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Winter 2007 palpable reminder of vulnerability and victimization, the Vietnam photos obliterated empathy. Kaikî believed that extreme modes of spectatorship breeds voyeuristic looking. Readers seeing photographs of Japanâs aggression in Asia, as if for the first time, saw them without empathy, without identification, in the mode of consumption. No doubt Kaikî should trouble us, too. Our gaze is presently fixed on Abu Ghraib, while evidence of killings in Vietnam, Chile, Indonesia, and Palestine are reduced to nothing. The epistemic privilege of the spectator, Suttmeier reminds us, obliterates the past, naturalizing it and political responsibilities. This theme of how we are made carries over into Shu Kugeâs scrutiny of the bereft category âwoman writersâ in Tamura Toshikoâs stories. In his âPolitics of Doodling: Tamura Toshikoâs âA Woman Writer,â â Kugeâs premise is that writing never represents a self but rather either engages selves already ideologically predicated or crafts partial, abject ones. Because Tamuraâs short stories, and particularly her âA Woman Writer,â focus on the refusal of writers to stay within the lines, to produce on a regular schedule to assume the burden of secondariness and substitute doodling for work, Kuge asserts that Tamura is primarily a political writer. Tamura
positions asia critique – Duke University Press
Published: Dec 1, 2007
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