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Og vi kom over havet (2011)

af Julie Otsuka

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MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingOmtaler
2,6472085,632 (3.78)296
Presents the stories of six Japanese mail-order brides whose new lives in early twentieth-century San Francisco are marked by backbreaking migrant work, cultural struggles, children who reject their heritage, and the prospect of wartime internment.
  1. 61
    Hotellet på hjørnet af bitter og sød af Jamie Ford (Anonym bruger, SqueakyChu)
    Anonym bruger: A sweet love story but an eye-opener about Japanese and Chinese Americans at the time of Pearl Harbor attack
  2. 00
    Farewell to Manzanar af Jeanne Wakatsuki Houston (speedy74)
    speedy74: This book also provides information regarding the Japanese internment.
  3. 00
    Ru af Kim Thúy (raidergirl3)
    raidergirl3: nonlinear short chapters, immigrant experience
  4. 00
    The Lost Daughter of Happiness af Geling Yan (Limelite)
    Limelite: Not about the Japanese immigration experience, but set in San Francisco in the late 19th C., this novel evokes Chinatown and the impact Chinese and Americans had on each other depicted in a tightly personal experience. Readers will find common themes -- racism, struggle, isloation -- as in Otsuka's novella.… (mere)
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» Se også 296 omtaler

Engelsk (188)  Italiensk (5)  Tysk (4)  Fransk (4)  Hollandsk (3)  Spansk (1)  Norsk (1)  Svensk (1)  Piratisk (1)  Alle sprog (208)
Viser 1-5 af 208 (næste | vis alle)
Algunas éramos de Kioto. Algunas éramos de Nara. Algunas éramos de una pequeña aldea montañosa. Algunas éramos de Tokio. Algunas éramos de Hiroshima. La más joven de nosotras tenía doce años. La mayor tenía treinta y siete, era de Niigata. Algunas éramos de Kumamoto, donde no había hombres casaderos. Eché un vistazo a la foto y le dije a la casamentera: “Éste me vale.”» Con una prosa precisa y evocadora, Julie Otsuka pone voz a las mujeres que, procedentes de Japón, llegaron a San Francisco hace casi un siglo en busca de una vida mejor. Viajaron para encontrarse con sus esposos, a los que no conocían pero a quienes imaginaban tal y como ellos se habían descrito a sí mismos en sus cartas. Muchas eran casi niñas, llenas de dudas y miedos, ilusionadas, con sus kimonos blancos guardados en sus ajuares. Pero ni sus maridos eran lo que prometían ser ni su vida allí iba a ser fácil.
  fewbach | Jun 22, 2024 |
I think it's an important piece of historical fiction, and very lyrical at times. But because it follows a very large group of people, and not one or two main characters, I found it difficult to stay emotionally invested. It often felt journalistic and impersonal, and the writing style, with its frequent repetition, called too much attention to itself. But I still recommend it as an excellent account of Japanese Americans before, and up to, the WWII internment. ( )
  prairiemage | May 29, 2024 |
Powerful. This is the first book I've read with "we" and "us" as the narrator/protagonist voice. ( )
  Abcdarian | May 18, 2024 |
Great freaking book ( )
  bookonion | Mar 10, 2024 |
This was a rare first person plural narrator that I found to be executed well and actually essential to the plot. How else to properly pay respect to a whole generation of picture brides in the early twentieth century, getting the reader invested in a life that would inevitably be cut short without leaving us unmoored in a narrative?

The plot hurtles through a carousel of lives, losing some, picking another up, following one through for longer, all the while presenting a unified and yet multitude of experiences. I only learnt some years ago that there was a huge migration of Japanese men to the Americas as cheap labour during the early 20th century. I appreciated how this book brought the women's experiences to the forefront, humanising and personalising the stories that history books had tended to relegate as a postscript to a postscript in American immigration history.

On the downside of knowing some history, I can't tell if the book intended for the reader to feel the tension of knowing what laid ahead for these women, specifically the internment camps in WWII. It was very good strategic planning to use the first person plural, that the narrative did not let the reader linger long on atrocities since the characters themselves also couldn't if they wanted to survive. They were mentioned almost as if being rattled off a list, to form a collective scar that underpinned all the characters' experiences, and to show how even though those stories cannot be truly told, those experiences reverberated through the surviving women. This book would be a very good introduction to a less-talked-about part of history, and very suitable to high schoolers and up. ( )
  kitzyl | Nov 19, 2023 |
Viser 1-5 af 208 (næste | vis alle)
This passage may give a clue as to how Julie Otsuka's book is to be read. She calls it a novel. It is closely and carefully based on factual history/ies. There are novelistically vivid faces, scenes, glimpses, voices, each for a moment only, so you cannot linger anywhere or with anyone. Information is given, a good deal of it, in the most gracefully invisible manner; and history is told. Yet the book has neither a novel's immediacy of individual experience, nor the broad overview of history. The tone is often incantatory, and though the language is direct, unconvoluted, almost without metaphor, its true and very unusual merit lies, I think, in that indefinable quality we call poetry.....I am sorry that after it, in the last chapter, she suddenly changes her narrative mode and ceases to follow her group of women. The point of view changes radically and "we" suddenly are the whites: "The Japanese have disappeared from our town."
 
Narrated in the first-person plural, The Buddha in the Attic is a slight, but powerfully moving piece of prose. It tells the story of a group of Japanese mail-order brides, from their journey to America, through marriage, work, childbirth and motherhood, until they and their entire communities are rounded up at the beginning of the war....Some might find the plurality of voice troubling, suggesting that it does little to restore individual identities to those whom history has forgotten, but I would argue the opposite. A host of individual characters and experiences crystallise as families and communities take root
 
But the book’s plural voice is particularly effective at capturing their long, giddy conversations on the ship as they wonder if American men really grow hair on their chests, put ­pianos in their front parlors and dance “cheek to cheek all night long” with their lucky wives....But no story in the conventional sense ever develops, and no individuals emerge for more than a paragraph....Had we known them as full individuals — as real and diverse and distinct — we couldn’t have whisked them away to concentration camps in the desert. A great novel should shatter our preconceptions, not just lacquer them with sorrow.
 

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Julie Otsukaprimær forfatteralle udgaverberegnet
Scholtz, KatjaOversættermedforfatternogle udgaverbekræftet
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There be of them, that have left a name behind them, that their praises might be reported. And some there be, which have no memorial; who are perished, as though they had never been; and are become as though they had never been born; and their children after them.

—ECCLESIASTICUS 44:8-9
Barn's burnt down—
now
I can see the moon.

—MASAHIDE
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On the boat we were mostly virgins.
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Presents the stories of six Japanese mail-order brides whose new lives in early twentieth-century San Francisco are marked by backbreaking migrant work, cultural struggles, children who reject their heritage, and the prospect of wartime internment.

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I 1919 kommer en gruppe unge japanske kvinder til Californien, hvor de skal giftes med mænd, de aldrig har mødt. Der venter dem en hård og slidsom tilværelse i det fremmede, men de fleste holder ud og kæmper for at skabe et liv for sig selv og deres familie
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