Literary Analysis: Hotel on the Corner of Bitter and Sweet as a Historical Fiction Essay

In Jamie get acrosss historic assemblyalization Hotel on the box seat of Bitter and seraphic, this split narrative focuses on two successions 1942 and 1986. Within these eras, interbreedings apologue focuses on a Chinese boy, total heat Lee, and what it was like to grow up in the international district with mischief everywhere, especi whollyy in his protest family being a first genesis American. His reinvigorated tells the level of total heat, as well as a Japanese girl by the name of Keiko.The young tells the story of these two materialisation friends and the hardships faced when the government sends Keiko and her family away to the Japanese internment camps in the northwestern United States in the 1940s. His novel displays the effects of the prejudice held once against the Japanese during the 1940s war meter, and the effects it had on the lives of non only those Japanese, however also all Americans, Chinese and other nationalities. We use Anne Scott MacLeods audition Rewriting History as a frame crop while reading cut acrosss Hotel on the deferral of Bitter and Sweet. Rewriting History is a persuasive essay giving criteria of a good historic Fiction vs. hopeless diachronic Fiction.This essay focuses on three of MacLeods criteria for a good Historical Fiction not rewarding revolt, not good-hearted to modern sensibilities, and not overcoming tender mores easily. Fords novel Hotel on the Corner of Biter and Sweet successfully meets MacLeods requirements for a good historical fiction in m whatsoever ways, although, there are some flaws in a jibe of his historical facts, nevertheless, the good historical facts and information in Hotel on the Corner of Bitter and Sweet out ways the few historical flaws. start-off of all, Ford nocks sure to give henry consequences to his rebellious acts something MacLeod says many bad historical fictions do not do, they only reward with happy endings. Secondly, Ford uses racial discriminations that wo uld fork up been used back in the 1940s other thing MacLeod says that bad historical fiction moderates to, making it non-offensive and politically place for the readers. In addition, heat content does not easily overcome the social mores of 1942 again something MacLeod says that bad historical fiction makes it seem easy to overcome the social mores of the era.First of all, meeting MacLeods criteria for a good historical fiction, Fords novel does not make overt rebellion seem nearly painless and nearly always successful. Ford displays this when Keiko is taken away total heat keeps some of her belongings safe on a lower floor his dresser, as well as when atomic number 1 sneaks into two different Japanese internment camps searching for Keiko. Though this rebellion seems rewarded at first, as we concern reading we see how, by going to the internment camps and keeping Keikos belongings, Henry unknowingly starts a chain of events leading to one, giant consequence.Because Henry ke eps Keikos belonging, and later writes her letters, his mother finds out and tells Henrys receive. Henry comes home one day and finds his parents at the kitchen table waiting for him with all of Keikos pictures spread all over the table. Because of this, Henrys father gives him a choice walk out the door and no yearlong be part of the family or stay and forget about Keiko. In the end Henry chooses to follow his heart and leaves his family (182-185). This forever affects the family relationship surrounded by Henry and his father, even on his fathers deathbed.Secondly, according to MacLeods standard, Fords novel is a good historical fiction by not appealing to modern sensibilities, so that protagonists experience their own societies as though they were time-travelers, noting racism, sexism, religious bigotry, and outmoded beliefs as outsiders, not as people of and in their cultures. Ford uses dialect in his novel consisting of racial slurs and comments that would have been used b ack in the 1940s. Ford doesnt accommodate to readers by making the nurse non-offensive or politically correct.Ford makes the book historically correct as possible. Thirdly, by MacLeods criteria, Fords novel is a good historical fiction by not seting aside the social mores of the past as though they were minor afflictions, meek obstacles, easyand painlessfor an independent mind to overcome. This is displayed near the scratch line of the book after Chaz, the bully, snatches Henrys I am Chinese pin off of his shirt. While walking away Keiko tries to grab Henrys hand for comfort, but he pushes it away thinking, My father would take over dead And in town, someone would see us (23).Ford made the transition of Henry opening up to Keiko take time they didnt become immediate friends. Ford makes sure to make the relationship amidst Keiko and Henry plausible. They both are scholarshipping at an all-white school and met working(a) in the school kitchen, as payment for scholarshipping. The ir connection is somewhat immediate, unless their relationship progresses slowly.Fourthly, according to MacLeods standard, Fords novel is a good historical fiction by not omitting the less cunning pieces of the past to make . . . arratives meet current social and political preferences. The 1940s for the Japanese-Americans were dark times Hotel on the Corner of Bitter and Sweet does anything but omit these facts. From the harsh realities of the hatred between the Chinese and the Japanese displayed between Henrys father, Henry, and Keiko, to the removal of the Japanese, Fords novel spares no less attractive piece of the past to make this novel appealing to the average human in this generation. Ford makes sure to put historical fact ahead of the appealing storys fiction.Lastly, Fords novel is a good historical fiction, by MacLeods criteria, because It does not imply that people of another time either understood or should have understood the cosmos as we do now. Though Henry and Keik o had an unusual relationship that most Chinese and Japanese children in the 1940s wouldnt have had, it isnt entirely implausible. Think of it like this The world is always changing, so how does it change? Someone has to be the one to make those changes happen. We dont have the same view of the Japanese, or any race for that matter, that we did in past generations.So again, what changed? Obviously Fords novel is under the category of fiction and the actions of Henry didnt have this amazing effect of the 1940s that changed accounting forever However, someones actions, somewhere in the 1940s, affected history. This fact makes the relationship between Henry and Keiko, as well as Fords novel as a whole, historically plausible. In conclusion Fords novel has an overwhelming amount of evidence backing up the hypothesis that his novel is a good work of historical fiction by MacLeods standard.Though the end of the novel rewards you with a cheesy, sappy love story ending, something slightly implausible, Ford does his best he can to keep the history in this historical fiction factual and true. Over all this novel is a highly plausible, and by MacLeods criteria, a good work of Historical Fiction. Fords novel is also a monitor lizard of the injustice against the Japanese-Americans during the wartime of the 1940s and cautions us to never let ourselves as a people treat anyone we see as different with the prejudice we so easily treated the Japanese with.