Hello Could you please assist me with writing an essay paragraph based onof
the connections between the two stories:
NON-FICTION NARRATIVE - JOY KOGAWA (Grinning and Happy)
NON-FICTION NARRATIVES - DAVID SUZUKI (The Genetic Source)
TASK TO DO:
1 - So, for this essay could you please kindly select two (2) of these non-fiction narratives and explain a connection you find between them in a single paragraph.
2- The paragraph should kindly contain a topic sentence that states the titles and authors' names of the non-fiction narratives you are writing about and a clear connection between the two narratives. Kindly follow this topic sentence by 2 points, 2 proofs, 2 analyses, and a concluding sentence, please, and thank you so much.
3- dear Teacher You must include an example and explanation from each non-fiction narrative in your paragraph (proofs and analyses.)
4- For your proofs/examples, exact quotations taken from the text are preferred. You must cite your quotes as such: "Quote" (last name of writer, page number).
Thank you so much!
NON-FICTION NARRATIVE - JOY KOGAWA
Grinning and Happy
(With three published books of poetry to her credit - The Splintered Moon (1967), A Choice of Dreams (1974), and Jericho Road (1977) -Joy Kogawa had become a respected minor poet. But in l981 she created a sensation with her first novel. Obasan represented a new step for Kogawa as a writer and as a person: in it she explores her own past and one of the most dubious events of Canadian history. Born in Vancouver in 1935, Kogawa was a child during the Second World War when the federal government classified Japanese Canadians as "enemy aliens." Her parents' house in Vancouver was seized, and the family was moved first to a relocation camp in Slocan, B.C., then to the sugar-beet fields of southern Alberta, which are the setting of this selection from the novel. The narrator is modelled after Kogawa herself, Stephen is the narrator's brother, Obasan is the narrator's silent and suffering aunt, and "Aunt Emily" is modelled after Muriel Kitagawa, a Japanese-Canadian activist whose letters Kogawa studied in the National Archives in Ottawa. Kogawa now lives in Toronto.)
There is a folder in Aunt Emily's package containing only one newspaper clipping and an index card with the words "Facts about evacuees in Alberta." The newspaper clipping has a photograph of one family, all smiles, standing around a pile of beets. The caption reads: "Grinning and Happy."
Find Jap Evacuees Best Beet Workers Lethbridge, Alberta, Jan. 22
Japanese evacuees from British Columbia supplied the labour for 65% of Alberta's sugar beet acreage last year, Phil Baker, of Lethbridge, president of the Alberta Sugar Beet Growers' Association, stated today.
"They played an important part in producing our all-time record crop of 363,000 tons of beets in 1945," he added.
Mr. Baker explained Japanese evacuees worked 19,500 acres of beets and German prisoners of war worked 5,000 acres. The labour for the remaining 5,500 acres of Alberta's 30,000 acres of sugar beets was provided by farmers and their families. Some of the heaviest beet yields last year came from farms employing Japanese evacuees.
Generally speaking, Japanese evacuees have developed into most efficient beet workers, many of them being better than the transient workers who cared for beets in southern Alberta before Pearl Harbor.........
Facts about evacuees in Alberta? The fact is I never got used to it and I cannot, I cannot bear the memory. There are some nightmares from which there is no waking, only deeper and deeper sleep.
There is a word for it. Hardship. The hardship is so pervasive, so inescapable, so thorough it's a noose around my chest and I cannot move any more. All the oil in my joints has drained out and I have been invaded by dust and grit from the fields and mud is in my bone marrow. I can't move any more. My fingernails are black from scratching the scorching day and there is no escape.
Aunt Emily, are you a surgeon cutting at my scalp with your folders and your filing cards and your insistence on knowing all? The memory drains down the sides of my face, but it isn't enough, is it? It's your hands in my abdomen, pulling the growth from the lining of my walls, but bring back the anaesthetist, turn on the ether clamp, down the gas mask, bring on the chloroform - when will this operation be over Aunt Em?
Is it so bad? Yes.
Do I really mind?
Yes, I mind. I mind everything. Even the flies. The flies and flies and flies from the cows in the barn and the manure pile - all the black flies that curtain the windows, and Obasan with a wad of toilet paper, spish, then with her bare hands as well, grabbing them and their shocking white eggs and the mosquitoes mixed there with the other insect corpses around the base of the gas lamp.
It's the chicken coop "house" we live in that I mind. The uninsulated unbelievable thin-as-a-cotton-dress hovel never before inhabited in winter by human beings. In summer it's a heat trap, an incubator, a dry sauna from which there is no relief. In winter the icicles drip down the inside of the windows and the ice is thicker than bricks at the ledge. The only place that is warm is by the coal stove where we rotate like chickens on a spit and the feet are so cold they stop registering. We eat cloves of roasted garlic on winter nights to warm up.
It's the bedbugs and my having to sleep on the table to escape the nightly attack, and the welts over our bodies. And all the swamp bugs and the dust. It's Obasan uselessly packing all the cracks with rags. And the muddy water from the irrigation ditch which we strain and settle and boil, and the tiny carcasses of water creatures at the bottom of the cup. It's walking in winter to the reservoir and keeping the hole open with the axe and dragging up the water in pails and lugging it back and sometimes the water spills down your boots and your feet are red and itchy for days. And it's everybody taking a bath in the round galvanized tub, then Obasan washing clothes in the water after and standing outside hanging the clothes in the freezing weather where everything instantly stiffens on the line.
Or it's standing in the beet field under the maddening sun, standing with my black head a sun-trap even though it's covered, and lying down in the ditch, faint, and the nausea in waves and the cold sweat, and getting up and tackling the next row. The whole field is an oven and there's not a tree within walking distance. We are tiny as insects crawling along the grill and there is no protection anywhere. The eyes are lidded against the dust and the air cracks the skin, the lips crack, Stephen's flutes crack and there is no energy to sing anymore anyway.
It's standing in the field and staring out at the heat waves that waver and shimmer like see-through curtains over the brown clods and over the tiny distant bodies of Stephen and Uncle and Obasan miles away across the field day after day and not even wondering how this has come about.
There she is, Obasan, wearing Uncle's shirt over a pair of dark baggy trousers, her head covered by a straw hat that is held on by a white cloth tied under her chin. She is moving like a tiny earth cloud over the hard clay clods. Her hoe moves rhythmically up down up down, tiny as a toothpick. And over there, Uncle pauses to straighten his back, his hands on his hips. And Stephen farther behind, so tiny I can barely see him.
It's hard, Aunt Emily, with my hoe, the blade getting dull and mud-caked as I slash out the Canada thistle, dandelions, crab grass, and other nameless non- beet plants, then on my knees, pulling out the extra beets from the cluster, leaving just one to mature, then three hand spans to the next plant, whack whack, and down on my knees again, pull, flick flick, and on to the end of the long long row and the next and the next and it will never be done thinning and weeding and weeding and weeding. It's so hard and so hot that my tear glands burn out.
And then it's cold. The lumps of clay mud stick on my gumboots and weight my legs and the skin under the boots beneath the knees at the level of the calves grows red and hard and itchy from the flap flap of the boots and the fine hairs on my legs grow coarse there and ugly.
I mind growing ugly.
I mind the harvest time and the hands and the wrists bound in rags to keep the wrists from breaking open. I lift the heavy mud-clotted beets out of the ground with the hook like an eagle's beak, thick and heavy as a nail attached to the top of the sugar-beet knife. Thwack. Into the beet and yank from the shoulder till it's out of the ground dragging the surrounding mud with it. Then crack two beets together till most of the mud drops off and splat, the knife slices into the beet scalp and the green top is tossed into one pile, the beet heaved onto another, one more one more one more down the icy line. I cannot tell about this time, Aunt Emily. The body will not tell.
We are surrounded by a horizon of denim-blue sky with clouds clear as spilled milk that turn pink at sunset. Pink I hear is the colour of llama's milk. I wouldn't know. The clouds are the shape of our new prison walls - untouchable, impersonal, random.
There are no other people in the entire world. We work together all day. At night we eat and sleep. We hardly talk anymore. The boxes we brought from Slocan are not unpacked. The King George/Queen Elizabeth mugs stay muffled in the Vancouver Daily Province. The camera phone does not sing. Obasan wraps layers of cloth around her feet and her torn sweater hangs unmended over her sagging dress.
Down the miles we are obedient as machines in this odd ballet without accompaniment of flute or song.
"Grinning and happy" and all smiles standing around a pile of beets? That is one telling. It's not how it was.
Kogawa, Joy. "Grinning and Happy." Obasan. Canada: Lester & Orpen Dennys, 1981. http://blogs.ubc.ca/lled4492016/files/2016/04/Grinning-And-Happy.pdf Accessed May 20, 2020.
NON-FICTION NARRATIVES - DAVID SUZUKI (The Genetic Source)
David Suzuki and Joy Kogawa are both well-known Japanese-Canadians who belong to the same generation as both were born in the 1930's on Canada's west coast. Both Suzuki and Kogawa write about their personal experiences growing up in Canada; Suzuki outlines some of the differences and conflicts he felt and experienced while visiting Japan, and Kogawa writes about her life after the bombing of Pearl Harbour and the aftermath of that tragedy. As you read through both Suzuki and Kogawa's narratives, consider the differences and similarities in their writing style and content.
(David Suzuki, born in Vancouver in 1936, is a writer, educator, journalist, TV and radio host, and a world renowned geneticist. He appears regularly in the popular CBC television series The Nature of Things. He has been an active spokesperson on social and environmental issues. This excerpt comes from his book Metamorphosis: Stages in a Life, published in 1987.)
Ancestors—The Genetic Source
My genes can be traced in a direct line to Japan. I am a pure‐ blooded member of the Japanese race. And whenever I go there, I am always astonished to see the power of that biological connection. In subways in Tokyo, I catch familiar glimpses of the eyes, hairline or smile of my Japanese relatives. Yet when those same people open their mouths to communicate, the vast cultural gulf that separates them from me becomes obvious: English is my language, Shakespeare is my literature, British history is what I learned and Beethoven is my music.
For those who believe that in people, just as in animals, genes are the primary determinant of behaviour, a look at second‐ and third‐ generation immigrants to Canada gives powerful evidence to the contrary. The overriding influence is environmental. We make a great mistake by associating the inheritance of physical characteristics with far more complex traits of human personality and behaviour.
Each time I visit Japan, I am reminded of how Canadian I am and how little the racial connection matters. I first visited Japan in 1968 to attend the International Congress of Genetics in Tokyo. For the first time in my life, I was surrounded by people who all looked like me. While sitting in a train and looking at the reflections in the window, I found that it was hard to pick out my own image in the crowd. I had grown up in a Caucasian society in which I was a minority member. My whole sense of self had developed with that perspective of looking different. All my life I had wanted large eyes and brown hair so I could be like everyone else. Yet on that train, where I did fit in, I didn't like it.
On this first visit to Japan I had asked my grandparents to contact relatives and let them know I was coming. I was the first in the Suzuki clan in Canada to visit them. The closest relative on my father's side was my grandmother's younger brother, and we arranged to meet in a seaside resort near his home. He came to my hotel room with two of his daughters. None of them spoke any English, while my Japanese was so primitive as to be useless. In typical Japanese fashion, they showered me with gifts, the most important being a package of what looked like wood carved in the shape of bananas! I had no idea what it was. (Later I learned the package contained dried tuna fish from which slivers are shaved off to flavour soup. This is considered a highly prized gift.) We sat in stiff silence and embarrassment, each of us struggling to dredge up a common word or two to break the quiet. It was excruciating! My great uncle later wrote my grandmother to tell her how painful it had been to sit with her grandson and yet be unable to communicate a word.
To people in Japan, all non‐Japanese—black, white or yellow— are gaijin or foreigners. While gaijin is not derogatory, I find that its use is harsh because I sense doors clanging shut on me when I'm called one. The Japanese do have a hell of a time with me because I look like them and can say in perfect Japanese, "I'm a foreigner and I can't speak Japanese." Their reactions are usually complete incomprehension followed by a sputtering, "What do you mean? You're speaking Japanese." And finally a pejorative, "Oh, a gaijin!"
Once when my wife, Tara, who is English, and I went to Japan we asked a man at the travel bureau at the airport to book a ryokan—a traditional Japanese inn—for us in Tokyo. He found one and booked it for "Suzukisan' and off we went. When we arrived at the inn and I entered the foyer, the owner was confused by my terrible Japanese. When Tara entered, the shock was obvious in his face. Because of my name, they had expected a "real" Japanese. Instead, I was a gaijin and the owner told us he wouldn't take us. I was furious and we stomped off to a phone booth where I called the agent at the airport. He was astonished and came all the way into town to plead our case with the innkeeper. But the innkeeper stood firm and denied us a room. Apparently he had accepted gaijin in the past with terrible consequences.
As an example of the problem, Japanese always take their shoes off when entering a ryokan because the straw mats (tatami) are quickly frayed. To a Japanese, clomping into a room with shoes on would be comparable to someone entering our homes and spitting on the floor. Similarly, the ofuro, or traditional tub, has hot clean water that all bathers use. So one must first enter the bathroom, wash carefully and rinse off before entering the tub. Time in the ofuro is for relaxing and soaking. Again, Westerners who lather up in the tub are committing a terrible desecration.
To many Canadians today, the word "Jap" seems like a natural abbreviation for Japanese. Certainly for newspaper headlines it would seem to make sense. So people are often shocked to see me bristle when they have used the word Jap innocently. To Japanese‐ Canadians, Jap or Nip (from "Nippon") were epithets used generously during the pre‐war and war years. They conjure up all of the hatred and bigotry of those times. While a person using the term today may be unaware of its past use, every Japanese‐Canadian remembers.
The thin thread of Japanese culture that does link me to Japan was spun out of the poverty and desperation of my ancestors. My grandparents came to a Canadian province openly hostile to their strange appearance and different ways. There were severe restrictions on how much and where they could buy property. Their children, who were born and raised in Canada, couldn't vote until 1948 and encountered many barriers to professional training and property ownership. Asians, regardless of birthplace, were third‐class citizens. That is the reality of the Japanese‐Canadian experience and the historical cultural legacy that came down to the third and fourth generations—to me and my children.
The first Japanese immigrants came to Canada to make their fortunes so they could return to Japan as people of wealth. The vast majority was uneducated and impoverished. But in the century spanning my grandparents' births and the present, Japan has leapt from an agrarian society to a technological and economic giant.
Now, the Japanese I meet in Japan or as recent immigrants to Canada come with far different cultural roots. Present‐day Japanese are highly educated, upper‐middle class and proud of their heritage. In Canada they encounter respect, envy and curiosity in sharp contrast to the hostility and bigotry met by my grandparents.
Japanese immigrants to North America have names that signify the number of generations in the new land (or just as significantly, that count the generational distance away from Japan). My grandparents are Issei, meaning the first generation in Canada. Most Issei never learned more than a rudimentary knowledge of English. Nisei, like my parents, are the second generation here and the first native‐ born group. While growing up they first spoke Japanese in the home and then learned English from playmates and teachers. Before the Second World War, many Issei sent their children to be educated in Japan. When they returned to Canada, they were called Kika nisei (or Kibei in the United States). Most have remained bilingual, but many of the younger Nisei now speak Japanese with difficulty because English is their native tongue. My sisters and I are Sansei (third generation); our children are Yonsei. These generations, and especially Yonsei, are growing up in homes where English is the only spoken language, so they are far more likely to speak school‐taught French as their second language than Japanese.
Most Sansei, like me, do not speak Japanese. To us, the Issei are mysteries. They came from a cultural tradition that is a hundred years old. Unlike people in present‐day Japan, the Issei clung tightly to the culture they remembered and froze that culture into a static museum piece like a relic of the past. Not being able to speak each other's language, Issei and Sansei were cut off from each other. My parents dutifully visited my grandparents and we children would be trotted out to be lectured at or displayed. These visits were excruciating, because we children didn't understand the old culture, and didn't have the slightest interest—we were Canadians.
My father's mother died in 1978 at the age of ninety‐one. She was the last of the Issei in our family. The final months of her life, after a left‐hemisphere stroke, were spent in that terrible twilight— crippled, still aware, but unable to communicate. She lived the terminal months of her life, comprehending but mute, in a ward with Caucasian strangers. For over thirty years I had listened to her psychologically blackmailing my father by warning him of her imminent death. Yet in the end, she hung on long after there was reason to. When she died, I was astonished at my own reaction, a great sense of sadness and regret at the cleavage of my last link with the source of my genes. I had never been able to ask what made her and others of her generation come to Canada, what they felt when they arrived, what their hopes and dreams had been, and whether it was worth it. And I wanted to thank her, to show her that I was grateful that, through them, I was born a Canadian.
Suzuki, David. "Ancestors - The Genetic Source." Metamorphosis: Stages in a Life, 1987.http://marcialalonde.weebly.com/uploads/9/3/8/2/9382401/ancestors-_the_genetic_source.pdf Accessed May 20, 2020.
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