Showing 111 - 120 of 174 annotations tagged with the keyword "Racism"
Franklin Hata, comfortably retired from his medical supply business, reflects on his life--a life that spans several continents, three cultures (ethnic Korean brought up in Japan and emigrating in adulthood to the U.S.), service as a medic in World War II (in the Imperial Army of Japan), adoptive fatherhood, and a fizzled out romance with a well-to-do suburban Caucasian widow. At first out of place in the wealthy New York suburb where he settled, Hata has worked hard to achieve acceptance there, taking pains to fit in, creating no disturbances, never complaining, even when provoked by thoughtless schoolchildren or narrow minded adults.
The major disappointment of his adult life has been his tempestuous relationship with his adopted mixed-race daughter, Sunny, who left his home to live on her own when only a teenager. Even failed parenthood, however, has been absorbed by Hata. For although Hata claims that he had always wished to "pass through with something more than a life of gestures," (299) in fact he has labored to maintain equilibrium with a carefully designed "gesture life" of daily routine and superficial social niceties.
In the idleness of retirement and the solitude of his large, empty Tudor home, disturbing memories impinge on these routines and force a re-evaluation of his life and his relationship with the estranged Sunny. As a young medic during World War II, Hata had undergone an emotional and moral crisis when he fell in love with one of the Korean "comfort women" brought into his care in the Japanese army camp (in Burma) to which he was assigned. In the midst of rape and murder, Hata had to make choices, and these choices he can no longer justify to himself.
Further, he comes to understand that his relationship with his daughter has been colored by those long ago events. "In a way, it was a kind of ignoring that I did, an avoidance of her as Sunny -- difficult, rash, angry Sunny -- which I masked with a typical performance of consensus building and subtle pressure, which always is the difficult work of attempting to harmonize one's life and the lives of those whom one cherishes." (284)
Joel Garcia (Eric Stoltz) is a young writer who loses the use of his legs after a climbing accident and faces medical, existential, romantic, sexual, institutional, and social challenges on the way to resuming what is left of his former life. Joel has to acknowledge his condition, decide (as a liberal and Hispanic) how to stand up against the bigoted bragging of his fellow patient the crude biker Bloss (William Forsythe), and, somehow, how to make the right moves with his girlfriend Anna (Helen Hunt), who is married and whose ambivalence about her relationship with Joel is compounded by his disability.
Joel and Bloss come together, toward the end, in an attempt to ease the suffering of a third patient, Raymond Hill (Wesley Snipes), a self-styled ladies' man who conceals the fact that his wife has just left him. The film was written and co-directed by Neal Jimenez, who, according to Roger Ebert, has experienced much of what his main character goes through.
Primo Levi was imprisoned at the Auschwitz concentration camp in 1944. He survived the experience, probably in part because he was a trained chemist and as such, useful to the Nazis. Soon after the war ended, he wrote several books about his experience. The Drowned and the Saved, however, was written 40 years later and is the work of memory and reflection not only on the original events, but also on how the world has dealt with the Holocaust in the intervening years. Fundamental to his purpose is the fear that what happened once can happen (and in some respects, has happened) again.
Chapter 1, "The Memory of the Offense," dissects out the vagaries of memory, rejection of responsibility, denial of unacceptable trauma and out and out lying among those who were held to account by tribunals as well as among the victimized. Levi does not spare himself: "This very book is drenched in memory . . . it draws from a suspect source and must be protected against itself" (34). Even so, he insists, memory and the historical record are crucial to combating Nazi assumptions that their deeds would go unnoticed (they were destroying the evidence), or disbelieved.
In "The Gray Zone" (2) Levi challenges the tendency to over-simplify and gloss over unpleasant truths of the inmate hierarchy that inevitably developed in the camps, and that was exacerbated by the Nazi methodology of singling some out for special privileges. He outlines the coercive conditions that cause people to become so demoralized that they will harm each other just to survive. (And when they refused to collaborate, they were killed and immediately replaced.)
Chapter 3, " Shame," is, in my opinion, the most profound and moving section of the book. Levi begins it by discussing a phenomenon that occurred following liberation from the camps: many who had been incarcerated committed suicide or were profoundly depressed. This Levi attributes to shame and feelings of guilt. "Coming out of the darkness, one suffered because of the reacquired consciousness of having been diminished . . . Our moral yardstick had changed [while in the camps]" (75). Beyond that, there is the sense that "each one of us (but this time I say 'us' in a . . . universal sense) has usurped his neighbor's place and lived in his stead" (81-82).
In the concentration camp, says Levi, it was usually "the selfish, the violent, the insensitive, the collaborators of the 'gray zone,' the spies" who survived ["the saved"] while the others did not ["the drowned"] (82). Only the drowned could know the totality of the concentration camp experience, but they cannot testify; hence, the saved must do their best to render it. Since Levi was one of those saved, he is "in permanent search of a justification . . . " and although he feels compelled to bear witness, he does not consider doing so sufficient justification for having survived. In this chapter Levi also discusses why inmates did not commit suicide during their incarceration:" . . . suicide is an act of man and not of the animal . . . because of the constant imminence of death there was no time to concentrate on the idea of death" (76).
"Communicating" (4) deals with the emotional and practical consequences of not being able to understand the German commands of the captors, or the conversation of the mostly German speaking prisoners (Levi was Italian but spoke some German). Levi also describes the additional suffering of those who were cut off from all communication with friends and family. "Useless Violence" (5) gives examples of how the Nazis tormented their prisoners with "stupid and symbolic violence."
In "The Intellectual in Auschwitz" (6) Levi speculates about how and in what circumstances being educated or cultured was a help or hindrance to coping with the situation. In this chapter he considers also whether religious belief was useful or comforting, concluding that believers "better resisted the seduction of power [resisted collaborating]" (145) and were less prone to despair. Levi, however, was never a believer, although he admits to having almost prayed for help once, but caught himself because "one does not change the rules of the game at the end of the match, not when you were losing" (146).
Chapter 7, "Stereotypes," addresses those who question why many concentration camp inmates or ghetto inhabitants did not attempt to escape or rebel, and why many German Jews remained in Germany during Hitler's ascendance. As in all the other chapters of his book, Levi discusses the complexity of these situations. "Letters from Germans" summarizes his correspondence with Germans who read his earlier books. The book ends ("Conclusion") with the exhortation that "It happened, therefore it can happen again . . . " (199).
In this rich opening chapter of his work on the Nazi doctors, Lifton lays out the groundwork for answering the question of how German doctors became the agents of Hitler’s vision of the purified Aryan race, sterilizing involuntarily several hundred thousand citizens with a variety of mental and physical deficiencies. His answer, in brief: a romanticized genetics coupled with total political control.
Amazingly, the Nazi medical atrocities were carried out not against the opposition of Germany’s medical establishment, but with its approval. (Of course, there were individual dissenters, the more vocal of whom were removed from positions of authority or put to death). Nazi leaders worked hard to convert medical people to the official position. This was accomplished partly by force, but also partly by metaphor, as the normal language of medicine was used to hide the unethical nature of what doctors were being asked to do.
Individual patients were replaced by the racial term "Volk," meaning the (Aryan) people, and their rights were superceded by their doctors’ new duty to assure the health of this collective political idea. According to Nazi publicity, the Aryan race was in grave danger of "Volkstod," of dying out, because its genetic pool had been contaminated both by the transmission of inherited genetic defects and by the "foreign invasion" of Jews and their intermingling with members of the "superior" Aryan race.
To save their new patient, German doctors were expected to carry out the sterilizations, medical experiments, and, later, the euthanasia required by Nazi doctrine, which, in the words of one Nazi writer, declared that "misery can only be removed from the world by painless extermination of the miserable." Doctors were urged not to worry about ethical issues, because Nazi medicine was "nothing but applied biology."
In these ways, says Lifton, Hitler’s racial policies were ’medicalized’ and their evil made less obvious. Those who went along were billed as the "saviors of mankind," the "alert biological soldiers" whose actions would restore the purity of the Aryan race. Jewish doctors were not invited, of course, their research having been officially discredited in the mid-1930s, Lifton tells us, and their medical licenses revoked in 1939--in spite of the fact that they made up half the doctors in some large cities.
This is American writer Richard Wright's story of his life as a black child in the American South (Mississippi, Tennessee, and Arkansas) in the early decades of the 20th century. Black Boy opens with the disaster in which Richard at the age of four accidentally burns down his grandparents' house and is beaten nearly to death by his mother as punishment. The book ends with Richard's hopeful escape north to Chicago at the age of eighteen.
In between are years of heart-stopping survival stories, as Richard, an intelligent and willful child who tries to resist many of the demands of his strongly segregated environment, runs head-on into the hatred of racists and the deep poverty, hunger, and oppression that so often were the lot of the system's victims. (On the subject of hunger, one of the book's working titles was American Hunger, and Wright was chronically hungry all these years. He gets so used to extreme hunger that at one point late in the book after a short interlude with regular meals he is surprised to discover that he can suddenly read faster!)
Black Boy, originally published by Harper & Bros. in 1945, is only the first half of Wright's original manuscript. After production had begun on the complete manuscript, Wright accepted an offer from the Book-of -the-Month Club to make his book one of their selections if only the first half were published. The second half was first published in its entirety by Harper & Row as American Hunger in 1977. The 1993 edition titled Black Boy (American Hunger) brings both halves together for the first time. The second volume describes Wright's experiences in Chicago from 1926 to 1936, including his frustrating attempt to work with the Communist Party as a way of supporting unemployed workers during the Great Depression.
The narrative voice (probably female) links the ancestral past of a Chickasaw heritage with the present and future, "remembering" a long, forced march to Oklahoma under military surveillance. The women sewed tear dresses "because settler cotton was torn" but the miserable circumstances generated tears "so they were called / by this other name, / for our weeping." She sees herself as the reason for their survival, and at the same time, her ancestors ". . . walk inside me." The poem is cleverly constructed to give a strong sense of the continuity of generations and of the impact of a people’s history on individual lives.
Written in a style resembling religious litany, this is the tale of a disastrous teen-age marriage and its criminal consequences. The setting is California. Maria is a poor Mexican-American who meets and attracts Russell, a working class Anglo. Although ambivalent, Maria sees marriage to Russell as the path to American, white respectability. Her earlier hopes of achieving this status through her own efforts have been frustrated by the reality of poor academic performance. She is eager to get away from the household of her deeply religious mother. Russell is brooding, taciturn, and carries the physical and psychic wounds of an abused childhood--his father is a partially reformed alcoholic who deliberately burned Russell's hand.
The pair are ill-equipped for marriage or parenthood and Maria soon feels trapped. Their son, John, avoids provoking them by being a "good boy," hoping to prevent their frequent arguments. Russell's deprived childhood accounts, perhaps, for his obsessively jealous fixation on Maria. He is jealous even of the attention she gives their son.
The catastrophe that seems always close at hand finally occurs: Russell sets fire to his own child. The second part of the novel is told primarily from John's perspective as he undergoes a prolonged, painful rehabilitation and tries to find meaning in these events. It is also the story of the plastic surgeon who attempts to restore John's horribly scarred body and who has come to doubt the purpose of his profession (there is nothing he can do about destructive family relationships and psychic scars). Russell, who has been brutalized in jail, is released, seeking redemption. Fire, significant throughout the story, plays a final shocking (redemptive?) role.
Subtitled "A Daughter's Search for Her Father," this memoir chronicles author Mary Gordon's quest to recapture the essence that was her father, a man she idolized and adored while he was alive--and long after his death when she was only seven years old. This death she saw as the single most defining event of her life. Identification with her father was essential to the conception of self, both as a creative writer, and as a worthwhile person. So she "entered the cave of memory" but found that memory was discordant with the facts.
Gordon's father was a writer, and a convert from Judaism to Catholicism. His persona was that of an intellectual, a graduate of Harvard, a frequenter of literary circles in Oxford and Paris. He claimed to be an only child, born in Ohio. As Gordon explores her memory and the historical record, forcing herself to confront her father's political opinions--opinions which are repugnant to her, and which she had earlier chosen to ignore--she uncovers a charade.
Her father, it turns out, was an immigrant from Vilna (in Eastern Europe) and had never finished high school. He had two sisters whom he never acknowledged to his family--one spent years in a mental institution where she ultimately died. Among his published writings are pornography and political diatribe (he was an anti-Semite and a facist); his writing was stylistically flawed.
This memoir is Mary Gordon's attempt to come to terms with what she learned about her father. It is the narrative deconstruction and reconstruction of the author's self; it is both biography and autobiography; a reflection on loss and recovery.
Art Woo, thirty-eight years old, Asian-American, and a salesman in a dying industry, finds himself housed in a welfare hotel during a sales convention--the unexpected result of trying to limit travel expenses for his company. His modus operandi is to "maintain a certain perspective," so he attempts to make the best of the situation.
We learn that his wife, Lisa, has divorced him--the outcome of Art's inability to grieve along with her when, after many months of fertility treatments and two miscarriages, Lisa's successful pregnancy was medically terminated at four and a half months because the fetus was afflicted with a severe genetic abnormality. Whereas Art reacted with hope for having another child, Lisa had seen only loss. Likewise, when his boss had insulted Art with a racial slur, Art had maintained "perspective," while Lisa thought he should have quit his job.
The "birthmate" of the title is Billy Shore, four years younger, American, and a business rival. Billy is obnoxious, but has advanced to a new job. Art thinks that if Billy can get ahead, so can he. But Art's equilibrium is ultimately destroyed by an experience in the welfare hotel. He realizes that he has lost not just a job opportunity and his wife, but also his child.
Summary:The title announces the event described in the poem: the lynching of a black man, already burned to a char by an angry mob. Opening lines emphasize ascendency of spirit, from the "swinging char" to the father in heaven in whose bosom the hanged man will dwell. The spiritual tone is replaced, however, by an account of the cruelties inflicted on this tortured man and the behavior of sorrowless women and children dancing around the "dreadful thing in fiendish glee."