Cho, Sungran. “Adieu: The Ethics of Narrative Mourning—Reading Nora Okja Keller's Comfort Woman.” Studies in Modern Fiction 10.1 (2003): 89–104. Chu, Patricia P. “'To Hide Her True Self': Sentimentality and the Search for an Intersubjective Self in Nora Okja Keller's Comfort Woman.” In Asian North American Identities: Beyond the Hyphen, ed. Eleanor Ty and Donald C. Goellnicht. Bloomington: Indiana University Press, 2004. 61–83. Chuh, Kandice. “Discomforting Knowledge: Or A powerful book about mothers and daughters and the passions that bind one generation to another.” —Michiko Kakutani, The New York Times “A beautiful first novel, lovingly written and lovingly told. Comfort Woman speaks eloquently
for.everyone who tries to imagine a parent's past, who tries to piece together a history that involves as much the dead as it does the living. Told with great grace, poetry and, yes, even humor, Nora Okja Keller has honored her ancestors and her readers Okja was furious.Sheyelled, “You call us unpatriotic? We giveour lives every day in thiscontemptible factory! Our wages are hardlyenough to live on. We work in jeopardy of being hurt or even killed. I thought you were a unionman! Who do you workfor?” Severalother girls also beganto yell and screamthreats atthe man. He departed quickly backinto the shelter of the company's office. The women were incensed. They marched to thedoor where he hadgone in and shouted a
demand Narita.walked into the factory, the girls somehow always knew when he had come by the house. Mother looked at Okja, but her mind was elsewhere. After what seemed like a long time, she said, “Captain Narita has threatened to take you girls away. He said you did not produce enough socks, but you cannot possibly do any more! I should have been out here with you. What am I going to do, Okja? I better tell the girls . . . I want you to hide. I don't want any of you to come here anymore.Keller, Nora Okja. Comfort Woman. New York: Penguin, 1997. _____. Fox Girl. New York: Penguin, 2002. Kim, Elaine H. “Defining Asian American Realities through Literature.” The Nature and Contexts of Minority Literature. Eds. Abdul
JanMohammed.and David Lloyd. New York and Oxford: Oxford University Press, 1990. 146–70. Kingston, Maxine Hong. “Cultural Misreadings by American Reviewers.” Asian and American Writers in Dialogue: New Cultural Identities. Ed. Guy PLOT SYNOPSIS Nora Okja Keller's Fox Girl charts the development of Hyun Jin, a Korean girl, from age six to early adulthood as she grows up in the aftermath of the Korean War. Selfconscious because of a prominent facial birthmark, Hyun Jin has compensated for this imperfection by being the top student in her class and by lording her academic successes over her less gifted classmates. Hyun Jin takes special pride also in the fact that her mother and father own a business and Okja. Keller. W.
ith.the birth of her only child, a daughter, my mother pulled jewels out of thin air, giving me a name that translates as "the Brilliance of Diamonds." "I wanted to give you prosperity," she explained, "something that my family couldn't give to me." My mother's family is dead, her parents from tuberculosis, her brothers from disownment. She renounced both the older and the younger brother when she "married" my American father. But they were the ones that broke into her Nora Okja Keller. VIKING Published by the Penguin Group Penguin Putnam Inc., 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Books Ltd, 80 Strand, London WC2R 0RL, England Penguin Books Australia Ltd, 250
Camberwell.Road, Camberwell,Victoria 3124, Australia Penguin Books Canada Ltd, 10 Alcorn Avenue, Toronto, Ontario, Canada M4V 3B2 Penguin Books (N.Z.) Ltd, Cnr Rosedale and Airborne Roads, Albany, Auckland, New Zealand Penguin Books Ltd When she wasn't delivering babies, Okja minded the children of the neighborhood women who worked in the factories and markets. This delivery was no trouble at all. The boy was long and well shaped, and the labor, as terrifying as it might have been for the new mother, was brief, and thankfully for the midwife, the baby didn't arrive in the middle of the night but only in time to interrupt her making dinner. Sister Okja hoped her daughterinlaw, who lived with them, hadn't burned
the Streams.running into rivers and rivers running into the Pacific Ocean symbolize the interconnectedness of sexism, racism, classism, and capitalism in Korea and in the United States. Keller's ecofeminist aesthetics challenges the nationstate as representational logic and endorses instead a planetary vision. Notes 1. Nora Okja Keller, Comfort Woman (New York: Penguin, 1997), 22. Hereafter cited parenthetically within the text. 2. YoungOak Lee, “Nora Okja Keller and the Silenced