Research

Nikkei diaspora literature is the study of literary works—such as novels, short stories, and poetry—created by people of Japanese descent living outside Japan. The primary aim of my research is to explore how these authors articulate their cultural identity and belonging, often examining life and identity "Beyond Japan."

Understanding "Nikkei" and "Diaspora"

• Nikkei: This term (sometimes "Nikkei-jin") generally refers to people of Japanese ancestry who reside outside Japan, often as citizens of other nations. While some definitions might broadly include any Japanese national living abroad, it's estimated there are approximately four million Nikkei globally who are citizens of countries other than Japan.

• Japanese Diaspora: This describes the global dispersion of people with Japanese heritage. Despite being geographically scattered, these communities often maintain cultural and emotional links to their ancestral homeland. While the term "diaspora" itself is sometimes approached with caution by scholars due to its varied interpretations, it serves as a valuable concept for understanding the diverse experiences of Japanese people overseas and their evolving relationship with Japan.

• A distinctive aspect of the Japanese diaspora involves the significant return migration of Nikkei to Japan. This includes "dekasegi" migrant workers (primarily from Latin America) and overseas orphans who were invited by the Japanese government to migrate. These individuals, particularly those raised in different cultural contexts, may face challenges upon return, such as language barriers or cultural unfamiliarity, sometimes leading to a sense of being an outsider, even among their own biological relatives.

Nikkei diaspora literature often explores the complex ways cultural identity is constructed, negotiated, reinforced, and sometimes deconstructed within these dispersed communities. It provides an international perspective, covering experiences in diverse locations such as the United Kingdom, the United States, Canada, Australia, Latin America, and various parts of Asia.

Rather than focusing on one specific national context, the broader field explores several recurring themes:

• Diaspora and Displacement: This includes the foundational experiences of migration, the sense of being scattered from a homeland, and the complex feelings of connection or disconnection to Japan. It also explores the creation of new communities and cultural forms in host nations.

• Race and Ethnicity: Authors often engage with how Nikkei individuals and communities are perceived and treated in terms of race and ethnicity in their adopted countries. This can involve confronting prejudice, asserting ethnic pride, and navigating life within multicultural (or at times, exclusionary) societies.

• Identity Formation: A central concern is the multifaceted nature of identity. This includes the negotiation between Japanese heritage and other cultural influences, the experiences of different generations (Issei, Nisei, Sansei, etc.), the development of hybrid or transnational identities, and the personal journey of defining oneself in relation to various cultural touchstones.

• Belonging and Alienation: Many narratives explore the quest for a sense of belonging – whether in the host society, within the Nikkei community, or in relation to Japan. Conversely, themes of alienation, marginalisation, and the feeling of being an outsider are also prevalent.

• Memory, History, and Trauma: The literature often grapples with personal and collective memories, including significant historical events such as war, internment (as experienced in North America), or the challenges of post-war resettlement. These historical experiences profoundly shape contemporary identities and narratives.

• Family and Intergenerational Relationships: The dynamics within families, the transmission (or loss) of language and cultural traditions across generations, and the differing perspectives of older and younger Nikkei are common subjects of exploration.

So, if someone is, say, fourth-generation Japanese-Brazilian, do they still feel a strong connection to Japan even if they've never been and don't speak Japanese? What kind of connection is it?

• Yes, many do feel a connection, though it varies greatly; it might be through family stories, cultural practices like food, or an inherited sense of identity, rather than direct experience with Japan.

What's the most surprising or unexpected way you've seen 'Japanese identity' expressed by someone who grew up entirely in another country, like the UK or Australia?

• It's often the subtle blending of cultures, like a very British sense of humour combined with a deep respect for Japanese aesthetics in someone like Kazuo Ishiguro, or unique culinary fusions that become new traditions.

You mentioned people returning to Japan. Is that like a happy homecoming, or is it often difficult for them to fit into modern Japanese society?

It's often very complex; while there might be an initial excitement, many Nikkei returnees face challenges with language, cultural nuances, and sometimes feeling like outsiders in their ancestral land.

Do Nikkei communities in very different parts of the world – say, someone in the US versus someone in Peru – share common experiences or are their stories vastly different?

• They share common themes like negotiating identity and preserving heritage, but their specific histories, local cultures, and experiences of discrimination or acceptance make their stories remarkably diverse.

How do these authors and their characters deal with stereotypes – both positive (like being 'hard-working') and negative – that they might encounter?

• Authors often explore the burden and complexity of stereotypes, showing characters who either challenge them directly, are unfairly confined by them, or subtly navigate them in their daily lives.

Why choose literature to understand these experiences? What can a novel or short story tell us that a history book or sociological study can't?"

• Literature offers a window into the inner lives and emotional worlds of individuals, allowing us to understand the personal impact of migration and cultural negotiation in a way that factual accounts alone often can't capture.

Are these books widely read in Japan, or are they more known in the countries where the authors live?

• While some authors like Kazuo Ishiguro are globally renowned and read in Japan, many Nikkei writers are better known within their own national literary scenes or specific academic circles.

Do many of these authors write in Japanese, or mostly in the language of their new country (like English)? Does that choice change the story they tell?

• Most Nikkei authors I study write in the language of their adopted country, like English; this choice often reflects their primary cultural environment and allows them to explore identity within that linguistic context, sometimes incorporating Japanese words or concepts.

Kazuo Ishiguro is a very famous name. Do people always think of him as a 'Nikkei' author, or just a 'British' author? Does that label matter?

• Ishiguro is often primarily seen as a British author, but his Japanese heritage subtly informs some of his work; the label "Nikkei" can offer an additional, useful lens for understanding certain themes, though it's not the only one.

Are there common symbols or recurring ideas that pop up in these stories from different writers and countries?

• Yes, themes of food, intergenerational communication (or miscommunication), specific historical traumas like internment, and the symbolism of objects connecting characters to Japan often recur across different Nikkei literatures.

When people from the Japanese diaspora meet others from different parts of the diaspora (say, a Japanese Canadian meeting a Japanese Brazilian), do they have an instant connection or shared understanding?

• Sometimes there is an initial curiosity or assumed connection, but it often reveals that while there are shared threads, their distinct national and personal histories can make their experiences and perspectives quite different. Digital platforms such as Discover Nikkei are being used by disparate Nikkei to bring themselves closer together. 

How do these books portray the idea of a 'homeland' if the characters, or even their parents, have never actually been to Japan?

• For many characters, Japan exists as an "imagined homeland"—a concept built from family stories, cultural fragments, and societal perceptions, which can be very powerful even if it doesn't match the reality of contemporary Japan.

Does the literature generally show a sense of one big, global 'Nikkei community,' or is it more focused on the distinct experiences of Nikkei in specific countries?

• While an awareness of a global diaspora might be present, the literature typically focuses more on the particular struggles, triumphs, and community formations of Nikkei within their specific national contexts, like Canada, the US, or Australia.

Do Nikkei authors often write about experiencing racism, and does it differ depending on the country they're in, for example, the US versus the UK?

• Yes, experiences of racism are a significant theme, and the nature of it can differ; for instance, post-WWII anti-Japanese sentiment in the US had a distinct character, while in the UK, experiences might be shaped by different historical contexts and minority demographics.

In these literary works, how important is physical appearance or 'looking Japanese' when it comes to the characters' experiences of race and how they're treated?

• Physical appearance is often very important in the narratives, as it can be an immediate marker leading to assumptions, stereotyping, or racial profiling by others, deeply affecting a character's daily life and sense of self. That said, there are varying in/visibilities regarding race and racism relating to Nikkei. For example, an invisible Brazilian-Nikkei person "returning" to Japan may experience far worse racism than say a visible minority person. Of course, everything depends and not just on racial markers but also on its intersections with social class, gender, age, etc. 

Do the books explore how Nikkei individuals who are mixed-race navigate their identity in terms of race, especially if they feel they don't fully fit into neat racial categories?

• Many contemporary Nikkei authors, some of whom are mixed-race themselves, explore these complex experiences, highlighting the unique challenges and perspectives of characters who straddle multiple racial and cultural heritages.

Do younger Nikkei characters in these books generally seem to struggle with their identity more, or perhaps less, than the older generations who might have had more direct ties to Japan?

• Younger generations often face different identity struggles, perhaps less about direct memory of Japan and more about forging a hybrid identity in a multicultural world, or reconnecting with a heritage that feels distant.

Is there often a specific 'crisis' moment or turning point in these stories where characters are forced to confront or decide what their Japanese heritage truly means to them personally?

• Yes, many narratives feature pivotal moments—perhaps triggered by a family event, a discriminatory incident, or a journey—that compel characters to actively question, reject, or embrace aspects of their Nikkei identity.

How do Nikkei authors explore identities that are complex or mixed, not just 'Japanese' and the host country's culture, but perhaps incorporating other ethnicities or significant cultural influences too?

• Authors often depict characters with multi-layered identities, showing how being Nikkei intersects with other aspects like gender, class, religion, or other ethnic backgrounds, creating rich and nuanced portrayals.

Is there a kind of 'expiration date' on being considered 'Nikkei'? For example, if a family has been in Canada for five generations and speaks no Japanese, are they still part of the diaspora you study?

• Identity is very personal and also a social construct; while connections to Japan may evolve or lessen over generations, many individuals continue to identify with their Japanese heritage in meaningful ways, and literature explores this entire spectrum, including the fading or re-imagining of ties.

In these stories, is 'belonging' more about finding a physical place to call home, or is it more about finding a community or people where the characters feel understood and accepted?

• It's often both, but many stories emphasise that a sense of belonging comes more from finding supportive relationships and a community that accepts their multifaceted identities, rather than just a geographical location.

Do the characters in Nikkei literature usually find a clear sense of belonging by the end of their stories, or is it often portrayed as an ongoing journey?

• More often, belonging is portrayed as an ongoing negotiation rather than a fixed destination; characters might find moments of peace or community, but the process of defining where and how they belong is continuous.

Can characters in these books find a sense of belonging by rejecting parts of their Japanese heritage, or is it usually found by embracing it more fully?

• Characters explore various paths; some might try to assimilate by downplaying their heritage, while others find empowerment in embracing it, but often, a sense of belonging emerges from a personal synthesis that feels authentic to the individual, rather than outright rejection or total immersion.

With all the discussion about identity and belonging, do any characters in these books just get tired of it all and express a wish to simply be seen as an individual, without any hyphenated identity or cultural baggage?

• Absolutely. That desire to transcend labels and simply be recognised as an individual, free from constant cultural negotiation or explanation, is a powerful and recurrent theme, highlighting the burden that can come with a complex heritage.

With Japan facing an ageing population, do you think these diaspora communities and their connection to Japan will become more important in the future?

• Potentially, yes; there's growing interest in how Nikkei communities might contribute to Japan culturally and economically, and how Japan might engage more with its global diaspora.

How does Japan itself view its diaspora? Is there a sense of connection, or are they seen more as 'foreigners' now?

• It's evolving; while historically there might have been a sense of distance, there's increasing recognition of the diaspora, though Nikkei returning to Japan can still sometimes face hurdles being fully accepted as "Japanese."

In countries with large Nikkei populations, how has their culture influenced the broader national culture?

• Nikkei communities have significantly enriched countries like Brazil, Peru, Canada, and the US through cuisine, arts, agriculture, and by adding to the multicultural fabric of those nations. 

What got you personally interested in this specific field of literature?

• I've always been fascinated by how identity is shaped by movement and cultural interaction, and Nikkei literature offers such rich, diverse narratives of individuals and communities navigating these experiences across the globe.

What's it like teaching Japanese students in Japan about the experiences of Japanese people who left Japan or whose families left generations ago? What are their reactions?

• It's often an eye-opening experience for them; many are unfamiliar with the scale and diversity of the Japanese diaspora, and they express surprise, empathy, and a new understanding of what "Japanese identity" can mean. I should add that these days I also have many international students too join my seminar which adds another layer of depth to our discussions. 

When your students read these stories, what themes seem to resonate most strongly with them, whether they are Japanese or international students?

• Themes of belonging, family relationships, and the search for identity resonate universally, but the specific ways these are tied to Japanese culture or the experience of being a minority often spark particularly deep discussions.

You mentioned a field trip to the Kobe Center for Overseas Migration. What's one thing from that visit that really brings the Nikkei experience to life for your students?

• Seeing the mock-ups of the ships that carried emigrants and reading their personal letters displayed in the museum makes the hardships and hopes of their journeys incredibly tangible and human for the students. I try to schedule this trip early on in the course to kick-start interest in the Nikkei diaspora. 

If someone wanted to read just one book to get a feel for Nikkei diaspora literature, what would you recommend (and why)?"

• For a powerful historical perspective from the US, John Okada's No-No Boy is a classic, as it unflinchingly explores the identity crisis of a Japanese American after WWII.

My research into these aspects of Nikkei diaspora literature directly shapes the curriculum and learning experiences I offer to students. My seminars are designed to introduce students to the richness of this field and to equip them with the analytical skills needed to engage critically with the texts and their contexts.

For instance:

• In my "Nikkei Diaspora Literature: Short Stories" course, students are introduced to foundational literary analysis through a selection of short fiction by Nikkei writers from the UK, the US, Canada, and Australia. We explore works like Kazuo Ishiguro’s "The Summer After the War," Hisaye Yamamoto’s "A Day in Little Tokyo," Jeff Chiba Stearns and Lillian Michiko Blakey's graphic novel On Being Yukiko, and Masako Fukui’s "When Blossoms Fall." Each story is analysed through key themes such as diaspora, race, identity, or belonging, preparing students for more advanced studies.

• The "Nikkei Diaspora Literature: Novels" course builds on this foundation, exploring more extensive works. In the spring semester, we focus on authors from the UK and USA, such as Kazuo Ishiguro (Klara and the Sun) and John Okada (No-No Boy). An integral part of this semester is a field trip to Kobe, visiting the Kobe Center for Overseas Migration and Cultural Interaction, which helps students connect their literary studies with the tangible history of the global Nikkei diaspora. The autumn semester covers Canadian literature, like Hiromi Goto’s Chorus of Mushrooms, and includes a student-choice component, where students select a Nikkei novel written in English for independent study, often using this research as a springboard for their graduation thesis.

• Finally, the "Nikkei Diaspora Literature: Thesis" seminar provides dedicated guidance for students undertaking their graduation thesis. This course involves monthly group meetings and individual consultations, focusing on research methodologies, structuring a substantial academic argument, and effective writing practices, all centred on a topic within Nikkei diaspora literature chosen by the student.

Through these courses, students not only learn about the literary expressions of Nikkei communities but also develop critical thinking and analytical skills relevant to understanding broader issues of culture, identity, and migration in our increasingly interconnected world. My aim is to foster an appreciation for the diverse voices within the Nikkei diaspora and to highlight the ways literature can illuminate complex human experiences.

If aliens were to read Nikkei diaspora literature, what do you think would be the main thing they'd report back to their home planet?"

• They'd probably report that Nikkei (and academics) are incredibly preoccupied with understanding where they belong, how memory shapes them, and the complex, often emotional ways they connect (or don't connect) with their ancestral groups and new environments.

Is there a recurring 'lost object' in Nikkei literature – like a specific teacup or photo – that always symbolises a lost connection to Japan?

• While there isn't one single universal object, the motif of a cherished, inherited item—be it a piece of clothing, a photograph, or a household good—often appears, powerfully symbolising fragile connections to a distant past or place.

Do some Nikkei authors ever express strong criticisms of Japan or certain aspects of Japanese culture in their works, and how is that generally received?

• Yes, some Nikkei writers do offer critical perspectives on historical actions, societal norms, or even modern Japanese culture; like any art that challenges or critiques, such works can spark a wide range of reactions, from agreement and thoughtful debate to discomfort or disagreement. For example, see Joy Kogawa's novel Gently to Nagasaki. 

Does this type of literature ever risk overemphasising difference, or making people feel 'stuck' in their ancestral identity, rather than just integrating into their current society?

• That's a valid concern scholars discuss; while the literature explores unique experiences, the aim is often to illuminate universal human themes through a specific cultural lens, and many works actually focus on the process of integration, hybridity, and creating new forms of identity rather than promoting a fixed separateness.