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“Don’t Fence Me In”: Interiorized Outsides and Japanese American Concentration Camps

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American Borders

Part of the book series: American Literature Readings in the 21st Century ((ALTC))

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Abstract

The family separation policy that peaked in the summer of 2018 has had an unintended consequence, that of recalling Japanese internment in the 1940s. The images of children warehoused in a converted Walmart, for example, prompted immediate reactions comparing the detention of children with one of the most shameful episodes of American recent history (Waxman 2018). The parallels between both acts of internment are hard to miss, for some “migrant detention facilities, including Fort Sill in Oklahoma, were the very same sites used to incarcerate Japanese Americans” (Sheffer 2020, 57). Furthermore, echoes of Japanese internment were present from the beginning of the Trump presidency. In the justification for the “Muslim ban” the former president cited Roosevelt’s executive order, seemingly unaware of the Civil Liberties Act signed by President Ronald Reagan that acknowledged that Japanese American incarceration was the result of “race prejudice, war hysteria and a failure of political leadership” (Sheffer 2020, 57). Thus, Japanese American internment periodically emerges as a locus of incarceration that punctuates American history from colonial times to the present, as Lipsitz claims in How Racism Takes Place:

The tradition of the oppressed teaches us that the ‘state of emergency’ in which we live is not exception but the rule.

Walter Benjamin (1999), Illuminations

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Notes

  1. 1.

    Additionally, the ban seemed to ignore the lack of constitutionality of the measure, as expressed in a journal entry by the then Secretary of War Henry L. Stimson: “The second generation Japanese can only be evacuated either as part of a total evacuation, giving access to the areas only by permits, or by frankly trying to put them out on the ground that their racial characteristics are such that we cannot understand or trust even the citizen Japanese. This latter is the fact but I am afraid it will make a tremendous hole in our constitutional system to apply it” (in Manzella 2018, 117).

  2. 2.

    The correlation between Trump’s rhetoric on walls, as mentioned in the introduction and in Delshad’s, Gerke’s, Korakiwala’s, and Álvarez-López’s chapters, and Manzanas’ two-fold analysis of the fence (just one more metaphor of the border taken to a specific context) evidences the pervasion of the in/out imaginary in American nation-making, Trump having become a token of twenty-first century nationalism.

  3. 3.

    Yamashita specifically talks about the 250.5 linear feet of paper of the Yamashita siblings in the National Archives of the War Relocation Authority (2017, 39).

  4. 4.

    Similarly, in Farewell to Manzanar, Jeanne Wakatsuki Houston talks about the song as one of the most fashionable tunes of the time. Wakatsuki’s elder brother, Bill, led a band and played “Don’t Fence Me In,” not out of protest, “as if trying quietly to mock the authorities,” she clarifies, but because it was a hit song (1973, 91).

  5. 5.

    Question no. 27: “Are you willing to serve in the armed forces of the United States on combat duty, wherever ordered?”; Question no. 28: “Will you swear unqualified allegiance to the United States of America and faithfully defend the United States from any or all attack by foreign or domestic forces, and forswear any form of allegiance or obedience to the Japanese emperor, to any other foreign government or organization?”.

  6. 6.

    Internment camps crisscross the novellas of I Hotel. In “1975: Internationale Hotel” a group of activists drive up a dirt road to what appears to be an abandoned building out in the middle of nowhere. It turns out to be Tule Lake relocation camp, where those who were deemed disloyal or gave unsatisfactory answers to questions 27 and 28 on the “Application for Leave Clearance” questionnaire were sent. All evidence of incarceration, though, has been erased, and only the stockade remains. Mo Akagi, who was interned at age five, to be paroled when he was nine, finds himself on the other side of the barbed wire but, echoing Miné Okubo, claims “it’s still the desert” (2010, 198). The desert as inhospitable place is not limited to living behind barbed wire but is part of the other side when you are Japanese American and you return to your former city to see if your house, your business and some possibility for a future are still there. For Akagi West Oakland is still the same ghetto, another concentration camp (2010, 198).

  7. 7.

    In I-Hotel Akagi describes Manifest Destiny as a disguised form of genocide (2010, 211). Tested against Native Americans, Mexican people, African Americans, as well as Asians, it was the rationale for exclusion acts, for forcing Chinese people to group together into Chinatown and for running the Japanese people into camps (2010, 212).

  8. 8.

    Space is a key aspect of this volume, as also seen in Rodríguez González’s chapter with her delineation of the “mapping of social space.” Likewise, Korakiwala invokes the concept of the third space to both evidence and challenge the importance of space for nation-making, identifying the emergence of productive, hospitable spaces within the confines of the nation, but also debunking the relevance of physical borders for containing difference.

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Correspondence to Ana Mª Manzanas Calvo .

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Manzanas Calvo, A.M. (2024). “Don’t Fence Me In”: Interiorized Outsides and Japanese American Concentration Camps. In: Barba Guerrero, P., Fernández Jiménez, M. (eds) American Borders. American Literature Readings in the 21st Century. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-30179-7_3

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