Ichiro Yamada-John Okada's No-No Boy

If we are to desire for change, a human being must be able to movement some guiltlessdom of choice and action, but at the resembling time there are severe restrictions on that free ordain. If the worst of self-hating racists is able to go through an experience which escapes to a change of heart and the possibility of choices free from racism, then anybody mint go through such(prenominal) a liberating experience. That is precisely the lesson that Okada wants the ratifier to infer from the apparent awakening of whoreson.

While the author portrays a world torn by racism and bigotry, he more thanover concludes on a note of hold. This concluding glimmer of hope is preceded by a fight between papal bull and Freddie, with Ichiro connective in, and the death of Freddie after the fight.

cocksucker would seem to be the nearly brutal and irredeemable of racists, expressing specifically anti-Japanese-Ameri after part racism. But Bull is himself introduced to us as "a swarthy Japanese, dressed in a pale-blue suit . . . with a good-looking discolor girl" (Okada 73-74). Bull is a self-hating Japanese, a man who wants to be absorbed into the mainstream of white American society. He hates the "no-no boys"---young Japanese-Americans who refused induction into the army at a time when the United States was threatened. The self-hating Japanese is shown to be even more of a racist than the Japanese-hating white man, and that is perhaps the reason that Okada has Bull play the very important role he plays in the conclusion of the book. Cle

"I ain't sulky one friggin' bit. . . . I hope he goes to hell. I hope he . . . " The words refused to come out any longer. blab out agape, lips trembling. Bull managed sole(prenominal) to move his jaws sporadically. Suddenly, he clamped them shut. His cheeks swelled to bursting, and the eyes, the frightened, solitary eyes, peered through a dull film of tears and begged for the consolation that was not to be had. . . . Then he started to cry, not like a man in grief or a soldier in pain, but like a bollocks up in loud, gasping, beseeching howls (Okada 250).

The reader is prepared for the fight by the author in a scene in which Ichiro and Freddie talk. Ichiro can see that something is bothering Freddie, but Freddie says nothing is wrong.

Ichiro answers, "Seems to me like you're out to make the form singlehanded" (Okada 242). Of course, that is precisely what Freddie would like to do, and his fate can be taken as a warning sign that remainder surely awaits any individual who does try to take on the system "singlehanded." Of course, Freddie isn't out to change the system, but rather to recompense it back for the suffering it has inflicted upon him and his people. He is exactly the kind of Japanese that Bull hates, for Bull wants to be a part of that system himself.

It is too soon to say whether Bull's experience will lead him to begin living according to free will or else of according to old tight, racist scripts.

arly, up until the point that Bull breaks down, it would seem that Bull had been acting deterministically, almost as a robot in response to the urges of hatred and racism from within. Okada's shadow would seem to be, then, that there is a measure of free will in the lives of human beings, and that, even in the most hateful ones, that free will may lead to a subversive change of heart and mind. However, the liberation which must precede the formula of that free will for the good may come only as the result of a very traumatic experience, such as Bull undergoes in h
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