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From 1942 to 1946, as America prepared for war, 120,000 people of Japanese descent were forcibly interned in harsh desert camps across the American west.

In Artifacts of Loss, Jane E. Dusselier looks at the lives of these internees through the lens of their art. These camp-made creations included flowers made with tissue paper and shells, wood carvings of pets left behind, furniture made from discarded apple crates, gardens grown next to their housingùanything to help alleviate the visual deprivation and isolation caused by their circumstances. Their crafts were also central in sustaining, re-forming, and inspiring new relationships. Creating, exhibiting, consuming, living with, and thinking about art became embedded in the everyday patterns of camp life and helped provide internees with sustenance for mental, emotional, and psychic survival.

Dusselier urges her readers to consider these often overlooked folk crafts as meaningful political statements which are significant as material forms of protest and as representations of loss. She concludes briefly with a discussion of other displaced people around the globe today and the ways in which personal and group identity is reflected in similar creative ways.

Barbed Voices is an engaging anthology of the most significant published articles written by the well-known and highly respected historian of Japanese American history Arthur Hansen, updated and annotated for contemporary context. Featuring selected inmates and camp groups who spearheaded resistance movements in the ten War Relocation Authority–administered compounds in the United States during World War II, Hansen’s writing provides a basis for understanding why, when, where, and how some of the 120,000 incarcerated Japanese Americans opposed the threats to themselves, their families, their reference groups, and their racial-ethnic community.
 
What historically was benignly termed the “Japanese American Evacuation” was in fact a social disaster, which, unlike a natural disaster, is man-made. Examining the emotional implications of targeted systemic incarceration, Hansen highlights the psychological traumas that transformed Japanese American identity and culture for generations after the war. While many accounts of Japanese American incarceration rely heavily on government documents and analytic texts, Hansen’s focus on first-person Nikkei testimonies gathered through powerful oral history interviews gives expression to the resistance to this social disaster.
 
Analyzing the evolving historical memory of the effects of wartime incarceration, Barbed Voices presents a new scholarly framework of enduring value. It will be of interest to students and scholars of oral history, US history, public history, and ethnic studies as well as the general public interested in the WWII experience and civil rights.

“Children see and hear what is there; adults see and hear what they are expected to and mainly remember what they think they ought to remember,” David Lowenthal wrote in The Past Is a Foreign Country. It is on this fraught foundation that Fred Lanzing builds this memoir of his childhood in a Japanese internment camp for Dutch colonialists in the East Indies during the World War II.

When published in the Netherlands in 2007, the book triggered controversy, if not vitriol, for Lanzing’s assertion that his time in the camp was not the compendium of horrors commonly associated with the Dutch internment experience. Despite the angry reception, Lanzing’s account corresponds more closely with the scant historical record than do most camp memoirs. In this way, Lanzing’s work is a substantial addition to ongoing discussions of the politics of memory and the powerful—if contentious—contributions that subjective accounts make to historiography and to the legacies of the past.

Lanzing relates an aspect of the war in the Pacific seldom discussed outside the Netherlands and, by focusing on the experiences of ordinary people, expands our understanding of World War II in general. His compact, beautifully detailed account will be accessible to undergraduate students and a general readership and, together with the introduction by William H. Frederick, is a significant contribution to literature on World War II, the Dutch colonial experience, the history of childhood, and Southeast Asian history.

Eldest daughter of eight children, the author grew up in Surakarta, Java, in what is now Indonesia. In the months following the bombing of Pearl Harbor, however, Dutch nationals were rounded up by Japanese soldiers and put in internment camps. Her father and brother were sent to separate men’s camps, leaving the author, her mother, and the five younger children in the women’s camp. In this and later seven other prison camps in central Java, their lives gradually deteriorated from early days of fear and crowding to near starvation, forced labor, beatings, and seeing others disappear or die. On the family’s return to Holland after the war, they found a nation recovering from German occupation and largely ignorant of the horror of the Far East experience.

Lily Nakai and her family lived in southern California, where sometimes she and a friend dreamt of climbing the Hollywood sign that lit the night. At age ten, after believing that her family was simply going on a “camping trip,” she found herself living in a tar-papered barrack, nightly gazing out instead at a searchlight. She wondered if anything would ever be normal again.
     In this creative memoir, Lily Havey combines storytelling, watercolor, and personal photographs to recount her youth in two Japanese-American internment camps during World War II. In short vignettes snapshots of people, recreated scenes and events a ten-year-old girl develops into a teenager while confined. Vintage photographs reveal the historical, cultural, and familial contexts of that growth and of the Nakais’ dislocation. The paintings and her animated writing together pull us into a turbulent era when America disgracefully incarcerated, without due process, thousands of American citizens because of their race.
     These stories of love, loss, and discovery recall a girl balancing precariously between childhood and adolescence. In turn wrenching, funny, touching, and biting but consistently engrossing, they elucidate the daily challenges of life in the camp and the internees’ many adaptations. 

Winner of the Evans Biography Award. 
Selected by the American Library Association as one the Best of the Best from University Presses.
Finalist in the cover design category in the Southwest Book Design and Production Awards. 
 

Toyo Suyemoto is known informally by literary scholars and the media as "Japanese America's poet laureate." But Suyemoto has always described herself in much more humble terms. A first-generation Japanese American, she has identified herself as a storyteller, a teacher, a mother whose only child died from illness, and an internment camp survivor. Before Suyemoto passed away in 2003, she wrote a moving and illuminating memoir of her internment camp experiences with her family and infant son at Tanforan Race Track and, later, at the Topaz Relocation Center in Utah, from 1942 to 1945.

A uniquely poetic contribution to the small body of internment memoirs, Suyemoto's account includes information about policies and wartime decisions that are not widely known, and recounts in detail the way in which internees adjusted their notions of selfhood and citizenship, lending insight to the complicated and controversial questions of citizenship, accountability, and resistance of first- and second-generation Japanese Americans.

Suyemoto's poems, many written during internment, are interwoven throughout the text and serve as counterpoints to the contextualizing narrative. Suyemoto's poems, many written during internment, are interwoven throughout the text and serve as counterpoints to the contextualizing narrative. A small collection of poems written in the years following her incarceration further reveal the psychological effects of her experience.

In February of 1945, during the final months of the Third Reich, Eva Noack-Mosse was deported to the Nazi concentration camp of Theresienstadt. A trained journalist and expert typist, she was put to work in the Central Evidence office of the camp, compiling endless lists—inmates arriving, inmates deported, possessions confiscated from inmates, and all the obsessive details required by the SS. With access to camp records, she also recorded statistics and her own observations in a secret diary.

Noack-Mosse's aim in documenting the horrors of daily life within Theresienstadt was to ensure that such a catastrophe could never be repeated. She also gathered from surviving inmates information about earlier events within the walled fortress, witnessed the defeat and departure of the Nazis, saw the arrival of the International Red Cross and the Soviet Army takeover of the camp and town, assisted in administration of the camp's closure, and aided displaced persons in discovering the fates of their family and friends. After the war ended, and she returned home, Noack-Mosse cross-referenced her data with that of others to provide evidence of Nazi crimes. At least 35,000 people died at Theresienstadt and another 90,000 were sent on to death camps.

Barbie Zelizer reveals the unique significance of the photographs taken at the liberation of the concentration camps in Germany after World War II. She shows how the photographs have become the basis of our memory of the Holocaust and how they have affected our presentations and perceptions of contemporary history's subsequent atrocities. Impressive in its range and depth and illustrated with more than 60 photographs, Remembering to Forget is a history of contemporary photojournalism, a compelling chronicle of these unforgettable photographs, and a fascinating study of how collective memory is forged and changed.

"[A] fascinating study. . . . Here we have a completely fresh look at the emergence of photography as a major component of journalistic reporting in the course of the liberation of the camps by the Western Allies. . . . Well written and argued, superbly produced with more photographs of atrocity than most people would want to see in a lifetime, this is clearly an important book."—Omer Bartov, Times Literary Supplement

Seventeen Syllables and Other Stories brings together nineteen stories that span Hisaye Yamamoto's forty-year career. It was her first book to be published in the United States. Yamamoto's themes include the cultural conflicts between the first generation, the Issei, and their children, the Nisei; coping with prejudice; and the World War II internment of Japanese Americans.

In addition to the contents of the original volume, this edition brings back into print the following works:
- Death Rides the Rails to Poston
- Eucalyptus
- A Fire in Fontana
- Florentine Gardens

During World War II, over thirty American anthropologists participated in empirical and applied research on more than 110,000 Japanese Americans subjected to mass removal and incarceration by the federal government. While that experience has been widely discussed, what has received little critical attention are the experiences of the Japanese and Japanese American field assistants who conducted extensive research within the camps. How did these field researchers carry out data collection in American-style concentration camps? What kinds of constraints and pressures did they face? How did they respond to practical, ethical, and political challenges?

In addressing these questions, author Lane Hirabayashi examines the case of the late Dr. Tamie Tsuchiyama. At the time an advanced doctoral student in anthropology, Tsuchiyama was hired in 1942 to conduct ethnographic fieldwork for the University of California at Berkeley's Japanese American Evacuation and Resettlement Study. Drawing from personal letters, ethnographic fieldnotes, reports, interviews, and other archival sources, The Politics of Fieldwork describes Tsuchiyama's experiences as a researcher at Poston, Arizona—a.k.a. the Colorado River Relocation Center. The book relates the daily life, fieldwork methodology, and politics of the residents and researchers at the Poston camp, as well as providing insight into the pressures that led to Tsuchiyama's ultimate resignation, in protest, from the JERS project in 1945.

Facilitating the critical analysis of Tsuchiyama's role in the JERS research are questions regarding the relationships between Japanese American research and the nature of "colonial science" that merit discussion in contemporary field research. A multidisciplinary synthesis of anthropological, historical, and ethnic studies perspectives, The Politics of Fieldwork is rich with lessons about the ethics and politics of ethnographic fieldwork.

In 1941, racial tensions are rising in the California community where nineyear-old Sachiko Kimura and her seventeen-year-old brother, Nobu, live. Japan has attacked Pearl Harbor, people are angry, and one night, Sachiko and Nobu witness three teenage boys taunting and beating their father in the park. Sachiko especially remembers Terrence Harris, the boy with dark skin and hazel eyes, and Nobu cannot believe the boys capable of such violence toward his father are actually his friends. What Sachiko and Nobu do not know is that Terrence's family had received a telegram that morning with news that Terrence's father was killed at Pearl Harbor. Desperate to escape his pain, Terrence rushes from his home and runs into two high-school friends who convince him to find a Japanese man and get revenge. They do not know the man they attacked is Sachiko and Nobu's father. In the months that follow, Terrence is convicted of his crime and Sachiko and Nobu are sent to an internment camp in Arkansas, a fictionalized version of the two camps that actually existed in Arkansas during the war. While behind bars and barbed wire, each of the three young people will go through dramatic changes. One will learn acceptance. One will remain imprisoned by resentment, and one will seek a path to forgiveness.