53 pages • 1 hour read
Prejudice against individuals of Asian descent, and particularly those of Japanese descent, was prevalent in the US long before the beginning of Kira-Kira. For instance, the derogatory term “yellow peril” came into use in 1895 when Japan defeated China in the first Sino-Japanese War. Likewise, certain legal actions that took place in the decades prior to the 1950s clearly reveal the historical distrust white Americans felt toward the Japanese. In 1907, an informal arrangement between Japan and the US prevented additional Japanese laborers from coming to the US. A federal law banning new immigrants from Japan formalized this in 1924. In 1913, a California law prohibited people of Japanese extraction from purchasing land; this was a direct response to the success Japanese American farmers experienced in California agriculture. WWII exacerbated the distrust of white Americans toward Japanese Americans. It is important to note that the prejudice experienced by people of Japanese descent did not take into consideration whether they were US citizens. In the novel, though the Takeshimas are American by birth, prejudiced whites often regard them as foreign nationals.
In keeping with the fact that her narrator is the very young Katie, who only gradually realizes that some white people treat her family with bias, Kadohata makes little mention of any prejudicial treatment Takeshimas experienced in Iowa apart from Katie’s observation that, “Our parents owned a small Oriental foods grocery store. Unfortunately, there were hardly any Oriental people in Iowa, and the store went out of business” (7). As the family moves to Georgia, the maturing Katie notes more incidents of bias. While some may seem inconsequential, they reveal an inhospitable mindset—even without outright violence or hostility, the family struggles with the resulting exclusion. This is particularly true for the children. Prior to Katie’s first day, Lynn warns her to expect white children to ignore her or even treat her as if she were an ant. The prejudice the Takeshimas experience sometimes takes odd forms that, beneath the surface, are quite insulting. For instance, Katie quickly picks up a Southern accent, which stuns some people who hear her speak; some even give her money to listen to her. The author implies that these white Georgians assume that individuals of Japanese descent would necessarily speak accented English regardless of where they are born.
So pervasive is the bias against the family that individuals who do not share this common prejudice stand out positively in the narrative. Silly’s family is more accepting of the family than Mother is of Silly’s mother, whom they fear because of her union ties. In a particularly striking example of unbiased treatment, when the selfless Hank, a white laborer, wordlessly races to save Katie’s brother, Katie is stunned to realize that he is the first white person who does not treat her or her siblings any differently than his own family. Conversely, Amber, Lynn’s erstwhile white friend, offers an example of a white individual wrestling with anti-Japanese prejudice. Clearly drawn to Lynn’s beauty and delightful personality, Amber must turn her back on her white friends to be Lynn’s companion. Only when she snubs Lynn do Amber’s white friends embrace her again. Since there must be some rationalization to support her betrayal of Lynn’s friendship, she declares that since the Takeshimas are not Christian, Lynn is not eligible for friendship.
Most of the novel’s characters are either white or of Japanese descent. The only Black person Katie encounters at length is Mr. Lyndon’s personal maid, whom Katie describes in somewhat dehumanizing terms: “Her skin was the same color as my brown silk hat my mother had made for my birthday” (232). This carries the very subtle implication that Katie may be internalizing other kinds of bias than the one against Asian Americans. However, readers realize that the author downplays the presence of Black Georgians not to ignore the extreme prejudice Black people experienced in this era, but rather to highlight the potentially less visible ways in which Japanese Americans also suffered racial bias.
Kira-Kira is a coming of age story: As Katie moves from a childlike understanding of world at five years old to the more mature sensibility of 12, she gains profound insights into worldly realities. The flip side, however, is her equal and opposite loss of innocence. One way to decide whether a narrative event is primarily about losing innocence or maturing is to consider the degree of negativity and pain a character suffers. For example, Lynn finds school attendance so positive that—before her diagnosis of lymphoma—she begs to attend classes even when she is sick. Lynn thrives in school, earning straight A’s. Katie, on the other hand, dislikes school so much as a kindergartener that her parents relent and allow her to skip that year altogether. When she does finally start school, her grades are average at best until after Lynn’s death. Unlike Lynn, Katie feigns sickness to stay home from school. Thus, each sister finds school to be transformative in opposite ways.
Katie’s memoir of seven pivotal childhood years—while it relates moments of love, joy, and humor—records a series of painfully negative events, each of which steals a degree of Katie’s childhood naiveté. For example, when she first arrives in Georgia, Katie makes a list of the things she misses about Iowa, things she did not know how much she appreciated until she lost them; most important on the list are her parents, who now work so much she seldom sees them. Kadohata writes Katie’s negative experiences as unforgettable and thus formative: scolded by a drunken hotel clerk for speaking the truth, humiliated by Uncle’s family for wetting herself upon her arrival in Chesterfield, passing out as she sees a rabbit shot with an arrow, discovering through her own research that Lynn is terminally ill, and falling out of Uncle’s truck onto the road without him even realizing it.
While everything seems to come easily to the effortlessly beautiful and lovable Lynn, Katie’s life is a perpetually bumpy road. Rather than feeling discouraged by the obstacles and challenges, however, Katie rises to each occasion. Often, she acts in defiant protest: freeing two male chicks destined for euthanasia, stealing pink fingernail polish to paint her dying sister’s nails, lying to a cop to get her dad out of potential trouble. Despite her mother’s insistence that these actions are inexcusable, Katie sees past this rigid moral accounting into a more nuanced, pragmatic reading of the world around her. For example, she feels no guilt about the theft because Lynn “seemed so pleased, I didn’t regret what I’d done” (171).
Katie’s growth is not only a personal triumph but also proves to be the saving grace for her family. In the aftermath of her sister’s death, Katie remains aware and engaged. She celebrates her sister’s memory and works to perpetuate her family’s normal life as her parents grieve. The author presents the possibility that the difficulties have prepared Katie to move her family forward resiliently.
Katie’s first observation about her parents’ new jobs in Georgia is that they are incredibly time consuming: They “leave for work every day very early in the morning. Our father would work two jobs, and our mother would work overtime if it was available. I already missed them” (41). Historically during this period, though federal law mandated overtime pay for factory workers who put in more than 40 hours a week, it did not prevent management from requiring employees to work continual, lengthy periods of overtime. Working long shifts with schedules that constantly changed and enduring forced overtime work was a constant for workers in the poultry industry. As Kadohata indicates, erratic work schedules with inadequate rest periods resulted in workers who were constantly exhausted. There was constant turnover among poultry workers in this booming era. Employers also often found ways to work around the federal standards, for instance paying for “piece work” rather than an hourly rate: Father sexes chickens at half a cent per chick, meaning he must correctly determine the gender of 200 chicks to earn $1.
Beyond meager wages and brutal schedules, employees face inhumane working conditions. On several occasions, Katie describes her mother smelling like urine after working a shift: Mother wears a protective pad because she is not allowed to take a restroom break. The work itself, especially at the entry level, is disgusting and dehumanizing. Sexers at the hatchery where Father works separate chickens into male and female groups, knowing that the males, more than half the birds, will be killed. Workers must immediately inoculate the female chicks, which sometimes kills the birds as well. And of course, in this industry, all chickens are bred to be killed anyway. Once raised on chicken farms, where the feed costs and per-bird payments for the chickens are set by management, the birds are sent to a rendering plant such as the one where Mother works. Gutting the birds is assigned to entry-level workers. After a year, Mother moves up to a carving position, where she spends hours slicing thighs and legs off chicken carcasses. The atmosphere inside the factory is not pleasant. During her brief lunch break, Mother rushes out to her car, where she turns on the air conditioner and tries not to go to sleep. At the hatchery, rules and working conditions are equally stringent. While the very best sexers can bring in helpers to prepare snacks, fetch drinks, and light cigarettes for them, most sexers cannot turn away from the constant flow of newly hatched chicks, which requires undivided attention.
As arduous and inhumane as these conditions are, management strongly resists any attempt to improve them. Using the example of Detroit’s auto industry, where unions dramatically improved the lot of assembly workers through collective bargaining, a number of poultry workers in the narrative strive to organize their own union. Management responds much as coal mine owners did when mine workers attempted to organize—with threats and violence. Katie twice encounters a surly man named Dick, who Silly identifies as a “thug,” whose job is to intimidate and physically harass employees who want to unionize. Katie sees a factory employee with a black eye and hears a rumor that a worker received a beating. Unionization of Georgia poultry plants in the 50s had a mixed record. Some factories did successfully unionize, but the presence of unions did not necessarily end poor working conditions or stop the harassment of workers by management.
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