHVNihonjin means LVO\ULFDORIWHQMX[WDSRVLQJGLI¿FXOWFKLOGKRRGPHPRULHVZLWKSUHVHQWGD\UXPLQDWLRQV$V Japanese people in Japanese. These titles stress the importance of language in the process of migration, placing it at the forefront. PDQ\FULWLFVKDYHQRWHGLQFOXGLQJ'RQQD%HQQHWWDQG(ULND*RWWOLHEWKHQRYHOLOOXVWUDWHV 3)LFWLRQLVWVLQFOXGLQJ+LURPL*RWR.LP0RULWVXJX5XWK2]HNLDQG.HUUL6DNDPRWRIRUPSDUW WKH V\VWHPDWLF RWKHULQJ RI -DSDQHVH&DQDGLDQV HPEHGGHG LQ D EURDGHU JHRSROLWLFDO RIDULFKWUDGLWLRQRI-DSDQHVH&DQDGLDQDXWKRUVZKRH[SORUHWKHPHVRILGHQWLW\PXOWLFXOWXUDOLVP FRQÀLFW WKDW H[WHQGHG EH\RQG LQGLYLGXDOV $V *RWWOLHE H[SODLQV LQ KHU DQDO\VLV RI WKH cultural alienation and preservation. 4 ,Q KLV DUWLFOH RQ LPPLJUDWLRQ DQG OLWHUDWXUH LQ FRQWHPSRUDU\ %UD]LO /XL] 5XIIDWR QRWHV WKH QRYHO¶V KLVWRULFDO EDFNGURS ³&DQDGD IHOO YLFWLP WR WKH K\VWHULD  IHDU JUHHG WKH QHHG Japanese-Brazilian resistance in entering the Brazilian literary scene due to often self-imposed IRUDVFDSHJRDWLWZDV¿JKWLQJDJDLQVW´  Obasan humanizes Japanese-Canadian FXOWXUDODQGOLQJXLVWLFVHJUHJDWLRQ³$OWKRXJKLWHQFRPSDVVHVDERXWPLOOLRQQLVVHLVWKHODUJHVW ZDUWLPH YLFWLPV WKURXJK D GHHSO\ SHUVRQDO QDUUDWLYH ,QGHHG 1DRPL QDUUDWHV WKH SDVW SRSXODWLRQRI-DSDQHVHRXWVLGHRI-DSDQZKRHQWHUHGLQWRWKHFRXQWU\EHWZHHQDQGIRU in the present tense and through the eyes of a child, connecting it to the present and a long period of time the population resisted integration. The poets and writers of prose continued to EHLQVHUWHGLQDQ2ULHQWDOWUDGLWLRQLQWKHWKHPHVLQWKHZULWLQJLQWKHODQJXDJH8QWLOYHU\UHFHQWO\ EULQJLQJPHPRU\WROLIH3DVWWHQVHYHUEVDUHXVHGWRGHQRWHKLVWRULFDOHYHQWVUDWKHUWKDQ WKHQDPHRI(LFR6X]XNLZKLFKDSSHDUHGGXULQJWKHVZDVWKHORQHQDPHLQWKHKLVWRU\RI LQWHUUXSWLQJGLJUHVVLRQVLQWRPHPRU\7KHQRYHOGHVFULEHVWKHKRUURUVRIIRUFHGLQWHUQPHQW %UD]LOLDQOLWHUDWXUHEXWQRZKHKDVJDLQHGWKHFRPSDQ\RI0DUtOLD.XERWDDQG2VFDU1DNDVDWR´ P\ DQGH[LOHIURP9DQFRXYHUWRWKHSUDLULHVIURPGLIIHULQJSHUVSHFWLYHVRIFKLOGUHQDQGDGXOWV translation). ,Q3RUWXJXHVH³(PERUDDEULJXHFHUFDGHPLOKmRGHQLVVHLVDPDLRUSRSXODomR GHMDSRQHVHVHGHVFHQGHQWHVIRUDGR-DSmRHQWUDGRVQRSDtVHQWUHHGXUDQWHPXLWR skillfully interweaving moments of solidarity or refuge amongst its protagonists. The novel tempo a colônia resistiu a se integrar - os poetas e prosadores continuavam inseridos dentro da LQFOXGHVH[FHUSWVIURPDZDUWLPHMRXUQDOE\1DRPL¶VDFWLYLVW$XQW(PLO\SURYLGLQJDQDGXOW WUDGLomRRULHQWDOQRVWHPDVQDHVFULWDQRLGLRPD$WpPXLWRUHFHQWHPHQWHRQRPHGH(LFR6X]XNL SHUVSHFWLYHDVZHOODVD¿FWLRQDOH\HZLWQHVVDFFRXQWRIHYHQWV DSDUHFLGRQDGpFDGDGHPDQWLQKDVHVROLWiULRQDKLVWyULDGDOLWHUDWXUDEUDVLOHLUDPDVDJRUD JDQKRXDFRPSDQKLDGH0DUtOLD.XERWDH2VFDU1DNDVDWR´ 5XIIDWR 

A Journal of Canadian Literary and Cultural Studies 37 NihonjinH[SORUHV-DSDQHVH%UD]LOLDQOLIHWKURXJKDVLPLODUHPSKDVLVRQDPXOWLSOLFLW\ K\EULGLGHQWLWLHVVXFKDV-DSDQHVH%UD]LOLDQLPPLJUDQWVRIDOOEDFNJURXQGVWHQGWRVWUHVV of narrative voices.5,WVVHYHQFKDSWHUVFDQEHUHDGDVIUHHVWDQGLQJVWRULHVRUWRJHWKHUYLD their country of origin, in this case calling themselves Japanese (Lesser 2). Yet although the intersection of three generations along a shared plotline. Beginning the story is Hideo HWKQLFRULJLQPD\QRWZRUNLQRSSRVLWLRQWR%UD]LOLDQLGHQWLW\WKLVÀXLGXQGHUVWDQGLQJGRHV ,QDEDWDDSURXG¿UVWJHQHUDWLRQ-DSDQHVHHFRQRPLFPLJUDQWWR%UD]LOGXULQJWKHVHFRQG not eliminate discriminatory practices, as Nihonjin UHYHDOV 2I HTXDO VLJQL¿FDQFH LV WKH GHFDGHRIWKHWZHQWLHWKFHQWXU\7KHORVVRIKLV¿UVWZLIHDQGGLI¿FXOWLHVZLWKKLVFKLOGUHQWHVW historical emphasis placed on miscegenation, evidenced in concepts including racial KLVULJLG-DSDQHVHZLOODQGMXVWEHIRUHWKHHQGRIWKHQRYHOWKHQDUUDWRU+LGHR¶VJUDQGVRQ GHPRFUDF\FRLQHGE\%UD]LOLDQVRFLRORJLVW*LOEHUWR)UH\UH5DFLDOGHPRFUDF\UHOLHVRQ HPEDUNVRQDUHWXUQMRXUQH\WRD-DSDQKHKDGRQO\SUHYLRXVO\LPDJLQHG6 Though Nihonjin WKHQRWLRQRIUDFLDOGRPLQDQFHLQWKHEOHQGLQJRI%UD]LO¶VWKUHHPDMRUUDFLDOJURXSVWKH FRPPHQFHVZLWKDEULHIGHVFULSWLRQRIWKHYR\DJHWR%UD]LOLWIRFXVHVRQWKHGHVWLQDWLRQ Amerindians, descendants of African slaves, and whites. Not only does racial democracy RIPLJUDWLRQOLNH2EDVDQ¶VIRFXVRQ&DQDGDDQGLQSDUWLFXODURQTXRWLGLDQDQGGRPHVWLF falsely simplify race relations in a country with a long-standing legacy of slavery and other SODFHV,QERWKObasan and NihonjinKRPHLVDFRQFHSWQRWGH¿QHGE\SK\VLFDOVSDFH XQMXVWUDFLDOSRZHUKLHUDUFKLHVLWVSULYLOHJLQJRIUDFLDOPL[WXUHVIDLOVWRLQFOXGH-DSDQHVH EXWLVUDWKHUPDGHDQGXQPDGHSHUIRUPHGDQGDEDQGRQHG7KLVFRPSOH[SRUWUD\DOFDOOV or the many other ethnicities that fall outside of the colonial model. Thus, despite an LQWRTXHVWLRQWKHDELOLW\WRPDLQWDLQULJLGELQDULHVLQOLJKWRIÀXFWXDWLQJPLJUDQWLGHQWLWLHVDQG H[SDQVLYHQRWLRQRI%UD]LOLDQQHVVLWLVFOHDUWKDW-DSDQHVH%UD]LOLDQVGRQRWDOZD\V¿W HYHUFKDQJLQJQDWLRQDOFRQWH[WV$WWKHVDPHWLPHWKHKRPHVHUYHVDQXPEHURIFULWLFDO within conceptual and historical frameworks. At the same time, the novel’s depiction of UROHVDFWLQJQRWRQO\DVDIDPLO\JDWKHULQJSRLQWEXWDOVRDVDVLWHIRUWKHSUHVHUYDWLRQDQG WKHKRPHVSDFHVSHDNVWRSUHIHUHQWLDOLW\IRUUDFLDOLVRODWLRQLVPDPRQJVW¿UVWJHQHUDWLRQ testing of language, cultural traditions, and even racial purity, deemed essential for future Japanese-Brazilians. generations. ,QWKHFDVHRI&DQDGDFULWLFVKDYHKLJKOLJKWHGWKHZD\VLQZKLFKObasanEULQJVWROLJKW Before turning to depictions of the home, it is important to comment upon some of the DUDFLVWSDVWREVHUYHGIURPWKHYDQWDJHSRLQWRIFRQWHPSRUDU\³PXOWLFXOWXUDOLVP´,QGHHG KLVWRULFDODQGFXOWXUDOGLVWLQFWLRQVEHWZHHQ%UD]LODQG&DQDGDUHJDUGLQJWKHLULPPLJUDQW LQMX[WDSRVLWLRQZLWK%UD]LO¶VIRFXVRQPLVFHJHQDWLRQDQGUDFLDOGHPRFUDF\&DQDGDZDV SRSXODWLRQV *LYHQ WKH WHPSRUDO DQG JHRJUDSKLFDO GLIIHUHQFHV EHWZHHQ WKHVH WZR WKH¿UVWFRXQWU\LQWKHZRUOGWRDGRSWPXOWLFXOWXUDOLVPDVDQRI¿FLDOSROLF\LQ+RZHYHU QRYHOVWKHLUWUHDWPHQWRI-DSDQHVHPLJUDWLRQLVLQÀXHQFHGE\DFRPSOH[VHWRIYDULDEOHV since the 1970s, scholars have largely dismantled the idealism surrounding this framework DFFRPSDQ\LQJGLVWLQFWQDWLRQDOWUDGLWLRQV7KLVLVFRPSOLFDWHGE\WKHIDFWWKDWLPPLJUDQWVWR DQG LWV JRDOV RI KROGLQJ LQGLYLGXDO FXOWXUHV LQWDFW H[SRVLQJ LQVWHDG LWV OLPLWDWLRQV DQG ERWKFRXQWULHVRIWHQLQLWLDOO\RFFXS\VRFLDOFODVVHVIDUIURPWKHSULYLOHJHGHOLWHDQLPSRUWDQW IDOODFLHV,QKLVLPSRUWDQWVWXG\RIWKHPRUHUHFHQWFULWLFLVPRQObasan*X\%HDXUHJDUG FRQVLGHUDWLRQZKHQH[DPLQLQJWKHTXRWLGLDQVSDFHVRIWKHVHQRYHOV,QWKHFDVHRI%UD]LO DGGUHVVHVWKHQHHGWRJRIXUWKHULQUHDGHUV¶HQFRXQWHUZLWKWKHWH[WKLJKOLJKWLQJWKHORQJ ORQJWHUP LPPLJUDWLRQ EHJLQQLQJ LQ WKH FRORQLDO SHULRG DQG FXOPLQDWLQJ LQ JRYHUQPHQW WUDGLWLRQRIDQWL-DSDQHVHUDFLVPLQ&DQDGDRQHWKDWH[WHQGVIDUEH\RQGWKHZLQGRZRI sanctioned immigration programs in the late 19th and early 20th centuries has changed 1942-1949. Long-term restrictions on immigration, voting, and other state-sanctioned anti- WKHZD\VLQZKLFKHYHU\GD\%UD]LOLDQVSHUFHLYHQDWLRQDOEHORQJLQJ$V%UD]LOLDQPLJUDWLRQ Japanese policies are critical components to its interpretation. Both Nihonjin and Obasan historian Jeffrey Lesser notes, “Most Brazilians understand immigrants and immigration EULQJWROLJKWVRPHRIWKHOLPLWDWLRQVRIQDWLRQDOGLVFRXUVHVDURXQGUDFHHWKQLFLW\DQGPXOWL LQDQ>@HODVWLFZD\FKDOOHQJLQJWKRVHZKRVXJJHVWWKDWWKHH[FOXVLYHGH¿QLWLRQRIDQ FXOWXUDOLVPEULQJLQJQXDQFHWRRXUKLVWRULFDOXQGHUVWDQGLQJRI-DSDQHVHPLJUDWLRQDQGLWV LPPLJUDQWLVDQµµLQGLYLGXDOZKRPRYHVE\FKRLFHIURPRQHQDWLRQWRDQRWKHU¶¶´  /HVVHU social facets in these two immigrant-rich countries. JRHVRQWRREVHUYHWKDWUDWKHUWKDQXWLOL]LQJK\SKHQDWHGGHQRPLQDWLRQVWKDWZRXOGVWUHVV ,+RPHDVDVLWHRIPHPRU\DQGLGHQWLW\

5 Nihonjin ZRQWKH-DEXWL$ZDUGDVEHVWQRYHOLQRQHRIWKHPRVWLPSRUWDQWOLWHUDU\DZDUGV 7XUQLQJWRWKHWH[WERWKQRYHOVUXPLQDWHRQWKHG\QDPLFZD\VLQZKLFKWKHKRPH in Brazil. VSDFHDFWVDVDVLWHRIPHPRU\IRULWV-DSDQHVHSURWDJRQLVWV,QERWKZRUNVPLJUDWLRQLQWR 6 7KLVSURYLGHVDFRPPHQWRQWKHDELOLW\RIQDUUDWLYHVWRFUHDWHQDWLRQDOVSDFHVFRQFHSWXDO QHZKRPHVGRHVQRWTXHOOPHPRULHVRIIRUPHURQHVRUWKRVHRI-DSDQEXWSURYLGHVD QDUUDWHG  UDWKHU WKDQ OLYHG DQG KRZ WKHVH VSDWLDO DEVWUDFWLRQV DUH WUDQVIRUPHG DQG SUHVHUYHG platform for their recollection. Here the past and present coalesce through dreams, writing, across generations.

38 [2254-1179 (2017) 6, 35-45] DQG VWRU\WHOOLQJ *DVWRQ %DFKHODUG¶V FODVVLF WH[W The Poetics of Space, speaks to the ,QWKHFDQGOHOLWURRP-LQWDURLVWUDQVSRVHGVSDWLDOO\WRWKHVNLHVOHDYHVDQGFKHUU\ GHHSERQGEHWZHHQSURWHFWHGVSDFHVDQGWKHLPDJLQDWLRQ³7KHLPDJLQDWLRQIXQFWLRQVLQ WUHHVRIKLVQDWLYHODQGDQGDOVRWRWKHODVWLQJVHDVRQVRIDQDWLRQUHPHPEHUHG,QWKLV WKLVGLUHFWLRQZKHQHYHUWKHKXPDQEHLQJKDVIRXQGWKHVOLJKWHVWVKHOWHU+HH[SHULHQFHV passage, the act of writing is synonymous with the recuperation and preservation of space, WKHKRXVHLQLWVUHDOLW\DQGLQLWVYLUWXDOLW\E\PHDQVRIWKRXJKWVDQGGUHDPV$QGDIWHUZH FRXSOHG ZLWK WKH FRPSOH[ IHHOLQJV RI ORVV 1RW RQO\ GRHV WKLV DGG D OD\HU RI GHSWK RI DUHLQWKHQHZKRXVHZKHQPHPRULHVRIRWKHUSODFHVZHOLYHGLQFRPHEDFNWRXVZH H[SHULHQFHWKHVFHQHGLVSODFHVWKHQDUUDWLYHDZD\IURPWKH%UD]LOLDQVHWWOHPHQW 1DNDVDWR WUDYHOEDFN´  ,QNihonjin¶VLQLWLDOGHVFULSWLRQVWKHERXQGDULHVRI³KRPH´DUHFRQQHFWHG 29-32) in which the migrants are otherwise centered. These digressions thicken narrative WRUHPHPEHULQJ-DSDQFRQVHUYHGVSDWLDOO\YLDDUWLIDFWVFXOWXUDOSUDFWLFHVDQGULWXDOV$W time, altering the rhythm of events.10 the same time, the home-space also highlights the challenging socio-economic situation of ,QObasanWKH¿UVWHQFRXQWHUZLWKWKHKRPHFHQWHUVRQWKHNLWFKHQDV1DRPLYLVLWV newly arrived Japanese to Brazil. When Hideo and his Japanese wife enter the immigrant 2EDVDQIROORZLQJWKHGHDWKRIKHU8QFOH6KH¿QGVKHU³VLWWLQJDWWKHNLWFKHQWDEOHZKHQ housing project in Brazil to which they are assigned, Kimie literally marks the newly trodden ,FRPHLQ6KHLVVRGHDIWKDWP\FDOOLQJGRHVQ¶WURXVHKHUDQGZKHQVKHVHHVPHVKHLV %UD]LOLDQJURXQGRIWKHLUPDNHVKLIWKXW³7KHIRUHPDQRSHQHGWKHZLQGRZV7KHQ,VDZ VWDUWOHG´  +HUHWKHNLWFKHQLVOLNHZLVHFHQWUDOWR¿UVWDQGVHFRQGJHQHUDWLRQ-DSDQHVH .LPLHORRNLQJGRZQDWWKHGLUWÀRRURQWKHJURRYHVVKHZDVGUDZLQJPDSVRQWKHJURXQG in ObasanLWLVDSODFHWRPRXUQWKHORVVRI8QFOH+XVEDQGDVZHOODVDPQHPRQLFVLWH WKHRXWOLQHRIKHUFRXQWU\LQWKHFHQWHURIWKHURRP´ 1DNDVDWRP\WUDQVODWLRQ 7 This ,PSRUWDQWO\WKH¿UVWDFWLRQ2EDVDQWDNHVLVWRUHPDLQLQWKHNLWFKHQDQGSXWRQDNHWWOHIRU VLPSOHDFWVWUHVVHVDQDWWHQWLRQWR-DSDQDVPHPRLUWKH¿UVWRIPDQ\LQVWDQFHVIUHTXHQWO\ WHD1DRPLWDNHVDPRPHQWWRREVHUYHWKHKRXVHZKLFKLVOD\HUHGZLWKPHPRU\ODGHQ MX[WDSRVHGZLWKWKHFXOWXUDOO\FKDOOHQJLQJVSDFHVH[WHUQDOWRWKHKRPH7KHFRXUWLQJRI WKLQJV³7KHKRXVHLVLQLWVXVXDOFOXWWHU1RWKLQJDWDOOKDVFKDQJHG7KHDSSOHZRRGWDEOH PHPRULHVIURP-DSDQLVHODERUDWHGLQWKHQRYHO¶VUHSUHVHQWDWLRQRIWKHSRHW-LQWDURD LVFRYHUHGZLWKDSLHFHRIGLVFRORXUHGSODVWLFRYHUWKHEOXHDQGZKLWHWDEOHFORWK$ORQJRQH IHOORZ¿UVWJHQHUDWLRQLPPLJUDQWZKRFRPHVWROLYHZLWK.LPLHDQG+LGHR)RU-LQWDURWKH edge are Uncle’s African violets, profusely purple, glass salt and pepper shakers, a soya space of the kitchen is a sanctuary for writing and recollecting, a melancholic process of VDXFHERWWOHDFUDFNHGUDGLRDQROGIDVKLRQHGWRDVWHUDVPDOOERWWOHIXOORIWRRWKSLFNV´ ORRNLQJEDFN (17). Though the home may not evoke memories of Japan as in Nihonjin, its artifacts are $W QLJKW DW GDZQ LW ZDV KLV RZQ SULYDWH WHPSOH EXUQ DZD\ KLV XQFHUWDLQWLHV FRQQHFWHGWR-DSDQHVHFXOWXUDOKHULWDJHYLDWKHVR\DVDXFHERWWOHDQGWKHUHPQDQWVRI FRQWHPSODWHKLVDQJXLVKDQGUHJLVWHUKLVPHPRULHVLQWRWKHDEVHQFHRIWKHSDVW+HOLWWKH Uncle. These items are interspersed with generic things, including a toaster, a radio and ODPSOHWWKHÀDPHUHPDLQKLJKLQRUGHUWRVHHEHWWHUWRQRWVHHJKRVWVDQGKHZURWHDERXW WRRWKSLFNVDPL[HGODQGVFDSHVSHDNLQJWRWKHSOXUDOLW\RIWKHPLJUDQWH[SHULHQFH11Within the four seasons: the sad redness of the sky that the leaves of momiji8 copied in autumn, WKLVPpODQJHWKH$IULFDQYLROHWVVWDQGRXWGHVFULEHGDV³SURIXVHO\SXUSOH´KLJKOLJKWLQJ the white coating on the cherry trees during the winter, the song of the nightingale in the DQHZWKHUHFHQWSDVVLQJRIKHU8QFOH/DWHURQ1DRPLVHHVDQRWKHUVLJQRIKLP³DEODFN VSULQJWKHV\PSKRQ\RIFLFDGDVRQVXPPHUQLJKWV,WZDVDZD\RIIHHOLQJDVWKRXJKKH ORDIRI8QFOH¶VVWRQHEUHDGKHIW\DVDURFN,W¶VWRRELJWREHDEXQEXWPXFKVPDOOHU were in Japan. (Nakasato 35; my translation)9 WKDQUHJXODUµVWRU\ERXJKWHQEUHDG¶7KHIDFWWKDWLW¶VXQFRYHUHGPHDQVWKDWLWZDVPDGH HLWKHU\HVWHUGD\RUWRGD\:DVPDNLQJWKLVEUHDG8QFOH¶VODVWDFW"´  7KHYLROHWVDQG WKHEUHDGPDUNDSUHVHQFHDQGDOVRDQDEVHQFHWUDFHVRIDPDQQRORQJHUWKHUH$WWKH 7,Q3RUWXJXHVH³2FDSDWD]DEULXDVMDQHODV'HSRLVYL.LPLHREVHUYDQGRRSLVRGHWHUUDEDWLGD RVVXOFRVGHVHQKDQGRPDSDVQRFKmRRHVERoRGHVHXSDtVQRFHQWURGDVDOD´ 10 Curiously, it is Japan in general which occupies these migrants’ imagination, rather than a 8,Q-DSDQHVHWKLVPHDQVDXWXPQOHDYHVKRZHYHULWLVOHIWLQWKHRULJLQDOLQWKHQRYHO VSHFL¿FYLOODJHRUUHJLRQ 9,Q3RUWXJXHVH³¬QRLWHGHPDGUXJDGDHURRVHXWHPSORSULYDGROXJDUGHIULJLUDVLQFHUWH]DV 11,QThe Location of Culture +RPL %KDEKD GLVFXVVHV FRQFHSWV VXFK DV PLPLFU\ K\EULGLW\ GHEUXoDUVHVREUHDVDQJ~VWLDVLQVFUHYHUQDDXVrQFLDGRSDVVDGRDVVXDVOHPEUDQoDV$FHQGLD DQG DPELYDOHQFH UHODWHG WR WKH SRVWFRORQLDO FRQGLWLRQ DV ZHOO DV WKH FUHDWLRQ RI LQEHWZHHQ DODPSDULQDGHL[DYDDFKDPDDOWDSDUDYHUPHOKRUSDUDQmRYHUIDQWDVPDVHHVFUHYLDVREUHDV VSDFHVE\IRUPHUFRORQLDOVXEMHFWV7KHWHUPK\EULGLW\ZDV¿UVWXVHGWRLQGLFDWHZD\VLQZKLFK TXDWURHVWDo}HVGRDQRDWULVWHYHUPHOKLGmRGRFpXTXHDVIROKDVGHPRPLMLFRSLDYDPQRRXWRQR FXOWXUDOSURGXFWLRQDQGUHVLVWDQFHDUHVRXJKWWKURXJKDOWHUQDWLYHPHDQVLQWKHK\EULGVSDFHVRI RPDQWREUDQFRVREUHDVFHUHMHLUDVGXUDQWHRLQYHUQRRFDQWRGRURX[LQROVDXGDQGRDSULPDYHUD WKHLQEHWZHHQ7KHWHUPKDVFRPHWREHXVHGLQEURDGZD\VLQFXOWXUDOVWXGLHVWRGHVFULEHWKH DVLQIRQLDGDVFLJDUUDVQDVQRLWHVGHYHUmR(UDXPPRGRGHVHVHQWLUQR-DSmR´   LQWHUPLQJOLQJPL[LQJDQGIXVLRQRIWZRFXOWXUDOV\VWHP

A Journal of Canadian Literary and Cultural Studies 39 VDPHWLPHERWKDUWLIDFWVKLJKOLJKWKRZSHUVRQDOLWHPVOLQJHURQLQWKHKRPHXQKLQGHUHG ZLWKWKHORVVDQGLVRODWLRQFKDUDFWHULVWLFRIPLJUDWLRQ,QWKHFKDSWHU¶VFORVLQJVFHQHKHU E\GHDWK7KRXJKVWRQHEUHDGLVQRWW\SLFDORI-DSDQWKHRULVW:HQ\LQJ;XKDVDVVRFLDWHG VNHSWLFDODQGZRUULHGKXVEDQG+LGHRHYHQWXDOO\µDFNQRZOHGJHV¶WKHH[LVWHQFHRIWKHVQRZ WKLVEUHDGZLWKWKHSRYHUW\DQGGLVORFDWLRQRI-DSDQHVHSHRSOHLQ&DQDGDLQKLVZRUNRQ DOORZLQJ KHU WR H[LW DQG LPPHUVH KHUVHOI LQ LW ³6KH OHIW WKH KRXVH ZHQW WR WKH FRIIHH eating identities.12 plantation, ran among the coffee plants, feeling the snow falling on her head, and on her 0RYLQJ IURP WKH NLWFKHQ WR VSHFL¿F GRPHVWLF ]RQHV Nihonjin’s representation of VKRXOGHUV´ 1DNDVDWRP\WUDQVODWLRQ 14,QWKHVFHQH¶VFOLPD[.LPLHLVQRORQJHUWKH ZLQGRZV IXUWKHU EOXUV WKH OLQHV EHWZHHQ PHPRU\ DQG UHDOLW\ LQVLGH DQG RXWVLGH ZKLOH GUHDPHURIDQLPDJLQHGUHDOPEXWUDWKHUDSDUWLFLSDQW7KLVDOWHUDWLRQLVQRWRQO\SK\VLFDO advancing readers’ understanding of the realities of the farming class to which many EXWDOVRVHQVRULDO±LQGHHG she feelsWKHVQRZ±LQWHUUXSWLQJWKHOLQHVEHWZHHQPHPRU\DQG -DSDQHVH%UD]LOLDQVLQLWLDOO\EHORQJHG,QKLVFULWLFDODQDO\VLVRIZLQGRZVLQDUFKLWHFWXUDO present, fantasy and reality.156LPLODUWR-LQWDUR¶VNLWFKHQZULWLQJVHVVLRQVKHUHVFDSHLQWR WKHRU\%HFKLU.HQ]DULZULWHV³7KHWUDGLWLRQDOZLQGRZRSHQVWKHLQWHULRUWRWKHH[WHULRU ¿FWLRQUHYHDOVDSURIRXQGDQJVWRQHWKDWXOWLPDWHO\FXOPLQDWHVLQKHUGHDWKDVWKHVFHQH EXW DW WKH VDPH WLPH LW GH¿QHV D SODFH DQG D WKUHVKROG HVWDEOLVKLQJ D UHODWLRQVKLS RI closes. VSDWLDODQGHPRWLRQDOH[FOXVLRQ´  ,IZLQGRZVGUDZWKHERXQGDU\EHWZHHQLQDQGRXW Obasan pushes this idea a step further, the home is more than a psychic state, it is KRZPLJKWWKHKRPHVHUYHDVDFDWDO\VWIRUWKHWUDQVIRUPDWLRQRIRXWZDUGVSDFHV",QD DEURDGPHWDSKRUIRUWKHERG\1RWRQO\GRHV2EDVDQVSHQGDJUHDWGHDORIWLPHLQWKH SDUWLFXODUO\ SRLJQDQW SDVVDJH H[SORULQJ WKH SRZHU RI WKH SV\FKH WR DOWHU UHDOLW\ .LPLH KRPHVKHEHFRPHVLQVHSDUDEOHIURPLWDVHYLGHQFHGE\KHUYDVWFROOHFWLRQRIWKLQJV VLWV E\ WKH ZLQGRZ ORRNLQJ RXW RQ WKH FRIIHH SODQWDWLRQ LQ %UD]LO7RWKH FKDJULQ RI KHU 7KHVHDUHEHORQJLQJVWKDWDUHDFTXLUHGRYHUPDQ\\HDUVWKHUHVXOWRIPDQ\PLJUDWLRQV ZRUULHGKXVEDQGVKHUHPDLQVWUDQV¿[HGFRQWHPSODWLQJWKHODQGVFDSHRXWVLGHZKLFKVKH DQGFRQVWUXFWLQJKRPHV,QWKHIDFHRIWKLVPRYHPHQW2EDVDQEHFRPHVDQDFFXPXODWRU PHQWDOO\FRQYHUWVLQWRDK\EULGUHDOP6KHVHHVWKHFRIIHH¿HOGEXWDOVRKHUEURWKHUDQG 1DRPLUHÀHFWV a dusting of imagined snow: The house is indeed old, as she is also old. Every home-made piece of furniture, 6KHZHQWWRWKHZLQGRZWXUQHGWKHNQREDQGRSHQHGLWLQVSLWHRIKHUKXVEDQG¶V HDFKSRWKROGHUDQGSDSHUGRLO\LVDOLQNLQKHUOLIHOLQH6KHKDVSUHVHUYHGLQVKHOYHVLQ SURWHVWV.LPLHORRNHGXSRQWKHVQRZFRYHUHGFRIIHHSODQWDWLRQ6KHVDZ.LPLNRUXQQLQJ FXSERDUGVXQGHUEHGVDER[RIPDUEOHVKDOI¿OOHGFRORXULQJERRNVDUHGZKLWHDQGEOXH EHWZHHQWKHFRIIHHSODQWVDQG.LPLNRZDVDFKLOGUXQQLQJDIWHU7LNDRKHUEURWKHUDQG UXEEHUEDOO7KHLWHPVDUHHQGOHVV(DFKVKRUWVWXESHQFLOHYHU\FRUQÀDNHVER[VWXIIHG WKH\ZHUHWZRFKLOGUHQSOD\LQJ«.LPLHSUHIHUUHGWRVWD\DWWKHZLQGRZREVHUYLQJ«7KLV ZLWKKHUSDSHUEDJVDQGROGOHWWHUVLVRIKHURUGHULQJ7KH\UHVWLQWKHFRUQHUVOLNHSDUWVRI ZDVKHUZD\RIEHLQJKDSS\ 1DNDVDWRP\WUDQVODWLRQ 13 KHUERG\KDLUFHOOVVNLQWLVVXHVWLQ\VSHFNVRIPHPRU\7KLVKRXVHLVQRZKHUEORRGDQG From the window, Kimie succeeds not only in spatially altering outdoor landscapes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¶V SULYDWH GZHOOLQJ WKHERRNV%RWK1DRPLDQGKHU$XQW(PLO\DUHFKLOGOHVV$WWKHVDPHWLPHWKLVFRPSDULVRQ VWDWLQJ ³7KH KRXVH HYHQ PRUH WKDQ WKH ODQGVFDSH LV D µSV\FKLF VWDWH¶´   ,Q WKLV XQLWHVWKHPDWHULDOLW\RIWKHKRPHZLWKWKHFRUSRUDOLW\RIWKHERG\WKH\DUHIXVHG7KH SDVVDJHKRPHEHFRPHVDVWLPXOXVIRUWKHZDQGHULQJRIWKHPLQGDLGLQJ.LPLHLQFRSLQJ 14,Q3RUWXJXHVH³6DLXFRUUHXDWpRFDIH]DOFRUUHXHQWUHRVSpVGHFDIpVHQWLQGRDQHYHFDLU 12;XZULWHV³%RWKURFNDQGVWRQHEUHDGDUHSURGXFWVRISHUVHFXWLRQSRYHUW\DQGSRZHUOHVVQHVV VREUHDVXDFDEHoDVREUHRVVHXVRPEURV´   DV8QFOHPDNHVVWRQHEUHDGRXWRIOHIWRYHUVVXFKDVRDWPHDODQGEDUOH\FDUURWVDQGSRWDWRHV 157KHDFWRIREVHUYLQJ¿FWLRQDOVQRZDOVRUHLQIRUFHVDODWHQWDQGVXJJHVWLYHO\SURPLVFXRXV DIWHUWKHIDPLO\LVUHORFDWHGGLVSODFHGWR$OEHUWDDGXVWVWRU\EHHWFRXQWU\´   ERQG EHWZHHQ .LPLH DQG WKH VHFRQGDU\ ¿JXUH -LQWDUR ZKR DFNQRZOHGJHV .LPLH¶V YLVLRQ LQ DQ 13 ,Q3RUWXJXHVH³(ODIRLjMDQHODJLURXDWDUDPHODHDDEULXPHVPRVRERVSURWHVWRVGRPDULGR act of sympathy. The pair’s capacity to retreat into the world of memory and fantasy, taking refuge .LPLHROKDYDRFDIH]DOFREHUWRSHODQHYH(ODYLX.LPLNRFRUUHQGRHQWUHRVSpVGHFDIpH.LPLNR in poetry (through Jintaro’s haikus on the Japanese seasons, constructed in the aforementioned HUDXPDFULDQoDTXHFRUULDDWUiVGH7LNDRVHXLUPmRHHUDPGXDVFULDQoDVTXHEULQFDYDP.LPLH NLWFKHQVSDFH DQGRWKHUKRPDJHVWRQDWLRQVHUYHVWRERQGWKHPLQDVLOHQWWUDQVQDWLRQDOVROLGDULW\ SUHIHULD¿FDUQDMDQHODREVHUYDQGR(UDRVHXMHLWRGHVHUIHOL]´ FRQWUDVWHGQRWDEO\ZLWKWKHGRZQWRHDUWKQDWXUHRI.LPLH¶VKDUGZRUNLQJKXVEDQG+LGHR

40 [2254-1179 (2017) 6, 35-45] IRFXVRQWKHDJHRIWKHVHLWHPVFUHDWHVDPDWHULDOODQGVFDSHFRPSDUHGZLWKWKHERG\ communities have differentiated themselves from other migrant communities in their WKHVWXI¿QJRIOHWWHUVDQGWKHSUHVHUYDWLRQRIVKHOYHVDQDUFKLYHRIKHUHOGHUO\VHOI7KH adherence to cultural values and opposition to assimilation, a direct affront to Brazilian LQRUJDQLF LQWHUPLQJOHV ZLWK WKH RUJDQLF ±LQ ERQHV EORRG WLVVXH DQG FHOOV± HTXDWHG DV QDWLRQEXLOGLQJ 0RQL]  ³WLQ\VSHFNVRIPHPRU\´GLVSOD\LQJDQHZKRZPHPRU\DQGGRPHVWLFLWHPVXQLWH$WWKH 7KHRULVW.D]\V9DUQHOLVGLVFXVVWKHVHXQZULWWHQJXLGHOLQHVLQKLVZRUNNetworked VDPHWLPHWKHUHLVDQHSKHPHUDOLW\H[SUHVVHGKHUHWKDWLVOLQNHGZLWKWKHEUHDNGRZQRI Publics, VWDWLQJ WKDW ³SODFHV DUH ¿OOHG ZLWK LQGLYLGXDO LGHQWLWLHV ODQJXDJH UHIHUHQFHV 2EDVDQ¶VERG\WKHKRPHPLUURULQJKHUGHFOLQH8QOLNHWKHRUJDQLFEUHDGRUWKH$IULFDQ XQIRUPXODWHGUXOHV´  7KLVLVSDUWLFXODUO\WUXHRIWKH-DSDQHVHFRPPXQLW\DQGLVVHHQ YLROHWVWKHVHLQRUJDQLFWKLQJVZLOOUHPDLQORQJDIWHU2EDVDQ¶VGHDWKDUXLQRIVHOIOLNHRUDQ clearly in Nihonjin ZKHQ+DUXR VRQRI+LGHRDQGKLVVHFRQGZLIH6KL]XH LQWHJUDWHVLQWR DQFLHQWOLEUDU\RIIUDJPHQWVZLWKKHUSDSHUVDQGREMHFWVRFFXS\LQJHYHU\VSDFH WKHORFDO%UD]LOLDQVFKRRO+DUXRLVFDXJKWEHWZHHQWKHULJLGLW\RIWUDGLWLRQDQGLQWHJUDWLRQ into mainstream Brazil, leading to a series of transgressions including peering out the ,,&XOWXUDOSOXUDOLW\DQGUHVLVWDQFHLQWKHKRPHVSDFH ZLQGRZ DJDLQDIUDPLQJDQGERXQGDU\ LQKLV-DSDQHVHVFKRRO17 Eventually, Hideo and 7KHKRPHJDLQVIXUWKHUFRPSOH[LW\LQLWVWZRIROGIXQFWLRQLQERWKQRYHOVLWLVDQ 6KL]XHEDQ+DUXRIURPKRPHIRURQHZHHNDWUDGLWLRQPHDQWWRLQVWLOODSSUHFLDWLRQDQG DUHD RI FXOWXUDO SUHVHUYDWLRQ DQG UHVLVWDQFH DJDLQVW WKH HVWUDQJHPHQW H[SHULHQFHG LQ UHPRUVH LQ XQUXO\ IDPLO\ PHPEHUV +DUXR XOWLPDWHO\ WXUQV WR DQ ,WDOLDQ PLJUDQW IDPLO\ WKH RXWVLGH ZRUOG 7KHVH WZR IXQFWLRQV DUH SURJUHVVLYH LQ ERWK QRYHOV DV ERXQGDULHV QHDUE\IRUVKHOWHUEXWLVGHQLHG DUHWHVWHGDQGVHFRQGJHQHUDWLRQSURWDJRQLVWVEHFRPHIXUWKHUUHPRYHGIURPWKHLU¿UVW After Hanadasan’s refusal, Haruo concluded that he could not seek help in the home JHQHUDWLRQSDUHQWV,QNihonjin, access to the home is initially denied to non-Japanese of a nihonjin1RQHRIWKHPZRXOGFKDOOHQJHWKHDXWKRULW\RIKLVIDWKHU6RKHUHPHPEHUHG YLVLWRUV DQG IDPLO\ PHPEHUV ZKR RYHUVWHS FXOWXUDO ERXQGDULHV16,QObasan, the home 3LHWURDQGWKDWKHZDVKLVIULHQG%RWKZHUHFKLOGUHQWKRXJKRQHPLJKWHDWSROHQWDDQGWKH space is also a site of cultural preservation and an increasing focus on cultural plurality in other shirogohan7KH\ERWKZRXOGHDW'RQD/XGRYLFD¶VPDQLRFFDNHWKHWDVWLHVWFDNHLQ VHFRQGJHQHUDWLRQSURWDJRQLVWVDV\PERORIGH¿DQFHGXULQJWKH6HFRQG:RUOG:DU7KH the world. (Nakasato 78; my translation)18 TXHVWLRQVRIDFFHVVWRWKHKRPHPLUURUIDPLO\WHQVLRQVLQERWKQRYHOVDQGDOVRDQHYROYLQJ 5HOHYDQWKHUHDUHQRWRQO\WKHZD\VLQZKLFK+DUXRFRQQHFWVZLWKKLVFODVVPDWHEXW PXOWLSOLFLW\RIFXOWXUDOQRUPV,QNihonjinZKHQ\RXQJ.LPLHEHFRPHVYLROHQWO\LOOGXULQJ DOVRWKHPDUNHUVRIGLIIHUHQFHVHHQLQIRRGOH[LFRQSROHQWDDQGPDQLRFFDNHPDGHIURP WKH¿UVWVHFWLRQRIWKHQRYHOKHUGHVLUHWRDOORZ0DULDDQ$IUR%UD]LOLDQDFTXDLQWDQFHLQWR WKHFDVVDYDURRW3ROHQWDLVDZRUGXVHGLQ3RUWXJXHVHJDVWURQRP\WKDWGHULYHVIURPWKH WKHIDPLO\VSDFHWRFXUHKHUZLWKORFDOUHPHGLHVLVKHDYLO\UHVLVWHGGXHWRWKH[HQRSKRELD ,WDOLDQ+RZHYHULWVXVHFRQWUDVWVZLWKWKHDEXQGDQWUHIHUHQFHVWR-DSDQHVHFXOLQDU\DUWV RIKHUKXVEDQG,QLWVKDQGOLQJRIWKHKRPHNihonjin forms part of a dialogue on cultural ZKLOHDOVRHPEHGGLQJLWLQDQµRWKHUHG¶GRPHVWLFVSDFH WKHNLWFKHQ OLNHZLVHOLQNHGZLWK SUHVHUYDWLRQ DQG UHVLVWDQFH WR DVVLPLODWLRQ E\ WKH -DSDQHVH FRPPXQLWLHV LQ %UD]LO ,Q cultural identity.19%H\RQGWKH,WDOLDQSROHQWDDQGWKH-DSDQHVHshirogohan, a cake made WKHYLVXDODUWV-DSDQHVH%UD]LOLDQGLUHFWRU7L]XNDJapanese language school and the Buddhist temple. 1RWRQO\GRHVWKH¿OPGHSLFWWKHKRPHDVDVLWHRIFXOWXUHDQGODQJXDJHLWLVDOVRDQDUHQD 18 ,Q3RUWXJXHVH³$SyVDQHJDWLYDGH+DQDGDVDQ+DUXRFRQFOXLXTXHQmRSRGHULDEXVFDU IRU WKH H[SUHVVLRQ RI GLVFRQWHQW DV LPPLJUDQWV WRLO LQ WKH FRIIHH ¿HOGV ,Q OLQH ZLWK WKH ajuda em casa de nihonjin1HQKXPGHOHVGHVD¿DULDDDXWRULGDGHGHVHXSDL(QWmROHPEURXVH protection of the home space, contemporary scholars on the Japanese presence in Brazil GH3LHWUROHPEURXVHGHTXHHUDVHXDPLJR3RLVDPERVHUDPFULDQoDVHPERUDXPFRPHVVH SROHQWDHRXWURVKLURJRKDQ&RPHULDPRERORGHPDQGLRFDGHGRQD/XGRYLFDRERORPDLVJRVWRVR including Naomi Moniz contrast two images: 1) the plurality and miscegenation inherent GRPXQGR´(Nakasato 78). to the envisioning of the Brazilian identity, discussed earlier; and 2) the focus on purity 19,QWKHFDVHRINihonjinWKLVFDQEHVHHQLQWKHPXOWLSOHUHIHUHQFHVWRWKHNHHSLQJRIJDVWURQRPLF DQGKRPRJHQHLW\XSKHOGLQWKH-DSDQHVHLPPLJUDQWFRPPXQLW\,QWKLVZD\-DSDQHVH WUDGLWLRQV³2QFHDZHHNWKH\DWHRNUDZLWKVR\VDXFH´ 1DNDVDWRP\WUDQVODWLRQ  ,Q3RUWXJXHVH ³8PDYH]SRUVHPDQDFRPLDPTXDLERFRPVKR\X´ 1DNDVDWR $VZLWKDQXPEHURIUHIHUHQFHV 167KHVWULFWSURWHFWLRQRIWKHKRPHUHYHDOVDFXOWXUDOLVRODWLRQLVPDOVRUHÀHFWHGLQWKHQHDU WRWKH-DSDQHVHWKHVHZRUGVDUHQRWWUDQVODWHGEXWUDWKHUOHIWLQWKH-DSDQHVHZLWKRXWIRRWQRWHV LQYLVLELOLW\RI-DSDQHVH%UD]LOLDQZULWHUVLQWKHFRXQWU\¶VOLWHUDU\FDQRQ or gloss.

A Journal of Canadian Literary and Cultural Studies 41 RIPDQLRFÀRXULVPHQWLRQHG³WKHPRVWGHOLFLRXVFDNHLQWKHZRUOG´Manioc or cassava is 1DRPL PDNHV RQH RI KHU \HDUO\ MRXUQH\V WR *UDQWRQ$OEHUWD ZLWK KHU ODWHU GHFHDVHG DURRWYHJHWDEOHLQGLJHQRXVWR6RXWK$PHULFDWKDWLVHDWHQLQ%UD]LOLQDYDULHW\RIIRUPV 8QFOH6KHQRWHV³(YHU\WKLQJLQIURQWRIXVLVYLUJLQODQG)URPWKHEHJLQQLQJRIWLPHWKH DQGLVDOVRXVHGWRPDNHWDSLRFDÀRXU7KHIRRGVWXIIRULJLQDWLQJLQLQGLJHQRXVFXOLQDU\ JUDVVDORQJWKLVVWUHWFKRISUDLULHKDVQRWEHHQFXW´  UHÀHFWLQJDOVRWKDW³VRPHRIWKH SUDFWLFHVZDVZLGHO\DGDSWHGGXULQJ3RUWXJXHVHFRORQL]DWLRQDQGTXLFNO\EHFDPHDVWDSOH QDWLYHFKLOGUHQ,¶YHKDGLQP\FODVVHVRYHUWKH\HDUVFRXOGDOPRVWSDVVIRU-DSDQHVH´   RIWKHQDWLRQDOGLHWRI%UD]LO .DW] 7KLVEOHQGLQJRIFXOLQDU\RULJLQVUHPLQGVUHDGHUV 7KLVLQWURGXFWLRQLVVLJQL¿FDQWLQLWVVHQVHRISRVVLELOLW\VKLIWLQJDZD\IURPHWKQLFLW\DQG RI WKH KHWHURJHQHLW\ RI WKH %UD]LOLDQ FXOWXUDO ODQGVFDSH D VSDFH JOREDOL]HG DQG WUDQV WRZDUGVFROOHFWLYHH[SHULHQFH,WDOVRSUHPLVHVDVHULHVRIUHÀHFWLRQVLQZKLFKSURWDJRQLVWV FXOWXUHGORQJEHIRUHWKHDUULYDORILPPLJUDQWFRPPXQLWLHV$VLQObasan, culinary traditions DVVHUW WKHPVHOYHV DV &DQDGLDQV D SURFODPDWLRQ RI EHORQJLQJ QHFHVVLWDWHG E\ VHYHUH IXUWKHUH[SRVHWKHIDEULFDWLRQRIFXOWXUHDORQJZLWKLWVIXVLRQV7KHXVHRI-DSDQHVHZLWKRXW GLVFULPLQDWLRQ)RUH[DPSOHLQRQHRIKHUGLDU\HQWULHV$XQW(PLO\GLVFXVVHVVRPHRI a translation is important in NihonjinZLWKWKHHQWLUHW\RILWVH[WHQVLYH-DSDQHVHOH[LFDO WKHSROLWLFVRIUHORFDWLRQVWDWLQJ³:KRDPRQJXVZDQWVWREHDEXUGHQRQDQ\RQH",W¶G HOHPHQWVOHIWXQWUDQVODWHGZLWKQRJORVVDU\,QObasanWKHUHLVW\SLFDOO\DGLUHFWH[SODQDWLRQ EHEHWWHULILQVWHDGRIZULWLQJOHWWHUVWRKHOSRQHRUWZRRIXVWKH\¶GWU\WRSHUVXDGHWKHLU or translation for what is stated in Japanese.20,QNihonjinERWKODQJXDJHVDUHSODFHGRQ &LW\&RXQFLOVWROHWXVLQ$IWHUDOOZH¶UH&DQDGLDQV´  7KHHPSKDVLVRQWKH&DQDGLDQ an equal plane, rather than stressing their difference through translation. This necessitates ZLOGHUQHVVDQGLWVLQGLJHQRXVLQKDELWDQWVXSVHWVWKHOLQNEHWZHHQSODFHDQGFXOWXUHRI ERWKDQDFWLYHUHDGLQJDQGDWROHUDQFHIRUDPELJXLW\1RZKHUHLVWKH-DSDQHVHOH[LFRQ origin. This is important as the novel progresses, as the home disrupts an otherwise hostile more prevalent than in the home, where food, family names and cultural artifacts reside. environment during the war, its preservation an act of resistance. ,Q WKLV VHTXHQFH RI HYHQWV WKH ULJLG EDUULHUV RI -DSDQHVH FXOWXUH VORZO\ VWDUW WR +RPHWDNHVRQPDQ\JHRJUDSKLFDOORFDWLRQVIURP&HFLO$OEHUWDZKHUH1DRPLJRHV GLVLQWHJUDWHDQGDQDUUDWLYHPRPHQWWKDWUHÀHFWVKLVWRULFDOSURJUHVVLRQVLQ%UD]LODVWKH RQWREHDVFKRROWHDFKHUWRKHUFKLOGKRRGKRPHLQ9DQFRXYHUWRWKHDEDQGRQHGPLQLQJ PDVVHV RI ¿UVWJHQHUDWLRQ -DSDQHVH%UD]LOLDQV JDLQ D JUHDWHU IRRWKROG LQ VRFLHW\ 7KH WRZQRI6ORFDQLQ%ULWLVK&RORPELDWR1HZ'HQYHUDIWHUOHDYLQJDQLQWHUQPHQWFDPSWR VHHPLQJO\LQÀH[LEOH+LGHRHYHQWXDOO\KDQGV3LHWUR¶VIDWKHUDFDUHSDFNDJHIRUKLVVRQ 7RURQWRZKHUHKHUEURWKHU6WHSKHQDWWHQGVWKH5R\DO&RQVHUYDWRU\RI0XVLFDQGHYHQ DORQJZLWKKLVEDFNSDFNIRUVFKRRODIWHUWXUQLQJDEOLQGH\HWRKLVVWD\ZLWKWKH,WDOLDQV EDFNWR-DSDQZKHUHKHU0RWKHUDQG*UDQGPRWKHU.DWRGLHLQWKHERPELQJRI1DJDVDNL a family that accepted him. This interaction highlights not only the ways in which the 5DWKHUWKDQDVLQJXODUPLJUDWLRQWKHQRYHOLVDVSLGHUZHERIUHORFDWLRQVHYRFDWLYHRI KRXVHKROGHVWDEOLVKHVWKHOLPLWVRISHUPLVVLEOHEHKDYLRUEXWDOVRH[SUHVVHVDQLQFUHDVHG Nihonjin$V1DRPLOHDYHV%ULWLVK&ROXPELDEHKLQGKHULQDIRUFHGPLJUDWLRQVKHUHÀHFWV ÀXLGLW\RIPRYHPHQWEHWZHHQWKHKRPHDQGLWVH[WHULRU:KLOHDQLQLWLDOUHDGLQJPD\FHQWHU on her identity, “We are leaving the B.C. coast- rain, cloud, mist- an air overladen with RQDQLQVXODUFKDUDFWHUL]DWLRQRIWKHKRPHDVXEWOHULQWHUSUHWDWLRQVSHDNVWRWKHFRQWUDU\ ZHHSLQJ%HKLQGXVOLHVDVDOW\VHDZLWKLQZKLFKVZLPRXUGURZQLQJVSHFNVRIPHPRU\± ,QGHHG WKH QRYHO¶V UHSUHVHQWDWLRQV DUH XOWLPDWHO\ FKDUDFWHUL]HG QRW E\ WKHLU LPPRELOLW\ RXUVPDOOZDWHUORJJHGHXORJLHV«:HDUH,VVHLDQGWKH1LVHLDQGWKH6DQVHL±WKH-DSDQHVH RUULJLGLW\EXWUDWKHUHYROYHDQGVKLIWZLWKWKHOLYHVRIWKHLUSURWDJRQLVWV7KHZRUNPRYHV &DQDGLDQV:HGLVDSSHDULQWRWKHIXWXUHXQGHPDQGLQJDVGHZ´  21 geographically and temporally from the immigrant settlement (colônia) to the countryside, A method of dealing with this sense of loss and reacting against involuntary moves ERWK ORFDWHG LQ WKH UXUDO UHJLRQV RI 3DUDQi WKHQ WR WKH FLWLHV RI 6mR 3DXOR DQG ¿QDOO\ LVWKHFRQVWUXFWLRQRIKRPHV%H\RQG2EDVDQ¶VKRPHPDQ\KRPHVHPHUJHLQWKHIRUP 5LR1DWXUDOO\DVIDPLO\PHPEHUVEHFRPHHPEHGGHGLQWUDQVQDWLRQDOVRFLDOQHWZRUNVYLD RIWHQWVEXQNVDQGVNDWLQJULQNVDVZHOODVDEDQGRQHGKRWHOVDQGORJKXWVGXULQJWKH %UD]LOLDQV,WDOLDQVDQGWKHOLNHWKHLUDVSLUDWLRQWRSUHVHUYHDVWULFWQRWLRQRI-DSDQYLVj relocation period (168). Even in the internment camps, Japanese women attempt to create vis the home space diminishes. PDNHVKLIWKRPHVDWULEXWHWRWKHLUSUHVHUYDWLRQRIVHOIDQGFXOWXUH,QRQHRI$XQW(PLO\¶V Like Nihonjin, ObasanFKDUDFWHUL]HVWKHKRPHDVDVLWHZKLFKLVPXOWLSOHDQGÀXLG diary entries, she remarks on this as an act of resistance, H[SRVLQJERXQGDULHVDQGSRLQWVRIUHVLVWDQFH,QRUGHUWRXQGHUVWDQGWKHVHWUDQVIRUPDWLRQV 6WHHODQGZRRGHQIUDPHVDWWKUHHIRRWLQWHUYDOVZLWKWKLQOXPS\VWUDZWLFNVEROVWHUV LWLVLPSRUWDQWWRQRWHWKDWWKHQRYHOEHJLQVZLWKDUHÀHFWLRQRQ&DQDGD,QWKH¿UVWFKDSWHU DQGWKUHHDUP\EODQNHWVRIDUP\TXDOLW\QRVKHHWVXQOHVV\RXEURXJKW\RXURZQ7KHVH

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42 [2254-1179 (2017) 6, 35-45] DUHWKHµKRPHV¶RIWKHZRPHQ,VDZ>«@7KHEXQNVZHUHKXQJZLWKVKHHWVDQGEODQNHWV her gaijin22 love. However, a late-night, chance encounter with her mother in the kitchen DQGFORWKHVRIHYHU\FRORU±DUHJXODUJ\SV\FDUDYDQ±DOOLQDSDWKHWLFDWWHPSWDWSULYDF\± weakens her will. Leaving the home would signify a complete departure from the family KHUHDQGWKHUH,VDZDFKLOG¶VGROORUWHGG\EHDU  DQGDEUHDNLQJZLWKWKH-DSDQHVHFRPPXQLW\ ,QWKHIDFHRIDXVWHULW\WKHZRPHQXVHFRORUHGPDWHULDOVWRFUHDWHDQHQFORVXUHIURP ,QWKHKDOOZD\6XPLHVDZWKHFORFNKDQJLQJRQWKHZDOO7KHFRQYHUVDWLRQZLWK WKHRXWVLGHZRUOG7KHLUFKRLFHRIFRORUVRYHUEODFNRUZKLWHDQH[SUHVVLRQRISHUVRQDO her mother weakened her determination... From the window, she saw Fernando in front LGHQWLW\7KHPXOWLWXGHRIFRORUVGLVUXSWVWKHRWKHUZLVHGHVRODWHSRUWUDLW±(PLO\JRHVRQ of the gate. Then suddenly, the gate seemed a distant place to her, shrouded in mist, and WR GLVFXVV WKH ZHDULQHVV RI LWV LQKDELWDQWV± LQ D ZD\ WKDW PDUNV WKLV VSDFH DV RQH RI she thought that it was not just a few steps that separated the two of them... (Nakasato RSSRVLWLRQDQGGH¿DQFH&KLOGUHQ¶VDUWLIDFWVDGRUQWKHEXQNHUVDUHPLQGHURIKRZPDVV 111-112; my translation)23 relocation affected every strata of Japanese-Canadian society. The use of the word home, 6XPLH¶VREVHUYDQFHRIUHDOWLPH  LQWKLVVHTXHQFHLVMX[WDSRVHGZLWKWKHµLQWHULRU VHW LQ KHU GLDU\ HQWU\ LQ TXRWDWLRQ PDUNV LV D VLJQL¿FDQW PDUNHU RI SODFH :KLOH WKHVH WLPH¶SDVVLQJDWKRPHFKDUDFWHUL]HGE\IUDJPHQWHGPHPRU\)URPWKHSHUVSHFWLYHRIWKH DUHFOHDUO\LQWHUQPHQWEDUUDFNV$XQW(PLO\QDUUDWHVWKHPDVGRPHVWLFSODFHVWKDWDUH clock, a period of two hours24 is lengthened across eight pages. The event commences constructed and preserved. As in NihonjinKRPHLVÀXLGLQObasan, a reminder of how it ZLWKWKHSURWDJRQLVW¶VLQWHUQDODQ[LHWLHVDFRQYHUVDWLRQZLWKKHUPRWKHULQWHUVSHUVHGZLWK GRHVQRWEHORQJWRRQHVLQJXODUJHRJUDSKLFORFDWLRQ$VEHOOKRRNVQRWHV³$WWLPHVKRPH PHPRULHVDQGDQHFGRWHVDERXWKHUSDVWLQ-DSDQDORQJZLWKFRPPHQWDU\RQWKHGDQJHUV LVQRZKHUH$WWLPHVRQHRQO\NQRZVH[WUHPHHVWUDQJHPHQWDQGDOLHQDWLRQ7KHKRPHLV for the Japanese community. The scene culminates in an encounter with her Brazilian QRORQJHUMXVWRQHSODFH,WLVORFDWLRQV´  5DWKHUWKDQDGH¿QLWLYHKRPHRUQRWKRPH ORYH)HUQDQGRZKRPVKHXOWLPDWHO\DEDQGRQV&XULRXVO\6XPLH¶VDWWHPSWHGGHSDUWXUH LQVLGHRXWVLGHVSDWLDOSUDFWLFHVLQWKHVHQRYHOVXQUDYHOWKHVHFHUWDLQWLHVH[SRVLQJWKH sheds light upon how spatial and ideological distances are frequently melded in the novel, challenge of life in the third space, that of the neither here nor there, hovering somewhere ELQGLQJKHUWRWKHKRPHVSDFH6LPLODUO\DOORINihonjin’s chapters involve detailed family LQEHWZHHQ PHPRLULQWHUZRYHQLQWRWKHWLPHRID-DSDQUHPHPEHUHGZKLOHDOZD\VUHWXUQLQJUHDGHUV WR%UD]LO,QWKLVZD\WKHQRYHOLVLQIDFWFRPSULVHGRIVHYHQWLPHDUUDQJHPHQWVIUHTXHQWO\ ,,,7UHDWPHQWVRIWLPHLQWKHKRPH GUDZQRXWE\QDWLRQDOPHPRULHVZKLOHPRYLQJWRZDUGVDVKDUHGWUDMHFWRU\,QFRQWUDVW /DVWO\,ZRXOGOLNHWRUHÀHFWRQKRZWLPHSOD\VRXWZLWKUHVSHFWWRGRPHVWLFUHDOPV WKHSHULRGVRIWLPHWKDWSDVVEHWZHHQFKDSWHUVDUHIUHTXHQWO\DPELJXRXVDQGOHQJWK\ This is an important consideration as we attempt to understand the preservation of spanning years rather than days or weeks. Unlike the spaces of the novel, which are FXOWXUHDQGLGHQWLW\LQ-DSDQHVHPLJUDWLRQOLWHUDWXUH*LYHQWKHOLPLWHGVRFLDOPRELOLW\RI OLPLWHGWRDIHZORFDWLRQVEH\RQGWKHKRPHWLPHLVSOD\HGRXWLQPXOWLSOHZD\VDFURVVORQJ the protagonists, the plasticity of time provides a tool for gaining representational space. historical trajectories, and then stretched within a singular narrative moment. 5HJDUGOHVVRIWKHGLVWDQFHVWUDYHUVHGLWLVPHPRU\WKDWVKDSHVWKHLUVWRULHV,QGHHGLQ ,QObasan, time is also drawn out in the domestic arena via dreams, reading and Time in Literature+DQV0H\HUKRIFRQWUDVWVWKHDFFHVVLELOLW\RIWLPHZLWKWKDWRIVSDFH recollecting, with some dream sequences encompassing entire chapters. Much like ³>7LPH@LVPRUHJHQHUDOWKDQVSDFHEHFDXVHLWDSSOLHVWRWKHLQQHUZRUOGRILPSUHVVLRQV 22/LWHUDOO\µQRQ-DSDQHVH¶EXWDOVRµDOLHQ¶7KHXVDJHRIJDLMLQLVFRQWUDVWHGZLWKWKHXVHRI HPRWLRQVDQGLGHDVIRUZKLFKQRVSDWLDORUGHUFDQEHJLYHQ,WLVDOVRPRUHGLUHFWO\DQG nihonjin, or ‘Japanese people or person,’ also the novel’s title. LPPHGLDWHO\JLYHQWKDQVSDFH´  7KLVFRQVLGHUDWLRQLVVLJQL¿FDQWZKHQZHFRQVLGHUWKH 23,Q3RUWXJXHVH³1RFRUUHGRU6XPLHYLXRUHOyJLRSHQGXUDGRQDSDUHGHPLQ$FRQYHUVD IRFXVRQPHPRU\LQERWKQRYHOV,WZRXOGVHHPWKDWVWRU\WHOOLQJDFWVDVDGLUHFWDIIURQWWR FRPDPmHHQIUDTXHFHUDDVXDGHWHUPLQDomR'DMDQHODYLX)HUQDQGRHPIUHQWHDRSRUWmR(QWmR GHUHSHQWHRSRUWmROKHSDUHFHXXPOXJDUGLVWDQWHHQYROWRHPEUXPDVHHODSHQVRXTXHQmRHUDP spatial restriction and relocation. Nihonjin IUHTXHQWO\FRQWUDVWVWKH³WLPHRIWKHKRPH´ZLWK VRPHQWHDOJXQVSDVVRVTXHDVHSDUDYDPGHOH´(112) VHTXHQFHVH[WHULRUWRLWDVVHHQLQWKHSRUWUD\DORI6XPLH+LGHRDQG6KL]XH¶VGDXJKWHU 242QSDJHWKHWZRORYHUVVHWWKHGHSDUWXUHWLPHIRU³WZRDFORFNLQWKHPRUQLQJ´ ³GXDV DQGWKHQDUUDWRU¶VPRWKHU$VD\RXQJZRPDQ6XPLHSODQVWRÀHHWKHKRPHWREHZLWK KRUDVGDPDGUXJDGD´ DQGWKHQDUUDWLYHVHTXHQFHEHJLQVRQWKHIROORZLQJSDJHZLWK³$OLWWOHDIWHU PLGQLJKW6XPLRULHQWHGKHUVHOIZLWKWKHOLJKWLOOXPLQDWLRQWKDWFDPHIURPWKHZLQGRZ«´(Nakasato P\WUDQVODWLRQ ,Q3RUWXJXHVH³3RXFRGHSRLVGDPHLDQRLWH6XPLHVHRULHQWRXFRPDOHYH LOXPLQDomRTXHYLQKDGDMDQHOD«´

A Journal of Canadian Literary and Cultural Studies 43 NihonjinWKHWLPHRIWKHKRPHLVFRQWUDVWHGZLWKEULHIHUQDUUDWLYHHYHQWVWKDWWDNHSODFHLQ IURPPDUNLQJRQH¶VLGHQWLW\RQWKHVRLORIDKRPHWREHRFFXSLHGWRVWXI¿QJSDSHUVLQD LWVH[WHULRU$IWHU1DRPLYLVLWV2EDVDQVKHGUHDPVKHDYLO\DQGZDNHVXSWR¿QGDVHULHVRI house’s nooks and crannies, these novels challenge and complement each other in their documents from her Aunt Emily, a stack of papers including letters and journals. As Naomi H[DPLQDWLRQRIVSDFH$WWLPHVKRPHLVDSV\FKLFVWDWHRQRWKHURFFDVLRQVLWHQFRPSDVVHV ¿OHVWKURXJKWKHVHVKHLVWUDQVSRUWHGWRKHURZQFKLOGKRRGUHFROOHFWLRQV$XQW(PLO\¶V DQHQWLUHERG\EXWZKDWLVFOHDULVWKDWVHOIDQGGZHOOLQJWHPSRUDU\RUSHUPDQHQWDUH FROOHFWLRQRIDUWLIDFWV¿OOLQJLQWKHDEVHQFHVRIKHUPHPRU\1DRPLHQWHUVWKHSDVWIURPWKH linked in unique ways. YDQWDJHSRLQWRI2EDVDQ¶VKRPHZKLOHUHPHPEHULQJSDVWKRPHV³,DPVXSUHPHO\VDIH ,Q KHU LQÀXHQWLDO ZRUN Space, Place and Gender 'RUHHQ 0DVVH\ VSHDNV WR WKH LQP\QHPDNLXQGHUWKHKHDY\EULJKWFRORUHGIXWRQLQP\KRXVH25 The house in which LQWLPDWH FRQQHFWLRQ EHWZHHQ VSDFH DQG LGHQWLW\ VWDWLQJ WKDW OLNH VSDFH ³LGHQWLWLHV DUH ZHOLYHLVLQ0DUSROHDFRPIRUWDEOHUHVLGHQWLDOGLVWULFWRI9DQFRXYHU,WLVPRUHVSOHQGLG LQHYLWDEO\XQ¿[HG7KH\DUHXQ¿[HGLQSDUWSUHFLVHO\EHFDXVHWKHVRFLDOUHODWLRQVRXWRI WKDQDQ\KRXVH,KDYHOLYHGLQVLQFH,WGRHVQRWEHDUUHPHPEHULQJ1RQHRIWKLVEHDUV ZKLFKWKH\DUHFRQVWUXFWHGDUHWKHPVHOYHVE\WKHLUYHU\QDWXUHG\QDPLFDQGFKDQJLQJ´ UHPHPEHULQJ´  /RJLFDOO\LWLVGLI¿FXOWWRHQJDJHWKLVPRPHQWLQKHUFKLOGKRRGKHU  ,QObasanZKHQ2EDVDQDUFKLYHVKHUVHOIWKURXJKKHUFROOHFWLRQRIWKLQJVRUZKHQ 9DQFRXYHUKRPHSURYLGLQJDUDUHVHUHQLW\+HU$XQW(PLO\XUJHVKHUQRWWRVXSSUHVVWKHVH -DSDQHVHZRPHQFUDIWPDNHVKLIWKRXVHVRXWRIEDUUDFNVGXULQJWKHZDUXVLQJPXOWLFRORUHG UHFROOHFWLRQVDQGWRDOORZWKHPWRIRUPSDUWRIKHU³

44 [2254-1179 (2017) 6, 35-45] de Imigração Japonesa no Brasil. 5LRGH-DQHLUR,%*( .DW]6RORPRQ+HGEncyclopedia of Food and Culture1HZMinnesota 3UHVV Meyerhoff, Hans. Time in Literature%HUNHOH\8QLYHUVLW\RI&DOLIRUQLD3UHVV 0RQL]1DRPL+RNL³5DFH*HQGHU(WKQLFLW\DQGWKH1DUUDWLYHRI1DWLRQDO,GHQWLW\LQWKH )LOPVRI7L]XNDAmericas and from Latin America in Japan(GV/DQH5 +LUDED\DVKL$NHPL.LNXPXUDAsian American Literature. Honolulu: 8QLYHUVLW\RI+DZDL¶L3UHVV

A Journal of Canadian Literary and Cultural Studies 45