Oe Kenzaburo with Map of Africa
From Chapter 2
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From Chapter 2
Figure 1. Ōe Kenzaburō circa 1964, when he was writing A Personal Matter, holding a copy of Stanford’s General Map of Africa. Note Ōe’s skewed gaze, which asks readers to make eye contact with the cartography of Africa rather than the Japanese author who holds the map. (Reprinted with permission from Shinchōsha.)
From Chapter 3
Figure 2. Advertisement in the 1 October 1977 evening edition of the Asahi Shimbun for the Japanese television premier of Roots. Above the English title, the story is framed as “a message of the spirit for all mankind” or, as the superimposed Japanese over the English title suggests, a message of the spirit for men of all kinds.
From Chapter 3
Figure 3. Nakagami Kenji with Bob Marley
From Chapter 4
Figure 4. The cover of the September 1967 issue of Ebony magazine, which features eight photographs of black Japanese “war babies” entering young adulthood in the long 1970s. They are, in the words of Ebony, “Japan’s Rejected: Teen-age war babies [who] face [a] bleak future.”
From Chapter 4
Figure 5. Harlem kids outside a jazz store. In each of these shots, angle, depth, and mise-en-scène replicate the sensation of sounds associated with various black urban spaces. (© Ruiko Yoshida.)
From Chapter 4
Figure 6. “What’s in the Poor Boy’s Pocket?” (© Ruiko Yoshida.)
From Chapter 4
Figure 7. Yoshida’s visualization of the contradictions of “separate but equal.” (© Ruiko Yoshida.)
From Chapter 4
Figure 8. A photograph by Yoshida Ruiko of a third-world unity rally held in Harlem in December 1970. The multicolored third-world solidarity championed at the rally speaks to the long 1970s desire for Afro-Japanese hybridity. (© Ruiko Yoshida.)