Japanese-American relations have been the object of considerable study from the 1850s, when Commodore Matthew Perry used gunboat diplomacy to break the seclusion of an island nation. Japan and American Children's Books: A Journey explores this relationship from a unique perspective, examining representations of Japan's history and culture in American children's literature from the early nineteenth century to the beginning of the twenty-first. Sybille A. Jagusch traces depictions of Japan from their first appearances in early European children's books to their emergence in the pages of those published in the United States. A carefully curated collection of text excerpts and images reveals evolving American perceptions of Japan and Japanese people over the course of more than two centuries. Drawn from rare and often long-forgotten children's books in the collections of the Library of Congress, the early excerpts express assumptions and stereotypes held by western writers and illustrators whose work was meant to share insight into the cultures and practices of a people about whom they knew little. They include passages from the illustrated journal of a boy who accompanied Commodore Perry on his first voyage to Japan; selections from romanticized late nineteenth-century travelogues--some penned by writers who had never visited Japan; and excerpts from stories featured in St. Nicholas, the influential American children's magazine that was published from the early 1870s to the 1940s. Later samples reveal the waxing and waning relationship between the two countries amid the evolution of the children's publishing genre, which met the complexities and strains of a rapidly changing world with increasingly sophisticated and stylized accounts that laid bare the grim realities of war, racism, and annihilation: the bombing of Pearl Harbor, the nuclear holocaust of Hiroshima, and the internment of Japanese Americans during World War II. The book's final chapters highlight the unique contributions of Japanese American authors and illustrators in recounting their personal experiences and those of their families. A journey through the fits and starts of cultural awakening, this carefully curated sampler underscores the challenges of trying to understand and portray people from another culture. It also showcases the talent of more than a century of children's book writers and illustrators, many of whose work has languished without recognition until now.

Ame the Cat travels back to the country of his birth, Japan.

For generations, children’s books provided American readers with their first impressions of Japan. Seemingly authoritative, and full of fascinating details about daily life in a distant land, these publications often presented a mixture of facts, stereotypes, and complete fabrications. This volume takes readers on a journey through nearly 200 years of American children’s books depicting Japanese culture, starting with the illustrated journal of a boy who accompanied Commodore Matthew Perry on his historic voyage in the 1850s. Along the way, it traces the important role that representations of Japan played in the evolution of children’s literature, including the early works of Edward Stratemeyer, who went on to create such iconic characters as Nancy Drew. It also considers how American children’s books about Japan have gradually become more realistic with more Japanese-American authors entering the field, and with texts grappling with such serious subjects as internment camps and the bombing of Hiroshima and Nagasaki. Drawing from the Library of Congress’s massive collection, Sybille A. Jagusch presents long passages from many different types of Japanese-themed children’s books and periodicals—including travelogues, histories, rare picture books, folktale collections, and boys’ adventure stories—to give readers a fascinating look at these striking texts. Published by Rutgers University Press, in association with the Library of Congress.

The Sino-Japanese War (1937 – 1945) was fought in the Asia-Pacific theatre between Imperial Japan and China, with the United States as the latter’s major military ally. An important line of investigation remains, questioning how the history of this war has been passed on to post-war generations’ consciousness, and how information sources, particularly those exposed to young people in their formative years, shape their knowledge and bias of the conflict as well as World War II more generally. This book is the first to focus on how the Sino-Japanese War has been represented in non-English and English sources for children and young adults. As a cross-cultural study and an interdisciplinary endeavour, it not only examines youth-orientated publications in China and the United States, but also draws upon popular culture, novelists’ memoirs, and family oral narratives to make comparisons between fiction and history, Chinese and American sources, and published materials and private memories of the war. Through quantitative narrative analysis, literary and visual analysis, and socio-political critique, it shows the dominant pattern of war stories, traces chronological changes over the seven decades from 1937 to 2007, and teases out the ways in which the history of the Sino-Japanese War has been constructed, censored, and utilized to serve shifting agendas. Providing a much needed examination of public memory, literary representation, and popular imagination of the Sino-Japanese War, this book will have huge interdisciplinary appeal, particularly for students and scholars of Asian history, literature, society and education.

Mark Jones examines the making of a new child's world in Japan between 1890 and 1930 and focuses on the institutions, groups, and individuals that reshaped both the idea of childhood and the daily life of children. Family reformers, scientific child experts, magazine editors, well-educated mothers, and other prewar urban elites constructed a model of childhood--having one's own room, devoting time to homework, reading children's literature, playing with toys--that ultimately became the norm for young Japanese in subsequent decades. This book also places the story of modern childhood within a broader social context--the emergence of a middle class in early twentieth century Japan. The ideal of making the child into a "superior student" (yutosei) appealed to the family seeking upward mobility and to the nation-state that needed disciplined, educated workers able to further Japan's capitalist and imperialist growth. This view of the middle class as a child-centered, educationally obsessed, socially aspiring stratum survived World War II and prospered into the years beyond.

This volume provides a key analysis of Asian children’s literature and film and creates a dialogue between East and West and between the cultures from which they emerge, within the complex symbiosis of their local, national and transnational frameworks. In terms of location and content the book embraces a broad scope, including contributions related to the Asian-American diaspora, China, India, Indonesia, Iran, Japan, Malaysia, the Philippines, South Korea, Sri Lanka, and Taiwan. Individually and collectively, these essays broach crucial questions: What elements of Asian literature and film make them distinctive, both within their own specific culture and within the broader Asian area? What aspects link them to these genres in other parts of the world? How have they represented and shaped the societies and cultures they inhabit? What moral codes do they address, underpin, or contest? The volume provides further voice to the increasingly diverse and fascinating output of the region and emphasises the importance of Asian art forms as depictions of specific cultures but also of their connection to broader themes in children’s texts, and scholarship within this field.

A beautifully illustrated true story of another family's experience of the bombing of Hiroshima. Shin's uncle is able to get him the impossible: the tricycle he desperately wants. He is riding the wonderful, brand-new tricycle when the atom bomb is dropped. Shin is found in the rubble, holding on to his treasure. He dies later that day, ten days before his fourth birthday. The tricycle now sits in the Peace Museum in Hiroshima.