Facing the End of Nature: Karen Tei Yamashita and Ruth Ozeki

2020 ◽  
pp. 207-266
Author(s):  
Begoña Simal-González
Keyword(s):  
Karen Tei Yamashita

scholarly journals Karen Tei Yamashita: a Reading in Paris

2012 ◽  
Author(s):  
Françoise Palleau-Papin
Keyword(s):  
Karen Tei Yamashita

Environment, Justice, Aesthetics

2018 ◽  
Author(s):  
Bella Adams
Keyword(s):  
The Other ◽  
Karen Tei Yamashita ◽  
The One

This essay compares the turns and costs of latter-day consumer appetite whether the Amazon as rainforest or cattle as prime foodway and as expressed in novels by Karen Tei Yamashita and Ruth Ozeki. The one, on the essay’s argument, turns upon Yamashita’s treatment of the Brazil rainforest as ecological fact-fantasy, the other on Ozeki’s pastiche of US media advertising. Both, for Adams, are to be compared as writers who bring a wariest satiric eye to how the earth’s resources risk fatal endangerment.

Karen Tei Yamashita and the Cultivation of Cosmopolitan Virtue

2018 ◽  
Author(s):  
Cyrus R. K. Patell
Keyword(s):  
Identity Politics ◽  
Japanese American ◽  
Karen Tei Yamashita ◽  
American Heritage

This chapter addresses the transnational/cosmopolitan thrust of Yamashita’s writings. While fully acknowledging Yamashita’s Japanese American heritage the author shows how each narrative goes beyond identity politics into how migrant life and history creates hybrid human tapestries and demographies. This is to insist upon how in her writings the local indeed becomes the global.

Introduction

2018 ◽  
Author(s):  
A. Robert Lee
Keyword(s):  
American Literature ◽  
Contemporary American Literature ◽  
Karen Tei Yamashita

The Introduction offers a succinct profile of Karen Tei Yamashita as author. Her biography, main publications, and general standing in contemporary American literature are all indicated. There follows annotation of the essays at hand, her autobiographical essay “Reimagining Traveling Bodies” and an interview as to how Yamashita envisages her main themes and craft.

Interview with Karen Tei Yamashita

2006 ◽  
Vol 32 (3) ◽  
pp. 123-142 ◽  
Author(s):  
Te-hsing Shan
Keyword(s):  
Karen Tei Yamashita

scholarly journals How Karen Tei Yamashita Literalizes Feminist Subversion: Extreme Domesticity, Space-Off Reversals, and Virtual Resistances in Tropic of Orange

Humanities ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 28
Author(s):  
Nathan Dwight Frank
Keyword(s):  
Film Adaptation ◽  
The Novel ◽  
Male Gaze ◽  
The Third ◽  
Karen Tei Yamashita ◽  
Feminist Narratology

In Tropic of Orange (1997), Karen Tei Yamashita builds an expansive narrative on the premise that the Tropic of Cancer shifts mysteriously from its actual latitude, barely north of Mazatlán, México, to that of L.A.’s latitude: from 23.43692° north of the Equator to 34.0522° N. By doing so, Yamashita literally takes that which is “south of the border” and repositions it in a hub of neoliberal hegemony; that is, she takes what is below (“sub-”) and puts it on top (“-vert”). I read such a literal and magically realistic move as an allegorical template that guides the novel in its entirety, but more specifically, in its repositioning of women from their spaces of relegation to spaces animated by their resistances to such relegation; from spaces of dependency to spaces characterized by feminine influence. This essay examines three strategies through which feminist subversions may be accomplished according to Yamashita’s textual template: The first follows Susan Fraiman’s theory of Extreme Domesticity (Fraiman 2017) as it tracks how subservient spaces of home and household can become sites of nonconformity; the second takes its cue from the cinematic strategies of “space-off” and “reversal” as examples of how marginal or negative spaces can be leveraged against the male gaze (c.f. José Rodríguez Herrera’s analysis of Sarah Polley’s film adaptation of Alice Munro’s “The Bear Came Over The Mountain,” Herrera 2013); and the third engages my own notion of a spatial virtuality (“that which is present without being local,” Munro 2014) as a mode of resistance that culminates, ultimately, in “a condition of literature,” that is to say, a condition in which Tropic of Orange refers to the conditions of its own making instead of referring to the conditions that create it (ibid.). My tripartite method thus highlights and celebrates the domestic, cinematic, and technological spaces of Yamashita’s writing, respectively, just as it articulates how these spaces might also be read as subversively feminist and feminizing. But it also meditates formally and contextually, as Tropic of Orange’s condition of literature implies, a sort of ablated feminist narratology, even as it works toward feminist narratological ends.

Narratives of Dislocation in the Novels of Karen Tei Yamashita, Joy Kogawa, and Julie Otsuka

2018 ◽  
Author(s):  
Cynthia F. Wong
Keyword(s):  
British Columbia ◽  
World War Ii ◽  
The Other ◽  
Joy Kogawa ◽  
World War ◽  
Narrative Technique ◽  
Karen Tei Yamashita ◽  
The Buddha

This essay aligns three genealogical “Japanese” narratives. Wong first addresses Yamashita’s novels of migrant Brazil and residential California. Analysis follows of Joy Kogawa’s Obasan with its portrait of World War II internment in British Columbia. Julie Otsuka’s When The Emperor Was Divine is considered for its portrait of Topaz Camp, Utah, and The Buddha in the Attic as the story of Japanese picture brides. Each is compared with the other, subject and narrative technique.

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