acknowledgments
I’d like to thank my family for all their inspiration and support over the years:
Joung-ja Kawashima, my loving mother; and Kimi Kawashima, my Supreme
Sistah. Most of all, I would like to dedicate this book to the memory of my
father, Fujiya Kawashima, who taught me a great deal about Japan, Korea,
history, and art.
I count myself as one of the lucky ones to have known and worked with
historian Harry Harootunian for such a long time. He’s been an intellectual
inspiration since my undergraduate days at the University of Chicago, and he
has guided my studies, research, and thinking in a thousand and one ways
ever since. This book simply could not have been written had it not been for
his tireless support and intellectual companionship.
Katsuhiko Mariano Endo has saved my life more than once in addition
to enlightening me with the Þner points of Uno K�z�’s methodology; and
Rebecca Karl has been a one-in-a-million teacher and friend since my days
at nyu. I’d like to also thank Hyun Ok Park, Bill Haver, Louise Young, Sabu
Kohso, Bruce Cumings, Tets Najita, Tak Fujitanti, Matsumoto Takenori,
Nagahara Yutaka, Higuchi Yuichi, Oki Kosuke, Sato Takashi, Adachi Mariko,
Jesook Song, Andre Schmid, Ritu Birla, Kanishka Goonewardena, Gavin
Smith, Atsuko Sakaki, Eric Cazdyn, Janice Kim, Robert Albritton, Shivrang
Setlur, C-Murda Vernon, Olga Fedorenko, and Sun-young Yang. Lastly, Sugar
Brown expresses musical thanks to Rockin’ Johnny Burgin, Taildragger, Dave
Waldman, Sho’nuff Sho, Suzuki Sue, Watanabe Satoshi, Noma Ichiro, Samm
Bennett, Haruna Ito, Paul Dutton, Dr. Feelgood, The Wolf of Nitouk, and Bob
Vespaziani.
I originally completed the archival research for this project between 1998
and 2000 at the Ohara Institute for Social Problems (H�sei University), where
Suzuki Akira, Sadamori-san, and Iida-san were especially kind and helpful
to me. Generous research grants from the Fulbright Foundation and H�sei
University’s International Fellowship made that research possible.
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