No-No Boy

by John Okada

A return to Seattle after wartime incarceration

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AlbakiReads Editorial

A return to Seattle after wartime incarceration

Set in the aftermath of World War II, John Okada’s novel follows Ichiro Yamada as he returns to Seattle after serving two years in prison. During the war, he answered “no” to questions about military service and allegiance to the United States, a decision made while he and his family were incarcerated. Homecoming brings conflict with his family and community, placing personal loyalty, belonging, and the consequences of wartime choices at the center of the book. The novel’s focus on a Japanese American experience connects an individual’s struggle to a wider community confronting the effects of incarceration and the demands of national allegiance.

Good fit for readers who enjoy

  • Readers interested in Japanese American experiences during and after World War II
  • Readers seeking fiction about family, community, belonging, and wartime choices

Themes

Japanese American experienceWartime incarcerationAllegiance and belongingFamily and community conflict

Based on publisher information and book metadata.

Book overview

"No-No Boy has the honor of being among the first of what has become an entire literary canon of Asian American literature," writes novelist Ruth Ozeki in her new foreword. First published in 1957, No-No Boy was virtually ignored by a public eager to put World War II and the Japanese internment behind them. It was not until the mid-1970s that a new generation of Japanese American writers and scholars recognized the novel's importance and popularized it as one of literature's most powerful testaments to the Asian American experience.

No-No Boy tells the story of Ichiro Yamada, a fictional version of the real-life "no-no boys." Yamada answered "no" twice in a compulsory government questionnaire as to whether he would serve in the armed forces and swear loyalty to the United States. Unwilling to pledge himself to the country that interned him and his family, Ichiro earns two years in prison and the hostility of his family and community when he returns home to Seattle. As Ozeki writes, Ichiro's "obsessive, tormented" voice subverts Japanese postwar "model-minority" stereotypes, showing a fractured community and one man's "threnody of guilt, rage, and blame as he tries to negotiate his reentry into a shattered world."

The first edition of No-No Boy since 1979 presents this important work to new generations of readers.

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