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Mono ieba kuchibiru samushi aki no kaze. In an English translation of this Japanese proverb: It is better to leave many things unsaid. Silence is a vital part of Japanese culture. Most Japanese feel more comfortable and at ease when there is less talk and more pauses in a colloquy. They tend to avoid eye contact and indicate attention with a mere nod. In contrast, most North Americans become unnerved with long periods of silence, and are taught to keep eye contact when speaking with others. In Obasan, Naomi is torn between the two cultures she lives in. Her aunt Obasan strictly abides with the “rules” of Japanese culture, never bringing up the past. However, Naomi’s need to speak about the past grapples with her loyalty to her family and culture, as shown on page 267: “Gentle Mother, we were lost together in our silences.”

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Naomi shows that she cares deeply for and loves both aunts abundantly. The tension built around Aunt Emily and Obasan yanks Naomi into a tug of war between them. Her struggle to comprehend her past, and the value of remembering or forgetting are propelled by the magnetic pull of each Aunt. Obasan’s refusal to speak about the past diminishes Naomi’s ability to accept the events which shaped her life. This is illustrated as Naomi describes her aunt: “Over the years, silence within her small body has grown large and powerful.” (Kogawa 14) Simultaneously, Aunt Emily is depicted as extremely outspoken and energetic. “We have to deal with all this while we remember it.” (Kogawa 38) Aunt Emily demonstrates strength by protesting the rights of the Japanese people, as shown on page 37: “There’s no strength in seeing all sides unless you can act where real measurable injustice exists.” Meanwhile, Obasan draws strength from inside, as she willingly looks after Naomi and Stephen without objection, continuing to keep her emotions hidden away.

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“There is a silence that cannot speak. There is a silence that will not speak.” (Kogawa Prologue).  Silence is a foundation of the novel Obasan, shielding characters from their own emotions.The silence is both physical and emotional.  Naomi hides from her past by repressing the feelings and memories she has within herself. Her emotions appear to be opaque to both the reader and herself. Her silence originates from her childhood trauma, as well as encouragement from relatives to remain quiet. She struggles to accept the events which shaped and destroyed her life. Naomi seems torn between her interest in the past and her idea that remembering the past will harm her. She slowly comes to terms with the past, gradually revealing what happened.

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Aunt Emily is the lively spark that turns the small flame into a burning fire. She is the voice, while the others are the silence, insisting that “We have to deal with all this while we remember it. If we don’t we’ll pass our anger down in our genes. It’s the children who’ll suffer,” (Kogawa 38) She is completely at ease discussing and remembering the past, always protesting the cruelty of the treatment they endured. She can be blunt at times, sometimes having a difficult time realizing the challenge it is for her family to recall the past. However, it is clear she loves her family and is constantly trying to get them to stand up for themselves.

Obasan Chapters 1-13: Character Sketch

Character Sketch: Aunt Emily

Opinions, Actions and Motives
- Energetic
- Strong-willed
- Comfortable voicing opinion → “Talking to Aunt Emily was quite like a minefield, I never knew when she would explode” (Kogawa 36)
- "Wherever the words "Japanese race" appeared, Aunt Emily had crossed them out and written "Canadian citizen"." (Kogawa 34)
- Wants to accept and understand past → contrast to Naomi and Obasan
- “She’s one of the world’s white blood cells, rushing from trouble spot to trouble spot” (Kogawa 35)
- “For her, injustice done to us in the past was still a live issue” (Kogawa 35)

The Taming of the Shrew: Blog Post 1: Literature Web

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The relationship between Kate and Petruchio is very forceful, as both characters seem to be pushing each other emotionally, verbally, and sometimes, physically. ‘Petruchio: What with my tongue in your tail? Nay, come again. Good Kate, I am a gentleman– Kate: That I’ll try. She strikes him.’ (Act 2 Scene 1 Line 215). Petruchio then tricks Baptista into thinking Kate and he are madly in love, and makes plans for their upcoming wedding, despite a lack of Kate’s agreement on the matter. Soon, Petruchio’s demeanor seems to take a turn for the worse, as he becomes unpleasant to everyone around him, including Kate, in contrast to his earlier doting behavior towards her. This is an example of dramatic irony, as the audience is aware of his deeper intentions to “curb her mad and headstrong humour.” (Act 4 Scene 1 Line 191)