When the Emperor Was

Divine

A novel by Julie Otsuka

Written and Compiled by

Mike Cullerton, Jefferson High School Pam Garrett, Franklin High School

Alex Gordin, Cleveland High School Janice Wallenstein, Cleveland High School

Doug Winn, Grant High School

Summer Curriculum Institute, 2007 Portland Public Schools

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Table of Contents Rationale 3 Section Summaries 5 Calendar 6 Standards Addressed 7

Opening acts Picture Carousel 9 Web Scavenger Hunt (directions and questions and answers) 11 Map Activity 15 Possible Web Sites 16 Relic Bag 17 Civil Liberties Role Play 18 Discovering Cultural Values Activity 20

Main Stage

Point of view reference sheet 26 Dialogue journaling specific to themes 28 Levels of Questioning 29 Three-Index-Card Discussion (modified) 30 Connecting poetry to text 32 Four by Four graphic organizer 34 Narrative writing-“A Time I Was Treated Unfairly” 35

Closing Acts Two Voice Poem 39 Analyzing the literary analysis essay 40 Literary Analysis Essay 41 Literary Analysis Criteria Sheet 42 Persuasive Essay on Reparations 43 Write a letter for Civil Liberties Action 45

Resources

Web Sites and Films 47 Field Trips 48

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Rationale Evacuation Order 19 “The sign had appeared overnight.”

This warning signal heralds the beginning of our haunting literary journey into Julie Otsuka’s novel, When the Emperor was Divine. This novel is a powerful story of the plight of Japanese Americans during the 1940s in World War II America. Much to their surprise and disbelief, thousands of Japanese Americans were deprived of their civil liberties, their personal freedoms and properties, and displaced to internment camps throughout the Western United States.

Otsuka’s story recounts stories of this tragedy through five personal point of view perspectives. Our literacy group wanted to share powerful strategies of this poignant 144-page story by first providing a philosophical overview about what guided our investigation. The four Enduring Understandings illuminated by the text, Understanding by Personal Design are:

Civil liberties are fragile and can be taken away at any time.

Through storytelling one can better understand cultural identity and the individual experience of historical texts.

Writers use point of view and figurative language as essential tools in engaging readers emotionally.

Sense of place, setting, and home are evoked through the descriptions of the experiences of the Japanese American characters.

With these philosophical statements in hand, we formed the curriculum-based essential questions that would shape our choices for the curriculum strategies. The essential questions are as follows:

What are civil liberties, and why do we defend them?

What does the experience of war do to people and their values?

What is home, and how do people adapt to change?

How do writers use details to evoke emotions?

Our methodological vision in place, we reviewed our final destination—the culminating assignment of the literary analysis that would be the conclusion of our collaborative sojourn. The junior literary analysis allows the student to choose a theme from the American Experience (immigrants, race and social justice, and cultural identity) and compose an analytical essay through the point of view of a character in the story. Specific historical and literary evidence will be used to support the point that the student had used in the common assignment.

The strategies that lead to this common assignment have been divided into the familiar

opening, main stage, and closing acts. Some notable ideas from each category include a picture carousel, web scavenger hunt, and relic bag strategy in the opening act. We want to get to the heart of the story in the Main Act section and so we provide lessons on POV, dialogue journal, index card discussion, and graphic organizers.

We also offer other closing activities including two-voice poems, a letter of civil rights, and a persuasive essay about issues of reparation. These have been chosen and developed to scaffold and support the much-anticipated literary analysis. The recently adopted Write Source texts are useful in looking at thesis, the writing process and editing. In particular, the junior or

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grade 11 Write Source texts provide useful analysis on page 279, where a response essay is offered as a sample.

Lastly, we provide extensions—a kind of provocative encore that lists other websites, literary texts, films, and even connections to field trips to witness our historical and socio-political event of notoriety.

We invite you along on our journey of infidelity to our Japanese American citizens.

Embark on literary travels as we engage and participate in social justice lessons that will provoke, scintillate, even outrage you into acts of personal discovery. All aboard!

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When the Emperor was Divine by Julie Otsuka Novel Summary The novel is told through limited third person point of view from multiple perspectives in five sections. “Evacuation Order No. 19” (3-22) The characters of the mother, daughter, and son are introduced in this section and the story is told through the limited point of view of the mother. In this opening scene, the mother shares that they will be leaving their community in Berkeley and going away. Particularly significant in this section is that the mother kills the dog on page 11. Otsuka uses specific imagery in the story including a reference to the painting, “The Gleaners” by Millet. The section concludes with the family receiving identification numbers and leaving on the bus. ‘The Train” (23-48) This section of the story chronicles the trip of the family to the internment camp. This section is told through the POV of the girl. The trip takes place in September 1942, and narrates the train ride of the family to the camp in Topaz, Utah. Specific references to “shades down,” (27), and a brick flying through the window illustrate the family’s estrangement from the community (43). “When the Emperor Was Divine” (49-105) This section replicates the title of the novel and is significant as the section narrates the stay and internment of the family and is shared through the limited POV of the son. The harsh living conditions are revealed including the hot summers and the cold winters and the bleakness of the Japanese-Americans’ lifestyle and imprisonment. The father is referred to in his internment in a camp in New Mexico and his plight is shared through letters sent to the family. There is a flashback to when the father was taken away earlier and also how the people tried to cope with the rules that the community had imposed on them (76). The harsh conditions of the camp are shared including when a person is shot for trying to escape the barbed wire fence (101). “In a Stranger’s Backyard” (106-139) This fourth section relates the return of the family to their home after the war concludes. Acclimation to their home, neighborhood, and their surroundings is told through an anonymous family member in third person. Their adjustment conveys a sense of loss as they find their home lived in, community members hostile, and the nation as a whole reeling on how to fit these Americans back into their country. Memories of the camp haunt the family as the mother adapts and finds work as a maid. Significantly, the father returns home, a changed and humbled man transformed physically and mentally by his imprisonment. This section concludes with references to nature and rosebushes growing. “Confession” (140-144) This short but powerful conclusion is told from the limited POV of the father. In effect, the story is a confession of every Japanese-American male who suffered through the loss of civil rights during this ignominious era. The story ends with, “That’s it. I’ve said it. May I go?”- a powerful ending to this compelling piece.

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Calendar

Day 1 *Picture Carousel or *Web Scavenger Hunt

Day 2 *Complete Picture Carousel or *Web Scavenger Hunt debrief *Relic Bag

Day 3 *Map Project

Day 4 *Map Project *Begin reading section One *Dialogue Journal (begin but ongoing)

Day 5 *Role Play

Day 6 *Role Play *Begin section Two

Day 7 *Discovering cultural values

Day 8 *Point of view information

Day 9 *Connecting poetry to text #1

Day 10 *Begin section Three

Day 11 *Discussion about a time you were treated unfairly

Day 12 *Narrative Writing-Write about a time when you were treated unfairly

Day 13 *Connecting poetry to text #2

Day 14 *View one of the movie resources

Day 15 *Begin section Four *View one of the movie resources

Day 16 *Levels of Questions activity HW- Pre-discussion questions for Index card discussion

Day 17 *Three Index Card Discussion

Day 18 *How to Analyze a literary analysis essay HW-Complete novel

Day 19 *Introduce Literary Analysis Essay *Thesis and Topic sentence writing

Day 20 *Connecting poetry to text #3

Day 21 *Literary Analysis Essay work

Day 22 *Lit Analysis self review

Day 23 *Lit Analysis peer review

Day 24 *Lit analysis due-Share out sections *Final discussion of the novel

Day 25 *Persuasive Essay Discussion

Day 26 *Letter on current civil rights issue *Draft of persuasive essay

Day 27

Day 28

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Criteria and Standards for WHEN THE EMPEROR WAS DIVINE

Criteria Teaching Outline/

Strategies Writing Craft

Lessons Literacy Standards

Reading Comprehension And Literary Interpretation

Picture carousel Scavenger hunt Relic bag Map project Dialogue journal Role play Cultural Values Point of View Connecting poetry Levels of questions Three index card discussion

11.10.17 Work of U.S. lit re to hist period 11.9.1 Predict fut outcomes 11.9.2 Make assertions w/ evidence 11.9.3 Use textual evidence to interp U.S. lit 11.9.4 ID themes conveyed thru chars, actions, images in U.S. lit 11.10.10 Tone or meaning in poetry thru sound & sense

Persuasive Writing

“On Reparations”

11.13.1 Persuasive Wrtg

Literary Analysis

How to analyze a literary analysis essay

Standard 12: Comm supported ed ideas 11.12.1 Ideas & Content 11.12.2 Organization 11.12.3 Voice 11.12.4 Word Choice 11.12.5 Sentence Fluency 11.12.6 Conventions

Narrative

“A Time When I Was Treated Unfairly”

11.13.6 Narrative Wrtg (includes imag)

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Opening Acts

Picture Carousel

Description: CAROUSEL is a small group activity that helps students activate prior knowledge and allows

them to discuss, elaborate, and problem-solve.

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Steps: 1) The teacher compiles 8-10 photographs of Japanese- American life, World War II, and

the internment camps (see resource list for possible sources). Photos are mounted on large sheets of butcher paper or chart pack. Below the photos the following response categories are written on each sheet: Observations: Describe without judgment what you see in the photos. Connections: Do the photos remind you of anything in your life? In history? Memories: What stories or memories emerge from the photos as you move from picture to picture? Questions: What do you want to know more about? What are you wondering about? Sheets are placed on walls around the classroom. Students could also carry an 8 1/2” x 11” copy of these response prompts.

2) Students are divided into groups of 3-4 members and given a different color marker. 3) Each group stands in front of a photo sheet and brainstorms possible responses. One

member writes the groups responses on the sheet. 4) When the teacher gives the signal, each group rotates to the next station with their color

marker and does the new responses. 5) Continue rotating several times, or until all groups get to all photograph sheets. 6) Follow-up to this activity:

Each group reviews all the comments at one of the carousel stations, summarizes, and reports back to the class.

Each group categorizes the responses on one sheet and responds back to the full group.

The whole class makes predictions about the content of the unit.

Resources and Materials: Chart pack paper or butcher paper.

Multi-colored markers

8-10 photographs-Suggested images: Japanese-Americans in happy times, Pearl Harbor attack, anti-Japanese images, evacuation signs, scenes from the camps.

Possible sources for photographs:

Website list for scavenger hunt, map, and carousel activity included in this packet.

Google image

Due Process: Americans of Japanese Ancestry and the United States Constitution 1787-1994. National Japanese American Historical Society, San Francisco, 1995

Student Handout Name__________________________

Carousel Photo Exhibit As you browse with your group, talk and write about the following:

Observations: Describe without judgment what you see in the photos.

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Connections: Do the photos remind you of anything in your life? In history, math, science, or health?

Memories: What story or memories emerge from the photos for you as you move from photo to photo?

Questions: What do you want to no more about? What are you wondering about?

Web Scavenger Hunt An opening activity for When the Emperor Was Divine

Overview: Students will search for answers to questions on the Internet and view pictures to assist them in gaining knowledge of the time period and atmosphere prior to and during WW II with regard to Japanese-Americans. Materials needed:

A computer lab with an available computer for each student (if this is difficult, you may want to give this as a homework assignment or have students work in pairs).

The scavenger hunt questions

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Procedure:

1. Students will answer the questions provided, and any others you might want to add in one class session (possibly a block period).

2. Students will debrief the information from the scavenger hunt by writing a short paragraph on what they remember from the hunt (to begin the next class period). Students will share this information the class has an understanding of all the main historical facts from the scavenger hunt.

Web Scavenger Hunt Look for answers to the following questions about the history of the Japanese-American internment and World War II on the web.

1. When was Pearl Harbor? How did this change how Americans viewed Japanese-Americans at that time?

2. Summarize the Executive Order No. 9066. What did this order set in motion?

3. What were the internment camps?

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4. What were the conditions there?

5. What were the dates of opening and closing of the camps?

6. List the ten different camps.

7. What is a Nisei? an Issei?

8. What was the role of the Nisei in World War II?

9. After viewing a timeline of WW II, write down five important events that span the years

before, during and after the Japanese-American internment and the dates of those events.

10. Why did you feel the particular events that you chose were important?

11. What are reparations? What did the Japanese-Americans receive as reparations? Which

president signed this order?

12. What is the location of the Topaz Internment Camp?

13. Where was the population of the camp from?

14. What did the term “No No boys” come from?

15. How many eligible males from Topaz were inducted into the armed services?

16. What was the Topaz Camp closing date? Bring the answers to these questions to the next class session and be able to discuss them with the group.

Web Scavenger Hunt Answers

1. When was Pearl Harbor? How did this change how Americans viewed Japanese Americans at that time?

December 7, 1941/Japanese-Americans were viewed suspiciously after the bombing of Pearl Harbor.

2. Summarize the Executive Order No. 9066. What did this order cause?

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FDR authorized the Secretary of War to define military areas and protect those areas against espionage and sabotage. This caused the Japanese-Americans to be separated from the general population away from these military areas.

3. What were the internment camps? The places where the Japanese-Americans were relocated and confined away from the military areas on the West Coast.

4. What were the conditions there? Overcrowded, poor living conditions, people lived in tarpaper shacks of simple construction and temperatures in the desert area varied from extreme heat to extreme cold, no plumbing or cooking

5. What were the dates of opening and closing of the camps? March 1942-1946

6. List the ten different camps. Amache, CO Gila River, AR Heart Mountain, WY Jerome, AR Manzanar, CA Minidoka, ID Poston, AZ Rohwer, AR Topaz, UT Tule Lake, CA

7. What is a Nisei? an Issei? A Nisei is an American born Japanese American while Issei were born in Japan.

8. What was the role of the Nisei in World War II? While Nisei served as interpreters and interrogators, there were also separate battalions of Nisei who served as soldiers. There contributions were great and their losses were high.

9. After viewing a timeline of WW II, write down five important events that span the years

before, during and after the Japanese-American internment and the dates of those events.

(answers will vary) One timeline is at http://www.fatherryan.org/hcompsci/tl1.htm

10. Why did you feel the particular events that you chose were important? (answers will vary)

11. What are reparations? What did the Japanese-Americans receive as reparations? Which

president signed this order? In 1988, Congress passed legislation which awarded payments of $20,000 of compensation to 60,000 people who had been interned in camps.

12. What is the location of the Topaz Internment Camp? Located in Millard County, Utah, 140 miles south of Salt Lake City, in central Utah, 16 miles NW of the town of Delta.

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13. Where was the population of the camp from? Japanese-Americans form the San Francisco Bay Area who had been housed at Tanforan Race Track in San Bruno, CA. Internees spent up to six months living in horse stalls waiting for Topaz to be completed.

14. What did the term “No No boys” come from? From a government questionnaire about allegiance to the U.S. Those who answered no to two questions who were military eligible, were transferred to Tule Lake facility in California.

15. How many eligible males from Topaz were inducted into the armed services? 105

16. What was the Topaz Camp closing date? October 31, 1945

Japanese-American Internment Map Project Description: To give a visual/spatial sense to the facts of the internment, students will create simple line maps of relevant areas of the Pacific Rim, The U.S., and the western states. Preparation and materials: Materials: markers, large paper (chart pack size), wall maps, world globe, general atlas, historical atlas (WW II). Preparation: Gather materials and bring to class. Divide students into three (3) groups and have them choose roles. Roles: organizer, researcher, artist, scheduler.

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Steps:

1) Assign one group to do a map of the Pacific Rim/ Pacific Theater. Include Japan, West Coast of U.S. with major cities, Hawaii (Pearl Harbor), and sites of major battles in the Pacific.

2) Assign one group to do a map of the western states of the U. S. Include major cities, other sites with significant Japanese-American populations, temporary detention centers, prison camps, internment camps and the exclusion zone. Also include geographical information particularly the Sierra Nevada/Cascade mountain chain and desert areas.

3) Assign one group to do a map of the San Francisco Bay Area to Utah showing the important sites in the book and the route the family travels from Berkeley to Topaz.

4) Led by researchers, students draw maps with using color, and historical and geographic detail to create a visual context for the times and events of When The Emperor Was Divine.

Possible web sites for Web Scavenger Hunt, Map Activity, Picture Carousel Multnomah county library http://www.multcolib.org/homework/warwldhc.html#japanam Children of the Camps http://www.pbs.org/childofcamp/ From the San Francisco News http://www.sfmuseum.org/war/evactxt.html Article “Fences to Freedom”

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http://www.paloaltoonline.com/weekly/morgue/cover/1995_Aug_9.COVER09.html The Relocation of Japanese-Americans (Washington State) http://www.lib.washington.edu/exhibits/harmony/Documents/wrapam.html Civil Rights Division Activities and Programs http://www.usdoj.gov/crt/activity.html Article “War’s End” http://www.paloaltoonline.com/weekly/morgue/cover/1995_Aug_16.DEPEW.html When the Emperor was Divine http://www.culturewars.org.uk/2003-02/divine.htm Japanese-American Internment Camps http://www.bookmice.net/darkchilde/japan/camp.html Topaz Camp http://www.millardcounty.com/topazcamp.html History of the Japanese-American Internment Camps http://www.fatherryan.org/hcompsci/Home.htm

What You Would Hide About Your Culture

Relic Bag Strategy

A variation of the Relic Bag Activity to be used before reading When The Emperor Was Divine. The teacher chooses items from the novel that one of characters would prefer that others would not know he/she possessed because of the implications about being of the Japanese culture. Students may either respond verbally or record their own impressions about the implications and why these would be hidden.

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Then an additional relic bag or box would be brought out for the family of what they wanted people to know about them. Example: The teacher creates a relic bag for the mother from among the following items:

1) A miniature bonsai tree 2) A bowl for eating rice 3) A bottle of plum wine 4) Silk scarf with Asian motif 5) “Hirohito” written on a small piece of paper 6) A letter from Lordsburg, New Mexico 7) An abacus 8) A Japanese doll with a kimono 9) Rice paper

The teacher then creates a second relic bag for the family from among the following items:

1) Joe Palooka comic books 2) Picture of Jesus 3) Picture of Princess Elizabeth 4) Baseball Glove 5) White gloves 6) The Gleaners picture 7) A jump rope 8) Mary Jane shoes 9) National Geographic 10) Old Postcards 11) WW II memorabilia 12) Sign “BUY US WAR BONDS EVERY PAYDAY”

Students share in pairs and then as foursomes and refer back to their responses as needed.

Civil Liberties Role Plays

These activities are designed to give students first hand experiences regarding the Japanese-American internment and civil liberties.

Japanese-American Internment Role Play (from Linda Christensen)

You are a Japanese-American family. Create your family.

I. Describe your family members and your particular relationships to each other: mother, father, grandparents, children, aunt.

II. What is important to you? Create a ritual that demonstrates your family unity. (Example: mealtime prayer, family meeting, “family night”…)

III. Look at the “Instructions to all persons of Japanese Ancestry”:

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1. A responsible member of each family, preferably the head of the family, or the person in whose name most of the property is held, and each individual living alone, will report to the Civil Control Station to receive further instructions. This must be done between 8:00 A. M. and 5:00 P. M. on Monday, May 4, 1942, or between 8:00 A. M. and 5:00 P. M. on Tuesday, May 5, 1942. 2. Evacuees must carry with them on departure for the Assembly Center, the following property: (a) Bedding and linens (no mattress) for each member of the family; (b) Toilet articles for each member of the family; (c) Extra clothing for each member of the family; (d) Sufficient knives, forks, spoons, plates, bowls and cups for each member of the family; (e) Essential personal effects for each member of the family. All items carried will be securely packaged, tied and plainly marked with the name of the owner and numbered in accordance with instructions obtained at the Civil Control Station. The size and number of packages is limited to that which can be carried by the individual or family group. 3. No pets of any kind will be permitted. 4. No personal items and no household goods will be shipped to the Assembly Center. 5. The United States Government through its agencies will provide for the storage, at the sole risk of the owner, of the more substantial household items, such as iceboxes, washing machines, pianos and other heavy furniture. Cooking utensils and other small items will be accepted for storage if crated, packed and plainly marked with the name and address of the owner. Only one name and address will be used by a given family. 6. Each family, and individual living alone will be furnished transportation to the Assembly Center or will be authorized to travel by private automobile in a supervised group. All instructions pertaining to the movement will be obtained at the Civil Control Station.

IV. You have an object that is particularly special to you. Remember that you burned many of your valued possessions; yet you kept this object. Explain its significance to your family. Why is it important? How did it come into your family? Where will you keep it during your internment?

V. Share your story with the class.

Site Council Role Play

In this role play students will enact a Site Council Meeting regarding a loss of student privileges.

I. Brainstorm a list of six student rights and/or privileges or use some or all of this list: Access to electronic devices, clothing choices, open campus, equal access to elective classes, equal treatment from teachers, equal costs for school services.

II. Brainstorm a list of six subcultures at your school or use some or all of this list: skateboarders, jocks, gays, foreign born or ESL students, “Goths” or any other group that might be considered to be distinctly different from mainstream students.

III. Use a roll of a die to select one of these subcultures and then roll the die again to determine which right or privilege that subculture will lose.

IV. Take volunteers or roll the die again to fill the following rolls: 2 people who are representatives of the selected subculture, plus Site Council members which include 1 principal, 1 “old school” community member who is a wealthy donor to the school, 1 teacher, and 1 popularly elected student who is a member of Site Council.

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V. Conduct the Site Council meeting presided by the person who is designated as the teacher. The first and only order of business is the subculture students’ request to get back the right or privilege that they’ve lost. The subculture students will first present their request and then there will be discussion. The meeting will end with a vote on this issue. Only site council members can vote. Use the following role descriptions to guide your participation in this role play.

Subculture students: You are loyal to your particular group of students. Your subculture is not at all trivial to you. It is one of the main features that define you as a person. You are unhappy because everyone else in school gets to enjoy a privilege that your group alone is denied. Depending on the particular characteristics of your group, you are either very assertive or very meek about pushing your request for equality forward. Principal: You want what’s best for all your students, but you are worried about offending your wealthy donor. You look for a compromise. Wealthy donor: You want the school to operate like it did when you were a student. You argue for long held school traditions and are willing to suggest that all students should lose the privilege that has been taken away from the subculture rather than give it back to them. You threaten to stop donating money to the school if the school strays from its long held traditions. Teacher: The wealthy donor has paid for your new lab equipment in the past year and you will be requesting computer hardware in the next school year. You are inclined to reduce privileges for all the students, not just the subculture, because you feel that the school will function more smoothly if there is more uniformity and control. Popularly elected student: You are worried that this debate will end up with all students losing privileges. You’re not against the students in the subculture but you wish they would just accept their loss, because you fear damage will be done to you and your friends.

Discovering Cultural Values Reading Strategy to do after students read the first section of the novel

Overview: This is an activity to engage your students in the idea of values related to specific cultures. This is in no way meant to stereotype any one group of people. Please make sure students realize that society is made up of individuals and not all people in a society will follow that society’s ideas. Also, remind students that “Culture is a fluid, not a static, concept. You might want to discuss culture, in general, with students before using this activity. Materials Needed:

Japanese and American cultural values information

Graphic organizers-group/individual-Cultural values

United Streaming short video titled “Japanese-American Reaction to Internment and Other Actions of the American Government”

Steps:

1. Put students in nine groups 2. Cut up the cultural values information sheet 3. Give each group one of the values

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4. Have the group determine if their cultural value is Japanese or American, both or neither and the main ideas of the value to share with the class.

5. Groups share out with the class and the class takes notes on the graphic organizer to use as we continue to discuss cultural identity throughout the novel.

Cultural Values Information

Every discussion about culture should begin with the acknowledgement that culture is a fluid, not

static, concept.

Fatalism is a belief that events are determined by fate. Fatalism is a belief that we have to accept the outcome of events, and that we cannot do anything that will change the outcome, because events are determined by something over which we have no control. Determinism may allow that, even if our actions are caused by forces which we cannot control, our actions can still be effective in changing the outcome of events. On the other hand, indeterminism may allow that, even if there are events which we cannot control, we have the freedom to choose how to respond, without being compelled to respond in a certain way by forces beyond our control.

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Conformity means following the norms and rules of society. Nonconformity is the idea that one generation or group will rebel against the previous generation. It also means that an individual might go against the expectations of society. Collectivism is when the needs or wants of the group are placed above individual needs. A noteworthy Japanese quote, "The nail that sticks out is hammered down" (Russo, 2003-05) indicates how individualism is negatively viewed in Japanese society. Japanese Americans are guided by their heritage, or possibly parental teachings, consciously or unconsciously, to conform to societal expectations. Individualism is the idea that what’s best for the individual is best even if it is not good for others. American society, on the other hand, values individualism and uniqueness. American parents frequently want their children to stand apart from the crowd. Filial piety (duty) means to take care of one's parents; not be rebellious; show love, respect and support; display courtesy; ensure male heirs, uphold fraternity among brothers; wisely advise one's parents; conceal their mistakes (though some schools advocate pointing out and correcting their mistakes); display sorrow for their sickness and death; and carry out sacrifices after their death. Consensus requires serious treatment of every group member's considered opinion. Once a decision is made it is important to trust in members' discretion in follow-up action. In the ideal case, those who wish to take up some action want to hear those who oppose it, because they count on the fact that the ensuing debate will improve the consensus. In theory, action without resolution of considered opposition will be rare and done with attention to minimize damage to relationships. Majority Rule means that in cases of disagreement within a group the choice of the majority shall be decisive. The members of the group express their individual choices by voting for one of the alternatives concerned.

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Information about Japanese culture by James D. Brightman, CRC

Group Graphic Organizer Cultural Value_____________________________________________ Japanese, American, neither or both____________________________ Main ideas of the value

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Group Graphic Organizer

Cultural Value_____________________________________________ Japanese, American, neither or both____________________________ Main ideas of the value

Taking notes about Cultural Values Listen and take notes on the following cultural values. Write down the main ideas and

whether you think the value is typically Japanese or American, neither or both. Remember, “Culture is a fluid, not static, concept.”

Fatalism

Conformity

Consensus

Majority rule

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Main

Filial piety (duty) Cultural

Values

Individualism

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Stage

Point of View Reference sheet

Point of View definition: The position or angle from which the story is told. First person point of view: one character is telling the story using the first person pronouns I, me, my, mine; we, us, our, ours. Third person point of view: a narrator outside the story is telling it using the third person pronouns he, she, it , they etc.

Third person omniscient: Omniscient means all knowing. In this point of view the narrator tells the thoughts and feelings of all the characters. Third person limited: In this point of view the narrator’s view is limited to the thoughts and feelings of one character.

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Camera view (objective): In this point of view, the narrator records the action like a camera: completely from his or her own point of view, without the thoughts or feelings of the characters. Example of first person point of view: “Startled, I glance at him through the side of my eye, then stare at my plate. For the benefit of the man I’ve brought to Thanksgiving dinner, my father has said grace for the first time in his life. For the moment, we let neither the 20-pound turkey in the table’s center nor the wet-earth fragrance of matusake divert our attention. Our faces, our hands, even the steam from the rice are suspended. I am annoyed, embarrassed, and moved by his awkward sincerity.” “Family Dinner” by Tina Koyama in Hear My Voice: A multicultural anthology of literature from the United States. Laurie King ed.: Addison-Wesley. 1994 In this example, the narrator is a character in the story and she is telling the readers what she experiences, thinks, and feels. Notice the use of the first person pronouns and how we as readers learn her feelings of being “… annoyed, embarrassed, and moved…”

Example of third person omniscient point of view: “He rubbed his small eyes and wiped away the bleariness, only to see his wife’s broad body standing firmly in front of the bed in that defiant attitude. He heard her loud voice and it seemed to be coming directly from her navel.”….. …..”She felt overpowered by the man’s inert mass: the silent threat of those still arms, the enormous lizard his body was.” “Scribbles” by Pedro Juan Soto in Hear My Voice: A Multicultural Anthology of Literature from the United States. Laurie King ed.: Addison-Wesley. 1994 In this example, the narrator is completely outside the story, not a character at all. The narrator tells the reader the thoughts and emotions of two different characters. Notice the use of third person pronouns. Also notice the use of words like “seemed” and “felt” that signal the feelings of the characters. Readers of When the Emperor Was Divine should notice that this story is told from the third person limited point of view. As we move through the sections (chapters) of the book, the focus changes among the characters and so the readers learn more of the thoughts and feelings of that focused character at that point in the story. Readers should be aware of these shifts in focus.

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Dialogue Journal Objective: The objective is for students to respond to ideas in the story and make connections in a Reader’s Response format and particularly focus on the historical themes in the novel. These themes include the immigrant experience, race and social justice and cultural identity. Time: 2-3 weeks as the curriculum of the text is read, written, and understood. Materials: Novel, journal, and writing instrument. Activity: Students read the story and select meaningful lines and interpret these ideas from the text. They may give an opinion, make connections, personal or literary, think of predictions, or even ask questions. Steps: 1.Explain and role model the reader’s response journal. The idea behind the journal is for students to read and reread key passages that connect and illustrate to historical themes of the text. Give examples from the text, When the Emperor was Divine. Note Taking Note Making

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It was a sunny day in Berkeley The text begins on a positive note yet there is in the spring of 1942 (3) a war going on Europe and Asia. This passage goes on to say that she is wearing new glasses. To me, this is a symbol of clarity-even hope. Teacher reflection: In this opening response the writer is beginning to closely read and identify the historical context of the story. There is a possible prediction of outcomes. She had not seen her husband This is a sad development reinforcing the historical since his arrest last December (10). theme of loss of civil rights. The family has become fractured. Teacher Reflection: The writer is continuing to read, even reread closely, passages from the text. The writer has noted lines that reinforce the historical theme of the loss of rights, an inequity of social justice in society. “Miss, shades down, shades down” (27). Gee, this is also a small loss of civil rights. She can’t even look outside on the train ride. This seems particularly poignant because I had written earlier how her clear vision was. Now she is not supposed to see or look outside. Teacher reflection: The writer is continuing to make connections with loss of civil rights.

Levels of Questioning Objective: The objective is for students to examine levels of questions and connect to analysis based on ideas from the text. Time: 1-2 class periods. Activity: Students examine questions from the text and create literal, interpretative, and universal questions that come from the novel. Steps: 1.Explain and role model the three kinds of questions that are based on Bloom’s taxonomy. Literal Questions: These are questions that are who, what, where, where, and how questions that are based on the plot and other literary aspects of the text. There is one right answer and is directly related to the story. Example: What is the name of the city that the Japanese-American family is from in the novel? Interpretative Question: This is a higher-level kind of question that is inferential and connected to ideas and analysis in the story. Responses to these kinds of questions are longer and may have more than correct one response. Example: How does the family adapt to the internment camp in Topaz, Utah?

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Universal Question: Is the highest form of question and is a question that applies to you and me, societal or universal. This is a question that may be philosophical and is arrived at after one understands the story. Example: How does an oppressed group stay resilient and bounce back from adversity? Once the levels of questions have been demonstrated and modeled divide the class and text up and have students create levels of questions. A frequently asked question is, do we need to know the answer? The response is that in order to create a question one must know the response. Application: The idea behind this reading lesson is for students to discuss and understand the text. Also, students might make the correlation that the literal question connects to the introduction of a written analysis, the interpretive to the body and main section of the writing and lastly the universal questions connect to the concluding ideas in a written piece.

Three-Index-Card Discussion

A variation of an activity from the 2nd edition of the Reading and Writing Strategies

Description: This is a potentially year-long discussion strategy that encourages rich and democratic discourse. Less formal than a Socratic Seminar and yet similar to it, the The Three-Index-Card Discussion can reveal many of the deep values and truths students embrace. Another benefit fo this strategy is that all students speak three times; thus, a balance is achieved between the quieter, more reticent talkers and those who are more willing and/or verbose. If this discussion strategy is implemented with student-driven discussion norms in September, and reviewed periodically, stronger group discussions will develop as the year progresses. Materials:

Multiple packs of 3X5 index cards (I like the colored ones!)

Pre-discussion questions. Steps:

1. Give the students a list of general questions based on the themes of the cultural identity, immigrant experience, and race and social justice.

2. Have the students answer the questions for homework or in a class period before the discussion.

3. Put students into a circle (or circle within a circle if space is tight, shifting the inner and outer circles about halfway through the discussion).

4. Give all students three 3X5 index cards and tell them to write their names on the cards. 5. Have the students review the questions they answered the night before or class before. 6. After 5-10 minutes of reviewing, the teacher can begin the discussion by asking one of

the pre-discussion questions.

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7. As students respond, they throw their card in the center of the circle while the teacher takes notes on the discussion that helps students direct comments around the circle and not just to the teacher.

8. Students can only speak three times, once for each of their cards. If time is limited and all students did not get a chance to speak. Have them write a statement that did not come up in the discussion on their remaining card/cards.

9. Have students debrief in a paragraph about how they feel the discussion went. Was everyone’s opinion heard? Valued? What more should have been said? Was there too much input from some and not enough from others? Be specific in your response.

At the end of the discussion, while the students are writing their response paragraphs, I collect the cards off the floor. They get some of the points for the discussion. They get the other points from the response paragraph and those who did not have time to share, get points for their ‘silent discussion’ on the card/s they had left.

Pre-discussion questions to use with Index card discussion

Cultural identity What do you consider your culture to be? Is culture an important consideration as related to your personal identity? Why or why not? Do you think it is important to understand others’ cultures? Why or why not?

Immigrant experience How does it feel to be ‘new’ to something? Explain. Have you ever felt like a stranger? If yes, explain the situation; if not, how have you treated new students to the class or the school? Have you ever traveled to a country where you did not speak the language? How did that make you feel? How did you adjust?

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Race and Social Justice

Do you feel that people are treated differently because of the color of their skin or their nationality? Why or why not? What does the term social justice mean to you? Explain. Why are these two ideas together here?

Connecting Poetry to Text Objective: Offer poetry as a powerful genre for students to make connections thematically to sections of the novel. Also, students will analyze poetry through the accompanying, How to Analyze a Poem handout. Materials: The text, When the Emperor was Divine, selected poems from Hear My Voice edited by Laurie King, and selected poems from Legends from Camp written by Lawson Fusao Inada. Time: Poems are read and interpreted as the sections of the novel are read. “Evacuation Order No.19” (3-22) Poem: “In Response to Executive Order 9066: All Americans of Japanese Descent Must Report to Relocation Centers” written by Dwight Okita on pages 5-6 in Hear My Voice. “The Train” (23-48) Poem(s):” Concentration Constellation” written by Lawson Fusao Inada on pages 213-214, in Hear My Voice and page 27, in Legends from Camp. “Instructions to All Persons” pages 5-6, in Legends from Camp. “When the Emperor was Divine” (49-105) Poems: “Legends from Camp” pages 7-8, “Looking Back at Camp,” pages 29-30; both poems in Legends from Camp. “In a Stranger’s Backyard” ((106-135) Poems: “To Get to Fresno” pages 36-42, “Memory,” pages 50-51, from Legends from Camp. “Confession” (140-144) Poems: “Poems in Stone” pages 151-153, “On Being Asian American,” page 169, from Legends from Camp.

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Activity: Students read the poems and respond to the How to Analyze a Poem handout (see accompanying handout)

How to Analyze a Poem

1. After you read the poem several times, start with the literal meaning of the words. Who

is speaking? To whom? What is the situation or setting? Who are the people involved? What events take place? Look up any unfamiliar words in the dictionary.

2. Pay attention to the title. Does it give you a hint or clue about the deeper meaning of the

poem?

3. Look at the form of the poem-its shape on the page. Is it fairly structured, with uniform stanzas (stanzas are to poems what paragraphs are to prose) and lines or is it written more freely, with irregular lines?

4. Listen to the sound of the poem. Is there a regular rhyme pattern? What about the

rhythm: are the words choppy, or does the poem flow in long phrases? How does the sound of the poem affect its meaning?

5. Pay special attention to metaphors and similes. If the poem has compared two unlike

things, explain why he/she thinks they are similar.

6. Consider the tone and mood of the poem. Which words in the poem carry the strongest emotional connotations? Think beyond general categories of happy and sad. Is the mood angry, playful, lonely, joyful, desperate? Some combination of conflicting emotions?

7. Remember that the poet may leave some aspects of his/her story unexplained. It is not

the necessary to fill in all the gaps in a poem. The poet probably included these ambiguities on purpose. See if you can figure out why.

8. You can conclude your analysis with your interpretation of the author’s main point. Why

did he/she write this? What is he/she trying to say?

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Name__________________

Four by Four Graphic Organizer

Use the reverse side of this handout, fold into fourths, and complete four activities, one in each folded box. Once completed, use the handout as a supportive scaffolding piece to help you on the literary analysis essay.

1. Review the book and find an episode where there is an instance of struggle over cultural identity. Label the box including the page number and complete a quote/note that supports this choice.

2. Review the text and find an episode where characters have an issue with race and social justice. Label the box including the page number and draw a symbol that illustrates that subject.

3. Review the text. Select a favorite passage and compose a funnel (page, paragraph, sentence, word) and write your response. Title the box with the page number and write the page, sentence, and underline the word.

4. Compose a ten-line free verse poem where you write about your own dreams. Include

imagery and at least one metaphor and one simile.

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Lesson Plan for a Narrative “A Time I Was Treated Unfairly”

Description/Rationale: When reading a work of fiction like When the Emperor Was Divine, a reader often recalls incidents in his/her own life where the situation, events, or emotions were similar to those in the book. This allows the reader to more fully connect with the text to empathize with and understand the actions and motivations of the characters in the story. In this lesson, to better connect with the characters in When the Emperor Was Divine students will recall and write about a time when they were on the receiving end of injustice. It may not be a major systemic injustice like the effects of Executive Order 9066. It may just be feeling the scorn of the mean girls in the cafeteria or the casual brutality of jocks in the hallway, but the sting of rejection, being told we are less than or that we are “the other”, is familiar to us all. Procedures:

The teacher can introduce the concept by telling a story from her own life. As stated above we all have these stories and sometimes in the telling the emotions conjured can be as fresh as yesterday. Students often respond well to open sharing of an adult’s formative experiences.

Students can brainstorm individually using the attached organizer to recall injustices from different sources.

Group brainstorm: to stimulate more ideas students can share quick summaries or examples of unfair incidents while the teacher or a student records a descriptive phrase on the blackboard or the overhead projector.

Elements of Fiction: The teacher can introduce or reinforce these elements of fiction that enliven storytelling.

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1. Dialogue: Give the characters in the story unique voices and use dialogue to move the story along rather than just tell about events. 2. Blocking: Where are the characters and what are they doing while they are speaking. 3. Interior Monologue: What are the characters thoughts and feelings while the dialogue and action are happening? 4. Setting Description: Use many 5 sense details to make the place and time seem real. 5. Character Description: Bodies, faces, clothes, actions, habits, backgrounds 6. Figurative Language-metaphors and similes: These are familiar in poetry but can also strengthen narrative and essay writing. 7. Flashback: This is not necessary in every piece, but can help give background on a character. 8. Scene and Summary: Much personal narrative is summary- rendering a quick sketch of what has happened. However by going back to supply more detail you can create a scene-trigger that “mental movie’ in the readers head. Show don’t tell.

Guided Visualization: Have students relax with heads down and eyes closed in a quiet darkened classroom. In a soft voice the teacher invites the students to picture the event in their mind’s eye, to create movies in their heads. Say things like: “Imagine the room where this happened. What is the light like? What color are the walls? What do you hear? What did someone say?” The idea is to bring up as many sights, sounds, smells, and tastes as possible to give the event vivid detail.

Drafting : Students should come out of the visualization ready to write. Write quickly and steadily with little attention to spelling and other mechanics at this point. Write as if telling a story to a friend.

Revision: Students reread the piece to themselves or better yet have another student or small group read and comment. Use the Elements of Fiction as a guide. What sensory details or clarifying points can you ADD? Are there irrelevant, off topic, or confusing parts to CUT? Should you REORDER sections for dramatic effect or clarity? Should you REWRITE to make a section more clear to the reader or to have a stronger effect?

Editing/Proofreading: Use computer resources, Write Source, and group knowledge to bring together all matters of spelling, punctuation, capitalization, grammar, and usage and produce a publication ready paper.

Note: This lesson owes a debt to Linda Christensen’s Reading, Writing, and Rising Up, especially the sections “childhood narrative” and “essay with an attitude”. Use this book as a resource if available.

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Brainstorm Sheet for “A Time You Were Treated Unfairly” When were you hurt, lied to, cheated, dissed, ignored, punished, or mistreated. Think of and write down memories of times you experienced injustice at the hands of…

Family, parents, siblings School, teachers, administrators Friends, peers, schoolmates

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Government, bureaucracy, “the system”

Life, fate, God

Closing Acts

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Two-Voice Poems Refer to pages 105-106 in the Reading and Writing Strategies. Objective: The objective is for students to examine point of view and poetry by creating a two-voice poem based on ideas from the text. Time: 1-2 class periods. Activity: Students examine characterization and ideas from the text and compose a two-voice poem, lines each from the point of view of one of the characters. The characters chosen may be rounded or significant or flat or insignificant. Steps: 1. Choose any two characters. For Example: from pages 120-121 in the text: Teacher and a Japanese American student

2. Make a list of ideas for each character. You may create the ideas within the context of the story. For Example: Teacher Japanese American Student Class Glad to be back Place seat Seat place Reaction friends Cultural differences lessons 3. From the list, elaborate and expand on the words. Think of imaginary dialogue, imagery, and metaphors. Teacher Japanese American student Welcome I am so excited to be back We left off on page 150 Where are my friends? Take a seat in the back I used to sit in the front We eat sandwiches at lunchtime I’ll have to tell mother Has your address changed? I love the crunch of pencils Busy as a bee avoiding Fragrant bouquet of roses The thorns.

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4. Revise and publish by posting or reading aloud.

How to analyze a literary analysis essay

Analysis is breaking something into parts to understand it better.

Using “A Search for Harmony,” an analysis essay in Write Source (11) on page 279, go over these questions to begin to discuss the parts of the essay and what is unique about them. After reading the essay, discuss the following questions with the class while they take notes.

1. What do you notice about the title of the essay?

2. What do you notice about the title of the book as it is mentioned in the essay?

3. What is different about the title of your essay and the title of the book?

4. What are some of the things that are included in the introductory paragraph?

5. The underlined section is the writer’s thesis statement. What is the writer going to be writing about, according to this statement?

6. Circle the topic sentence in each paragraph. What makes this the topic sentence? Write down one or two words from that sentence that tells what will be discussed in the paragraph.

7. Look carefully at the textual evidence. How is it used? Where is it used? What do you notice about conventions related to using embedded quotes?

8. Where does the writer summarize the main action of the book?

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9. What words and phrases move the essay forward? What words and phrases make us know the essay is finished?

Literary Analysis Essay

A culminating activity for When the Emperor Was Divine

Overview: Students will write a literary analysis essay based on the following prompt: “Choose one of the following themes from the American Experience: the immigrant experience, race and social justice, or cultural identity in America. Write an analytical essay examining how that theme is developed through the experiences of one of the primary characters in When the Emperor was Divine. Refer to the social or historical context of the work, and use specific and relevant evidence from the text to support your interpretation.” Materials needed: When the Emperor was Divine (primary text) 40 essays (for analytical essay information p.122-127) Write Source Junior level (for information on analyzing a theme p. 275) Dialogue journals and other preparatory work Procedure:

Brainstorm: Characters and themes. Tie a character to something you want to show about one of the themes

Develop a thesis statement

Write topic sentences to go with your thesis

Gather your information from your dialogue journals and the text to support both your thesis and your topic sentences

Review the analysis craft lesson

Review the essay rubric

Write your paper

After writing, reread you paper aloud to yourself and have someone else read it

Peer review

Submit final draft (see criteria sheet)

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Name____________

Literary Analysis Criteria Sheet

In order to receive credit your literary analysis must

include the following essay requirements. Turn this paper

in with your essay.

_____1. An introduction with a clear thesis.

An introduction that captures the reader’s attention and that includes the author and title of the book (titles are capitalized and underlined or italicized), as well as a thesis statement. Question Anecdote Quote Shocking Statement/Wake-up Call

_____2. Evidence & Analysis Include at least three paragraphs of evidence and analysis. Include: Topic sentences for each paragraph Transition Sentences Evidence to support your thesis (properly formatted and cited) Quotes Embedded Quotes Paraphrased Evidence

Analysis discussing your evidence. Discuss why it’s important, what it says about the character, theme or other points you are making. Your analysis should discuss how your evidence supports your thesis.

_____3. Conclusion Write a closing paragraph that re-emphasizes your thesis, wraps up your ideas and goes a step further—leaving the reader with something to think about—possibly posing further questions, linking the paper to broader issues, or making a call to action.

_____4. Revision Use peer review with attention to adding more relevant evidence, omitting

irrelevant information, reordering for clarity, and rewriting for sentence structure.

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_____5. Publication Ready

Polish your final draft—demonstrating revision changes, tight writing, correct grammar, punctuation, spelling, proper formatting and citations.

Persuasive Essay On Reparations This essay takes a good deal of groundwork ahead of time. The issue of reparations brings out passionate responses similar to a debate on affirmative action; indeed, there is a fair amount of overlap to the two issues. Teachers undertaking this assignment should carefully monitor their students to decide how and when to intervene should the debate start to fall into a shouting match rather than a respectful meeting of minds. There are two main areas to the debate on reparations: whether the U.S. should have given reparations to Japanese-Americans, and whether the U.S. should give reparations to African Americans. Here are some books and internet resources on reparations: Boris I. Bittker’s Reparations: The Case for Black Reparations Roy Brooks' Atonement and Forgiveness brownwatch.squarespace.com/reparations-watch/2004/04/16/ogletree-says-slave- reparations-go-beyond-money-movement-is-about-recognition.html Joe Feagin’s Racist America: Roots, Current Realities, and Future Reparations Robert Fullinwider’s “The Case for Reparations” found on-line at www.puaf.umd.edu/IPPP/Summer00/case_for_reparations.htm David Horowitz’s Uncivil Wars: The Controversy Over Reparations for Slavery NPR: Slave Reparations (NPR takes a closer look at the slavery

reparations movement as part of its special report on the United Nations World Conference Against Racism.)

www.npr.org/programs/specials/ racism/010827.reparations.html PRRAC - Symposium: Reparations found at

www.prrac.org/full_text.php?%20text_id=648&item_id=6622&newsletter_id=17&header=Symposium:%20Reparations

Randall Robinson’s The Debt: What America Owes to Blacks Slavery Reparations Information Center provided by Project 21 – the black conservative network. www.nationalcenter.org/Reparations.html John David Smith’s “The Evil That Americans Did”. Chronicle of Higher Education, 3/9/2007, Vol.

53 Issue 27, pB9-B9 found in hnn.us/roundup/entries/36192.html SPECIAL REPORT: "Reparations for Slavery" Debate

In recent times, the issue of reparations for slavery, long on the fringe of political thought, has come increasingly to dominate mainstream discussions ...

www.cceia.org/resources/picks/175.html spice.stanford.edu/catalog/civil_rights_and_japaneseamerican_internment/ Raymond Winbush’s Should America Pay?: Slavery and the Raging Debate on

Reparations Armstrong Williams on Townhall.com

www.townhall.com/columnists/ArmstrongWilliams/2002/05/13/a_debate_on_reparations

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Eric Yamamoto’s Interracial Justice: Conflict and Reconciliation in Post-Civil Rights America Look over the above sources and select some balanced readings for your students. Step One Read Cleveland H.S. teacher Jim Mayer’s article in the March 2007 English Journal titled “Persuasive Writing and the Student-Run Symposium.” Following that model you must first select two co-facilitators. These students should be reliable people who can withhold their opinions and who genuinely want to lead the discussion. They should initiate discussion when necessary, ask questions, keep track of time, maintain order, and make sure that everyone speaks. If possible, meet with the co-facilitators ahead of time to make sure they are ready for the upcoming discussion.

All participants must read materials on reparations before the discussion. To insure that students actually do this, require students to bring their notes on the reading to class. They should add the following: a paragraph each about what they think are the best arguments for and against reparations. AP Language students should also examine the rhetorical strategies in these two arguments. Step Two The co-facilitators instruct students to take notes and then conduct the discussion. It may help to physically have pro and con students move to separate sides of the room with undecideds in the middle or follow Jim Mayer’s open rectangle configuration. Students are free to move if they change their opinions. End the discussion with the opposing sides summing up their views. Ask students to add an evaluation of the discussion at the end of their notes Step Three Assign students to write a persuasive essay on reparations. Length of the essay and the writing process will vary depending on the class.

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Writing a Letter for Civil Liberties Action The key step in writing this kind of letter is picking a cause you’re passionate about. While looking over the Amnesty International and American Civil Liberties sites below you will see many different cases of civil liberties abuses. Your compassion for people who have lost their civil liberties will have more clout if you choose wisely.

Feel free to send e-mails on behalf of people who need your support, but for this assignment you need to write a physical letter. Be sure to address the person you are writing with a respectful and appropriate honorific. The groups listed below will guide you in this choice. Amnesty International usually gives you a model letter to follow as an example. It’s generally best to put your righteous indignation aside and write in a tactful manner. That doesn’t mean that you should tone down your concern for the person on whose behalf you’re writing. It simply means that you should write so that your reader will be moved to act in a helpful way rather than causing him/her to become defensive. In most letters you should ask your reader to investigate a human rights abuse and consider doing what he/she can to bring justice to the case. One of the main values to your letter is that the reader begins to realize that the eyes of the world are on him/her and that his/her actions regarding human rights abuses can be hidden no longer. This is a powerful tool for change.

Taking action with Amnesty International is one of the best ways to lobby for the protection of civil liberties. You do not have to be a member to participate in their efforts to restore rights to people who are denied them. Follow these directions:

1. Go to amnestyusa.org and scroll down from “What you can do”. 2. Click on “Take action online” 3. From there you can select any human rights campaign that strikes you. On the day

these instructions were written one of the campaigns was titled “Take Action to Restore Habeas Corpus, Protect People from Abuse and Arbitrary Detention”—very pertinent to this book.

Another group which serves to protect civil liberties is aptly named the American Civil Liberties Union (ACLU).

1. Go to aclu.org and click on “Action Center” 2. From there you can help with any campaign that kindles your interest. On the day these

instructions were written there was a campaign to eliminate the national ID provision in proposed immigration legislation and another campaign regarding detention in Guantanamo Bay prison.

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Resources

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Resources The Asian Reporter Newspaper --- 922 N. Killingsworth St. #1-A, Portland, Oregon 97217-2220 Phone: 503-283-4440 * Fax: 503-283-4445 www.asianreporter.com/ Friends of Minidoka homepage: www.minidoka.org Look for details about the yearly civil liberties symposium and pilgrimage commemoration at this site. Japan-America Society of Oregon - Home 312 NW Second Avenue, Portland, Oregon 97209 Phone: 503.552.8811 Fax: 503.552.8815 email: info@jaso.org © 2001 Japan-America Society of Oregon Privacy. www.jaso.org/ Oregon Nikkei Legacy Center :: Japanese American History :: Home Portland, Oregon museum and cultural center. Includes on-site exhibits about nikkei history, in-school programs, lectures, and exhibits. www.oregonnikkei.org/ Portland Chapter Japanese American Citizens League Portland, Oregon chapter of the Japanese American Citizens League. www.pdxjacl.org/ Yuuyake Shimbun newspaper (local newspaper serving the Japanese-American community). Good source for upcoming events. Films: Snow Falling on Cedars Farewell to Manzanar Come See the Paradise Beyond Barbwire Unfinished Business Children of the Camps-PBS documentary Rabbit in the Moon-Emiko and Chizu Omori

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Field Trip for When the Emperor Was Divine

Contact: Oregon Nikkei Legacy Center 117 NW 2nd Ave. Portland 503-224-1428 Destinations: Japanese/American internment/ Bill of Rights memorial SW/NW Naito Parkway near the Burnside Bridge (the street is named after businessman and civic leader Bill Naito who was interned at Minidoka) Observe the stones with the Bill of Rights, names of the camps, poetry, and recollections of internees. Come in late March to see the flowering cherry trees in full blossom. Oregon Nikkei Legacy Center Exhibits of Japanese experience in Oregon and the internment Nihonnmachi The Nikkei Center offers tours of the Old Town area that was “Japantown” before WW II. Expo Center The Expo Center was formerly the Livestock Exposition Center and stockyard. Portland area Japanese Americans were held here in a Temporary Relocation Center at this site. There are markers and interpretive materials inside the Expo Center and at the Expo Center MAX stop (Yellow Line). Transportation: The downtown sites are 2 blocks or less from the Chinatown/Old Town MAX stop. The Expo Center is at the end of the Yellow MAX line.