Seen and Unseen
What Dorothea Lange, Toyo Miyatake, and Ansel Adams's Photographs Reveal About the Japanese American Incarceration
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- $14.99
Publisher Description
Winner of the Robert F. Sibert Informational Book Medal
Winner of the BolognaRagazzi Award for Photography
Named a Best Book of the Year by Booklist, Kirkus Reviews, School Library Journal, New York Public Library, Chicago Public Library, and others.
★ "This arresting work brings history to vivid life." —Kirkus Reviews, starred review
★ "[An] exquisitely crafted, fiercely provocative work of nonfiction." —BCCB, starred review
"Ingeniously designed." —The New York Times
This important work of nonfiction features powerful images of the Japanese American incarceration captured by three photographers—Dorothea Lange, Toyo Miyatake, and Ansel Adams—along with firsthand accounts of this grave moment in history.
Three months after Japan attacked Pearl Harbor in 1941, US President Franklin D. Roosevelt ordered the incarceration of all Japanese and Japanese Americans living on the West Coast of the United States. Families, teachers, farm workers—all were ordered to leave behind their homes, their businesses, and everything they owned. Japanese and Japanese Americans were forced to live under hostile conditions in incarceration camps, their futures uncertain.
Three photographers set out to document life at Manzanar, an incarceration camp in the California desert:
Dorothea Lange was a photographer from San Francisco best known for her haunting Depression-era images. Dorothea was hired by the US government to record the conditions of the camps. Deeply critical of the policy, she wanted her photos to shed light on the harsh reality of incarceration.
Toyo Miyatake was a Japanese-born, Los Angeles–based photographer who lent his artistic eye to portraying dancers, athletes, and events in the Japanese community. Imprisoned at Manzanar, he devised a way to smuggle in photographic equipment, determined to show what was really going on inside the barbed-wire confines of the camp.
Ansel Adams was an acclaimed landscape photographer and environmentalist. Hired by the director of Manzanar, Ansel hoped his carefully curated pictures would demonstrate to the rest of the United States the resilience of those in the camps.
In Seen and Unseen, Elizabeth Partridge and Lauren Tamaki weave together these photographers' images, firsthand accounts, and stunning original art to examine the history, heartbreak, and injustice of the Japanese American incarceration.
AWARENESS OF AMERICAN HISTORY: This impactful book engages with an underrepresented topic in American history, and highlights important and timely themes like primary sources, censorship, and visual literacy.
SUBSTANTIAL BACKMATTER: Featuring eighteen pages of backmatter, including an Author's and Illustrator's Note, footnotes, photo credits, biographies of each photographer, and more.
PUBLISHERS WEEKLY
Combining photography, art, and reproduced historical records for a documentarian effect, this thoughtful, immersive nonfiction narrative builds on the varied work of three individuals who photographed people of Japanese heritage imprisoned at Manzanar during WWII. Dorothea Lange, who worked for the War Relocation Authority in 1942, hoped to "show what the government was doing was unfair and undemocratic," but faced limitations around what she was allowed to frame, and saw many of her images impounded. Toyo Miyatake, imprisoned at Manzanar from 1942 to 1945, secreted in a film holder and camera lens, capturing candid images and seeking to "record everything." Ansel Adams, who "had not been against the incarceration" and photographed the prison camp in 1943, "didn't want to show anything that made Manzanar look like a hard place to live." In smartly contextualized prose, Partridge (Lange's godchild), layers brief first-person accounts and facets of imprisonment, including language used to describe the U.S. government's actions. In fluid lines, Tamaki's mixed media artwork illustrates the events, including the Manzanar Riot—for which "there would be no photographic record." Extended back matter, including an essay on the model minority myth, concludes this crucial, perspective-interested work. Ages 10–14.
