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Toyo Miyatake Manzanar Stories

The week after Trump won the presidential election, I attended an Asian American community meeting in Manhattan where one of the attendees told me the following story. The day after the election, he ran into a senior partner at his work, jubilant about the results. Now, the older man said, we can finally round up the gays, the Muslims, and the immigrants. Shocked by this brazen declaration, my new acquaintance pointed out that he was gay himself, and the children of immigrants. When he returned to his office, he saw an email. It was not an apology. The partner wrote that Korematsu v. United States—the 1944 Supreme Court decision justifying the Japanese American prison camps—was still good law.

This senior partner wasn’t alone. I remember waiting for a flight at an airport and watching Fox News pundits suggest that the prison camps provided a precedent for us to register and imprison Muslims. Then ICE started taking children who had traveled across the border and throwing them in Fort Sill in Oklahoma, which once imprisoned some seven hundred Japanese Americans. I thought the camps were ancient history, an Asian American friend bemoaned to me at a coffee shop. But they weren’t.

In 1942, Toyo Miyatake left his studio in Los Angeles’s Little Tokyo andprohibited, so Miyatake snuck in a lens and fashioned a wooden box into a body for his surreptitious camera. “As a photographer, I have a responsibility,” he told his teenage son Archie. “I have to take all the pictures in Manzanar to keep a record of what’s going on here.”

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