Under the Blood Red Sun

“The Japanese way—which was stern and obedient. [Grampa] just wanted to work, and be honest. Like he did in Japan, where he was a fisherman. Nobody ever bothered anybody else. If somebody over there accidentally hurt somebody else, they’d make up for it, no matter how long it took. And if they died before they made up for it, then their descendants would take over. Grampa wanted me to think like that, he wanted Papa to beat me into ‘a boy of suitable devotion.’ Sometimes I thought he had a point. The old way was fair and honorable, which was good. But it was so inflexible. Jeese. Who knew what to think?”

Grampa presents Tomi with an idealized version of Japanese culture, making it challenging for Tomi to meet those expectations. This division in loyalties between pleasing his family and maintaining peace creates a dilemma for Tomi. While he recognizes the differences between the American and traditional Japanese ways, he sees the values in both. His primary aim is to avoid conflict, inadvertently deepening the divide between his Japanese and American identities.

“Listen […] I want you to stop hanging around with this Jap. It’s disgusting to see you two acting like friends […] It makes me sick.”

Keet embodies the prejudice in Hawaii, staunchly advocating for ethnic segregation and freely employing derogatory language toward Tomi. Keet’s intense hatred becomes a persistent stressor for Tomi, driving a wedge in his relationship with Billy. Likewise, Keet’s prejudice infuriates Tomi and causes him to struggle to control his temper.

“‘You disgrace me,’ Papa went on. ‘You fight and everyone think you a troublemaker!’ […] ‘Tomikazu, we are Americans, it is true […] but inside we are also Japanese. I don’t care how angry you get, you cannot fight. You must learn gamman—patience. You cannot be a troublemaker and bring shame to this family.’”

Taro’s words linger hauntingly in Tomi’s mind, serving as a powerful restraint whenever his rage threatens to overpower him. This internal conflict, laden with guilt and shame, underscores the disparity in Tomi’s upbringing compared to his friends. Rico’s fight scar is admired as a symbol of bravery, contrasting with Tomi’s situation. While most boys in the story engage in fights with minimal consequences, Tomi’s fighting disgraces his family.

“But the thing about Mose and Riso, and Billy, too, was that they would stand by you no matter what. That was what the Rats were all about. Those guys were like brothers.”

Baseball is a powerful unifying force in this narrative, mainly embodied by Tomi’s baseball team, the Rats. In a community marked by ethnic segregation, the Rats defy this norm by comprising members from various ethnic groups. The team consistently demonstrates solidarity, offering unwavering support to one another. Tomi’s loyalty to his friends within the team proves to be well-founded throughout the story.

“Sometimes it was almost impossible to just swallow trouble the way Papa demanded. If you make trouble and lose face, he told me so many times I heard it in my sleep, you shame yourself. If you shame yourself, you shame all of us. Be above it, Tomi […] that’s the only way.”

Tomi consistently grapples with the impact of his father’s words, particularly the recurring motif, “Be above it, Tomi.” In the early stages of the narrative, Tomi attempts to adhere to his father’s guidance, encountering varying degrees of success. However, as the story unfolds, internalizing and following Papa’s words becomes more natural and accessible for Tomi.

“I looked up at the high-fliers, now almost invisible. So high. So sure of themselves, like Papa. I wondered if I could ever be like him.”

The pigeons symbolize both freedom and Tomi’s bond with his father. In his father’s absence, they become Tomi’s responsibility. This quote, in particular, highlights Tomi’s sense of inadequacy, especially in comparison to his idolized father.

“It would be the first time a haole had ever set foot on the Taiyo Maru. Maybe it would even be the first time a haole set foot on any Japanese fishing boat. Papa’s helper, Sanji, said haoles were bad luck.”

The book primarily addresses prejudice against individuals of Japanese descent, yet certain sections, such as this one, underscore the pervasive prejudices in Hawaii. Generally, distinct ethnic groups tend to keep to themselves, justifying this self-segregation by attributing it to bad luck. In reality, each group discriminates against the others.

“I still worried because Papa didn’t have a radio, so he couldn’t call for help if we needed it. He couldn’t afford one.”

Tomi’s concern foreshadows Taro’s later incarceration in the story. His inability to afford a radio means he could not receive the news that he needed to fly an American flag upon returning to the island. Papa’s dire financial situation results in his arrest and Sanji’s death. It also underscores the injustice of the American military’s actions after the Pearl Harbor attack, as their offensive maneuvers on the island disproportionately affected the poor.

“This is a good place, Tomikazu.”

These words serve as another recurring motif in the book. Whenever tension becomes unbearable, Tomi leans on his father’s words. Despite the many atrocities Tomi experiences, numerous kind-hearted people in Hawaii strive to help. Tomi recalls the good whenever the bad becomes overwhelming.

“‘You work hard today…I thought you would only watch […] Hey,’ Sanji went on […] ‘You know what? You the first haole I ever talk to in my life…can you believe that?’

[…]

‘Well, you’re the first fishermen I’ve ever heard say he’d cut the line with a fish on it,’ Billy said.

Sanji laughed. ‘I guess that’s the difference between Japanee and haole. I don’t fish for fun.’”

Billy and Sanji’s unexpected friendship dismantles some prejudicial barriers in this work. Initially, both hold preconceived notions about the other but are adaptable, adjusting their opinions. Sanji stands out for openly discussing his prejudice. Simultaneously, this exchange highlights the significant class difference between Sanji and Billy.

“‘Listen to this, boy,’ [Mr. Wilson] said in a low voice. ‘You people are walking on mighty thin ice around here.’

I didn’t even breathe. For a moment, he wagged his finger at me without saying anything. Then, in an almost whisper, he said, ‘You tell your father I don’t want to see any more of that Jap crap around my place.’”

Tomi struggles to pacify his American friends and neighbors and support his Japanese family. In this scene, this position takes a perilous turn. Mr. Wilson openly insults Tomi’s Japanese heritage, worsened by the non-threatening nature of Grampa’s actions. Mr. Wilson objects to Grampa waving the Japanese flag and singing the Japanese national anthem—relatively harmless acts. This quote highlights the prejudice prevalent throughout the story.

“Amber, with a blood-red sun on the fuselage and under the wings…blood-red sun…the symbol of Japan […]

‘Japanese planes, Mama…We’re being bombed! We’ve got to get rid of the flag […]’

‘Bury it,’ she said, her eyes wide with fear. ‘Bury that flag.’ She ran inside the house and brought back Grampa’s photograph of the emperor.

‘Bury this too…Go! Now!’”

The attack on Pearl Harbor is a traumatic moment in the story. Initially, it takes Tomi a while to recognize that the planes are Japanese, and upon this realization, he is immediately horrified. Mama, too, grapples with the attack coming from Japan. When she does process this information, her immediate reaction is to bury anything Japanese. The Nakajis burying their Japanese heritage is a recurring motif in this narrative.

“I looked behind me again, this time into the eyes of a lady glaring straight into mine. In my whole life, I’ll never forget that look. I realized that what that Lady saw wasn’t just a boy and his mother […]. What she saw was a Japanese boy and his Japanese mother.”

Tomi has always been aware of his Japanese American identity, but this is the first instance where he realizes that some see him as an enemy because of it. The emphasis on ethnicity suggests a lens of prejudice through which people view Tomi and his family. This moment highlights the dehumanizing effect of stereotypes, as the lady’s gaze reduces them to their Japanese identity, overshadowing their individuality and humanity. It underscores the pervasive prejudice and discrimination prevalent in the narrative.

“Grampa reached out, and I gave the katana back to him. I hoped his hiding place was good, and that he would never bury it like Mama wanted.”

Tomi’s loyalties find themselves divided between Grampa, who, despite feeling betrayed by Japan, wishes to preserve aspects of their heritage, and Mama, who opts to bury their Japanese roots for the family’s protection. While Tomi aligns with Mama on specific points, he recognizes the significance of the katana and its historical value. Beyond being a mere symbol of Nakaji’s Japanese heritage, it embodies the essence of the Nakaji family. Tomi believes it merits honor and cherishing, even considering the potential risks associated with its preservation.

“You nice boy, Billy […]. You welcome our house anytime.”

Mama, though brave, is an inherently private person. In the narrative, she exercises caution regarding Billy’s presence in the house. This moment signifies a pivotal shift. Billy’s kindness surpasses Mama’s reservations, earning her wholehearted approval. Furthermore, Billy’s acceptance into the Nakaji household signifies a breaking down of the self-imposed ethnic barriers set by Mama and Grampa.

“Shikata ga nai—It can’t be helped.”

“Shikata ga nai” emerges as a recurring motif in the story. The characters grapple with numerous uncontrollable challenges as the world descends into chaos. The Nakajis find solace in doing what they can despite adversity. It takes Tomi considerable time and several perilous adventures to accept that certain circumstances are beyond his control. These circumstances are beyond his ability to change and can only be accepted.

“I lay back down, my head spinning. Brave? Mama had a husband who had been shot and arrested, a son who didn’t think, and who had almost gotten himself killed, an old man who couldn’t work anymore, and a five-year-old who was afraid just to go outside. Who was left to keep us going?

And Mama was calling me brave?

What a joke.”

This quote marks a turning point for Tomi. In the early stages of the story, Tomi grapples with typical 13-year-old struggles of selfishness and lack of empathy. Although he loves his family, he fails to comprehend their perspective. However, at this juncture, he undergoes a profound shift in empathy, gaining a complete understanding of his mother’s challenges and the overall difficulties the family faces. This change in perspective significantly influences Tomi’s actions throughout the remainder of the story.

“If ever we needed baseball, it’s right now […]. Come on, let’s go.”

Baseball plays many roles in this story. It is a powerful unifying force, bringing together individuals from diverse ethnic backgrounds. In this specific instance, however, it functions as a soothing balm. As the conflicts surrounding Tomi intensify in the narrative, playing baseball provides him with a much-needed outlet for relaxation, akin to the solace Papa finds in his pigeons.

“‘Come inside,’ I said.

Billy hesitated. Then he shrugged and said, ‘Sure,’ and followed me in.

I stood back so he could see my room. ‘This is it.’

Billy looked around at my bed, at Grampa’s mat and the orange crates. ‘I like the shelves,’ he said […]

Billy smiled and said, ‘Let’s go.’ What had I been so worried about all those years?”

This seemingly simple interaction signifies a crucial moment for Tomi. Despite their longstanding friendship, Tomi has never welcomed Billy into his room. Feeling ashamed of his modest living conditions, Tomi has attempted to conceal it from Billy. By inviting Billy into his room, Tomi extends complete trust. Equally significant is Billy’s response—devoid of judgment, he treats it as an ordinary occurrence. This brief moment cements the bond between the boys and underscores how fears are often mere mental constructs.

“‘What are we going to do, Mama?’

‘We going to do just like always,’ she said […]

I remembered the story Grampa had told me about Mama the picture bride, and how she had arrived to no one, to nothing. How scared she must have been.

‘I came to this islands to make a new life, and with your good papa, that’s what I did. I could survive then, and we can survive now.’”

Mama stands out as one of the most resilient characters in the story. Instead of drowning in her grief, she actively works through it. Her gentle approach becomes a guiding influence for Tomi, teaching him to navigate challenges. The family, bound by economic constraints and the harsh reality of their situation, cannot afford to succumb to sadness and frustration. They must persist in their usual ways for the family to survive. Tomi gains a newfound respect for his mother, recognizing that she must harbor the same distress and fear as he does. As such, Mama’s strength and courage become a powerful motivation for Tomi.

“Ancestors. Honor. Respect. It was all just and old man’s talk. Something I’d always listened to with one ear, if even that. But now Grampa counted on me to save it all, save the katana. Not my katana…but the family katana. It belonged to no one, and to everyone…past, present, and future. Thinking about it made me nervous.”

Though Tomi has long respected the katana, he feels its symbolic significance more deeply. Once merely an interesting relic he wished to showcase to friends, the sword has evolved into a powerful emblem for the Nakaji family. Cherished by generations of Tomi’s ancestors, the katana’s legacy will endure for hundreds more years, but only if Tomi protects it well.

“We’re going to show them that we have the spirit to go on despite all that we’ve been forced to suffer. And don’t any of you worry […] We’re going to be okay. All of us.”

Mr. Ramos encapsulates the theme of Resilience in the Face of Adversity as he addresses his class. He urges the students to persist and exercise their freedoms, no matter how small. According to Mr. Ramos, the most potent response to the Japanese is to demonstrate that their attack had minimal impact on the people of Hawaii. While Tomi finds solace in Mr. Ramos’s words, they are ambiguous. While Mr. Ramos’s mention of “all of us” likely includes Papa, Grampa, and the other Japanese Americans, it is not certain or unequivocally transparent.

 “‘You got it wrong, mister,’ I said. ‘I was born here. I live here, just like you do. And I’m an American.’

‘Beat it, Jap,’ he said.

Be above it, Tomi […]

‘American,’ I said again.

He narrowed his eyes but didn’t say anything more. I eased away feeling […] strange […] very strange. Almost peaceful. Spooky, feeling peaceful when somebody hates you. But still, even though I felt calm inside, my hands were shaking.”

This quote signifies a notable evolution in Tomi‘s character. Previously, Tomi struggled to manage his anger, typically responding to such comments with either a shouting match or a physical altercation. Tomi frequently chose to sidestep or ignore conflicts to control his rage and avoid upsetting his father. However, in this instance, he confronts the conflict directly. Tomi articulates himself calmly and rationally, revealing a significant shift. The stranger‘s hate and anger no longer impact him, showcasing vital character growth.