The Land of Conjurors

In “Reclaiming the Southwest,” the term southwest is more than what we imagine. The southwest is not merely confined to the concept of space since the significance of the term southwest can break away from the linear time of Japanese American Interment narrative as it reconfigures the Southwest as a traumatic place. For instance, the sign is a way to broach the metaphorical meaning as a fixed concept. When we think of a sign, the idea of signifier is often to direct us a certain metaphorical significance or symbol derived from the cultural context or historical background. Accordingly, the term Southwest may conventionally signifies an isolated space from other traumatic events for some ethnic groups. Or the Southwest is limitedly viewed through the gazes from the tourists as well as under the gaze of hegemonic power. However, the article mentions that “arrowhead,” the ancient object remained by the Indian warrior, can be a portal of the association with the Indian groups. In Yoshiko

In the tenth chapter of John Okada’s No-No Boy , Ichiro seems to need a gaze from Christians, who make him feel that he is really moving on for his own mind at the end of his forgiving thought should be clearly examined. As Tommy and Ichiro initially come to the church, they are not welcomed by the public in the church. Subsequently, Tommy and Ichiro join a smaller church. Compared with the former one, they appear to be much delighted for the friendliness from the church members while they are quite accepted by the congregation there. Ichiro unexpectedly finds that there is white-haired Negro comes who stands in the back of them. Nevertheless, no one would like to converse with the Negro even though  everyone seems to know of this colored man’s presence. The Negro  in their back is not only  the one who is alienated but also is like an “intruder” ( Okada  231) as he enters into the small church. The Negro, who appears to reflect Tommy and Ichiro’s predicament of not being involved

In John Okada’s No-No Boy , the protagonist Ichiro questions the position of how to be the American. In the novel, to be the American can be well-defined when most characters all serve in the army of America to fight for the country. While most characters take the notion of serving in the army to be the American, they desire to be visible by eagerly proving that they are the Americans despite their efforts to the process of being recognized by the public. For instance, to show that one is an American, Taro has his attempts to join the army despite his young age. Kenji also can be regarded as an American for he contributes his life to  the American army while injured with his wounded leg. Taro and Kenji’s cases instead become visible as if they stood at the position of the “inside” as being an American is called, which Ichiro calls “the inside” ( Okada 160) of the America in Chapter Seven.

In John Okada’s  No-No Boy , Ichiro Yamada, the protagonist, constantly encounters the suffering from the Japanese-Americans who view him as a traitor. In Okada’s  No-No Boy , as Ichiro struggles with other characters who are eager to participate in the American army, to serve in the army of America becomes the kernel spirit as most people show their loyalty to their country. When Ichiro confronts with his brother Taro, he easily scorns Taro by making a contrast with him and alienating himself from him who is so frighteningly to “get into uniform to prove that [he] is not a part of [Ichiro’s]” (Okada 81). Besides, when Ichiro meets Kenji, who is more America than most American with his injured leg as serving in the military for America, he feels “a strange exhilaration” (Okada 63) as to Kenji’s life. Because Kenji is a veteran of the army of America, he always has right to laugh and love and hope in spite of his injured leg that is consuming him in a few years. Nevertheless, Ichiro se