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¸ê®Æ´£¨ÑªÌ¡GPin-chia Feng(¶¾«~¨Î);Kate Liu(¼B¬ö¶²);Julia Hsieh/Á¨Øæ¢
ÃöÁä¦rµü¡GWorld Literature;Canadian Literature

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Julia Hsieh/Á¨Øæ¢
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Joy Kogawa
1935-
Julia Hsieh/Á¨Øæ¢
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 Biographic Sketch

 Her Works

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 Biographic Sketch

A. Family Background and Education

Joy Nozomi Goichi was born to Minister Gordon Goichi and Lois Yao Nakayama, who was a kindergarten teacher, on June 6 th, 1935 in British Columbia, Canada. As a nisei, or the second generation of Japanese Canadian, Kogawa grew up in a middle-class white society in which racial discrimination prevailed especially for Canadians of Japanese descents after the World War II. Turning six, Kogawa was expatriated to eastern British Columbia in the internment with her parents, and after the family relocated in Coaldale, Alberta, she continued her education in University of Alberta and later University of Saskatchewan.

B. The Career of a Writer

In 1957, she married David Kogawa and thereafter raised two children, Gordon and Deidre. Ten years later, Kogawa published her first book of poetry, The Splintered Moon, and two volumes more: A Choice of Dream (1974) and Jericho Road (1977). While she was working on her poetry, she worked as a staff writer for the Office of the Prime Minister in Ottawa, Ontario. It was possibly then that Kogawa's interest took root in politics. After divorcing her husband in 1978, she settled down in Toronto and wrote prolifically in the Eighties, the time when she had Obasan in 1981 and won three recognitions: the Books in Canada First Novel Award for her first novel, the Canadian Authors' Association Book of the Year Award and the Before Columbus Foundation American Book Award. After another collection of poetry, Woman in the Woods, made appearance in 1985, a children's version of Obasan–Naomi's Road (1986) was published and then translated into a Japanese edition–Naomi no Michi–in 1988. By then Kogawa was known for her enlightening writings with a focal issue–the unjust treatment of internment detention that kept Japanese Canadian under alternate persecution during WWII. She persisted her effort in both poetry and fiction after her first novel, and then a sequel of Obasan came out in 1992–Itsuka. Despite Kogawa's confession of having difficulty in finding narrative voice for her work, Itsuka still aroused Canadian's attention toward the victimhood of Japanese Canadian during the big war. Years later, the novel The Rain Ascends made her acknowledged for her stance as a feminist writer due to her portrait of the protagonist growing up under the shadow of a family undergoing child abuse. A noted writer and poetess she becomes, Kogawa's most recent books of poetry are Song of Lilith and A Garden of Anchors in the Millennium and 2003 respectively. The former was actually the text commissioned and adapted by Kristine Bogyo in the theater production that took place in major Canadian cities.

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 Her Works

A. Obasan, ( Naomi's Road) and Itsuka


Kogawa's most received novel, Obasan, is based on her own experience of how the internment camp has taken effect on her family. Silence seems to be the major impression on Naomi's family and Naomi herself. King-Kok Cheung has pointed out the attentive silence prevailing in Obasan so much that "oppressive silence that takes both individual and collective forms, inflicted on women and men alike" (139). Through the thirty-six-year-old schoolteacher Naomi, the novel descends on the historical retrospect on how she reflects and re-examines the turmoil affliction that her family and her people, the Japanese-Canadian, have undergone during WWII.

Naomi and her brother were entrusted and raised by Obasan, her paternal aunt when her mother was kept out of the country from a homeland trip and her father was segregated in a detention camp in the wartime. Upon the tragic separation of the family, Naomi learns a dichotomy of attitudes from Obasan and Aunt Emily, her maternal aunt; for the tribulation of detainment for Japanese-Canadian, the former has taken a silent and passive stance whereas the latter urges the heroine to take a resilient position confronting the government that had made a historical mistake by besetting the immigrants and the descendents of the immigrants with the extreme measure, just like what German Nazi has done to the Jews. Kogawa's observant and vibrant depiction has made it apparent that the strong contrast between the silent and submissive attitude of the isei and the resilient and outspoken nisei is complicated so that the intriguing reminiscence has somehow become Naomi's self-searching in a way.

This acknowledged novel was later rewritten for younger readers and translated into a Japanese version that has been selected into schoolchildren's textbook. In 1988, Shogakkan Press published Naomi no Michi in Japan and soon after the publication, it was well-received and then regarded a worthy text, an ideal material for education.

More than a decade after Obasan was published, Kogawa continued Naomi's story in Itsuka with further intense deployment on the issue of Canadian mistreatment toward its people of Japanese descents. Struggling between the dual identities of being Canadian and Japanese descendents, Kogawa has interwoven scenarios of politics and exoticism through Naomi's interrelationships with her out-spoken aunt, who is by all means oppose and fight for voicing out for her people surviving the internment, with her brother and with her romantic relations with a French-Canadian priest.

Although the scenarios of self-searching and fighting for justice for her kind are quite successful, Kogawa's second novel does not earn as much attention and applause as her first. In Books in Canada, Janice Kulyk Keefer expresses her dissatisfaction toward Itsuka, finding it incomparable with Obasan, which was highly praised for its poetic language and the fervor of depiction on the emotional development of the character.

B. The Rain Ascends

Kogawa's imagination in her writing has made The Rain Ascends a novel worth reading. The novels reveals a child's psychological struggle after learning that her beloved father, a parish minister, may be a malevolent and pedophilic child abuser. Kogawa's intense and in-depth perspectives help her portrait the characters with juxtaposition of humanity and human frailty; a truthful perception and observation in mankind. That is, she manages to remain objective and disregard the binary opposition or unjust characterization throughout the novel and character depiction.

C. Her Publication of Poetry


Kogawa's imagination in her writing has made The Rain Ascends a novel worth reading. The novels reveals a child's psychological struggle after learning that her beloved father, a parish minister, may be a malevolent and pedophilic child abuser. Kogawa's intense and in-depth perspectives help her portrait the characters with juxtaposition of humanity and human frailty; a truthful perception and observation in mankind. That is, she manages to remain objective and disregard the binary opposition or unjust characterization throughout the novel and character depiction.

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Reference

"Joy Nozomi Kogawa." Contemporary Authors. Contemporary Authors Online, Gale, 2004.

"Joy Kogawa." Contemporary Literary Criticism. Gale.

Wong, Synthia F. "Joy Kogawa." Asian American novelists: A Bio-Bibliographical Critical Sourcebook. Ed. Emmanuel S. Nelson. Westport, CT : Greenwood, 2000. 161-167.

Cheung, King-Kok. Articulate Silences: Hisaye Yamamoto, Maxine Hong Kingston, Joy Kogawa. Ithaca : Cornell University Press, 1993.
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