The Japanese are an illusion in George Takei's ALLEGIANCE. No Jap writers no Nikkiei actors. Tsk Tsk Tsk! No Jap truth in the fantasy play but it's not a Jap play. It's a Flip play.
Ken Narasaki's No-No Boy was a crybaby church meeting, not a play. A propagandized theatrical experience. Educate who? The Whites dripping with guilt? The audience is yourselves, your people. Artist, you're always talking to your people, even if you hate yourself.
George and Ken must be dumbstruck by the lack of criticism from the JA rah rah press. No real interest. The no nothing White press is polite, superior and confused that's charity for contempt. The no nothings aren’t ever going to read because of you. The Whites might if the Yellows were a people and expressed themselves in a press of their own.
If the people take camps that seriously where is the writer of the people's feelings for camps? Where is the book that sends chiills of recognition and ghosts jittering through their nerves? Where is the movie? Where are the thinkers, the showoff people's critics and critics of the people that agree that this was the work, the collaboration, the argument that put Humpty Dumpty together again?
Frank Emi put Humpty Dumpty back together again when he ended the self-congratulation of the WRA interrogators by politely asking if he might have a copy of the transcript when it's made. He knew as much about them as they knew about him. Possibly more.
Yosh Kuroyama raised the The Trial of 63 that started a revival of the resistance to JA attention, to art when he said he wanted the original case of the resistance against the camps, to be taken to court again, and get the bastards to say what they mean. Yosh was more accommodating to the occasion of his friend's funeral. He proposed the laughable, the daring, outrageous, do it, and win or lose, the people have flexed their muscle and gotten rover to speak. Brilliant! .
The Yellow actors -every Yellow actor introduced to resistance story and Frank Emi, didn't see the leader that I saw. The ears of the great minds of Japanese America didn't hear the Kuromiya I heard. (I recall Yosh said the same thing in the enclosed interview. Somewhere.)
A lot of Yellows take the pose of Yellow artists, but they enjoy or suffer no acknowledgement from their Yellow people. There is no Yellow art without a Yellow people.
Where is the JA writer who will answer the White accusation of not writing for everybody with, "I'm a Yellow? Everybody in my American body is Yellow. You are White, White man. All men are created equal. I know your Jack and the Beanstalk. Do you know my Ameratsu? or the Iron Chef? Ha ha ha ha! Who was that masked man? Hi yo Silver, away!"