Patricia Wakida

Patricia Wakida is the editor of two publications on the Japanese American experience, Only What We Could Carry: The Japanese American Internment Experience, and Unfinished Message: the collected works of Toshio Mori. For the past fifteen years, she has worked as a literary and community historian, including Associate Curator of History at the Japanese American National Museum, Contributing Editor for Discover Nikkei website, and as an Associate Editor of the Densho Encyclopedia project. She serves on various non-profit boards including Poets & Writers California, Kaya Press, and the California Studies Association. Patricia has worked as an apprentice papermaker in Gifu, Japan and as an apprentice letterpress printer and hand bookbinder in California; she maintains her own linoleum block and letterpress business under the Wasabi Press imprint. She is a Yonsei, whose parents were incarcerated as children in the Jerome (Arkansas) and Gila River (Arizona) American concentration camps. She lives in Oakland, California with her husband Sam and Gosei, Hapa (Japanese Mexican) son, Takumi.

Updated August 2017

community en

In Search of Shigeyoshi Murao

“Imagine being arrested for selling poetry!” So were the astonished words of Shigeyoshi Murao, the legendary manager for over two decades of City Lights Bookstore, literary haven for bookworms worldwide. But in the summer of 1957, the Japanese American book clerk, affectionately known as “Shig” by everyone in the neighborhood, was in fact arrested on charges of obscenity after selling undercover San Francisco police officers a copy of Allen Ginsberg’s Howl and other Poems.

Murao is virtually unknown to today’s generation, but several years ago, with the encouragement of Paul Yamazaki (incidentally another Japanese American who is the ...

lea más

culture en

Nikkei Heritage

Yoshiko Wada

“When my two sisters and I were younger, we lived in my maternal grandparents’ home in Tokyo....In those summer months, we could hardly wait to finish supper so that we could put on our yukata and run outdoors to participate in the folk dance practice sessions for the Obon Odori festival....All three sisters wore fabric with the same design motif because our three yukata were made out of two bolts of cloth. We needed Grandmother Tsuru’s help to put on our freshly laundered and heavily starched outfits. She separated the sleeves and the bodices in order for ...

lea más

Series en las que contribuye este autor