To All Appearances A Lady - University of British Columbia

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Joy K o g a w a forA.D. they are called weeping tiles you dig down the edge of the house and make a ditch of sand and gravel you place the tiles neatly there so that the downpipe water the surface rain seeping through the earth will be carried safely safely away from the foundations of the dwelling late at night with careful listening with sharp shovels with mended buckets dear liza dear liza with small stones our terrible stories our dry basements 12
Marilyn I w a m a IfYouSaySo: Articulating Cultural Symbols of Tradition in the Japanese Canadian Community In a house I do not own In a country of isolation In a land that belongs to others I sit on folded legs, bent by cultural impulse. 1 Haruko Okano wrote these lines in a volume of poetry she describes as "my personal journey to the present" (7). Okano is a third generation Canadian of Japanese ancestry who was raised in non-Japanese Canadian foster homes, knowing her nisei 2 mother only through memories now decades old. How has she come to identify herself as sansei? Okano walks, she says, on "[t]oes turned in to kick aside kimono hem." What process fixes in Haruko Okano the sense of belonging—as these metaphors signal—to a nation she has only imagined? 3 Such questions trouble a sense of tradition" that depends on the translation of a historical past into a cultural present via the inheritance of core ancestral practices and ideology. But what happens when we consider the expression of perceived tradition as one step in a process of constructing and denning certain events or ideals as "traditional?" In this case, such events and ideals may be made imperative by historical incidents, and so achieve status as essential components of cultural identity. Then tradition is what one says it is. By examining received notions of history, origin, and "the past," this essay explores the process by which certain ideas and actions have come to be denned as essential symbols of Japanese Canadian tradition. A potent strain in canonical "western" philosophical thought has been the idea of what Foucault describes as the "lofty origin" (143). This now
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Page 16 and 17: Cultural Symbols Canadian tradition
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Page 20 and 21: Cultural Symbols white race" (72).
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George Woodcock The Woman on the Tr
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Woodcock and unpainted boxes on sti
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Woodcock enclosure of thick forest,
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Woodcock compound. The Royal Dancer
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G w l a d y s Dowries Lucy's Childr
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Robert B r i n g h u r s t Xuedou Z
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Robert B r i n g h u r s t Dogen Th
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Poem There is no pigment in the pai
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L . R . R i c o u In Double Harness
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R i c o u ment for the incandescent
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Travelling Women Ed. Momoye Sugiman
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Books in Revi they choose to relate
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Books in Review communitarianism, f
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Books in Review Vita Nova Anne Héb
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Books in Review developments on the
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Books in Review poem "A Sound Obser
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Books in Review towards reconciliat
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Books in Review of Nelligan's life,
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Books in Review genealogies, place
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Books in Review from their own pers
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Books in Review "Theory: Beauty or
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Books in Review teacher's task is t
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Books in Review racy as means with
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Books in Review Ryga George Ryga Su
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Books in Review society churns up,
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Books in Review grating myths and a
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Books in Review nation, yes, but si
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Books in Review Harry, the ex-cop a
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Opinions &L Notes and pioneer, long
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Two Poems for Tom Marshall David He
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Poem 7 The savage rhetoric of age i
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Poem don't, like me. Thinking there
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Book Notes together much informatio
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Book Notes is repeating one of the
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Book Notes Criticism Brookshaw, Dav
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Book Notes Initiation Rites in Gree
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