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DISCORDANT
MEMORIES

ATOMIC AGE ALISON FIELDS

NARRATIVES AND
VISUAL CULTURE
 D I SCO R DA N T M E M O R I E S

Q7630-Fields.indb i 11/21/19 11:01 AM

Q7630-Fields.indb ii 11/21/19 11:01 AM
 D ISCOR DA N T
MEMO R I E S
ATOMIC AGE NARRATIVES
AND VISUAL CULTURE

Alison Fields

University of Oklahoma Press : Norman

Q7630-Fields.indb iii 11/21/19 11:01 AM

 This book is published with the generous assistance of The McCasland Foundation,
Duncan, Oklahoma.

Chapter 2 was originally published as “Narratives of Peace and Progress: Atomic

Museums in Japan and New Mexico,” American Studies Journal 54, no. 1 (2015):
53–66. It is used here by permission.

Library of Congress Cataloging-in-Publication Data

Names: Fields, Alison, 1979– author.
Title: Discordant memories : atomic age narratives and visual culture / Alison
Fields.
Other titles: Atomic age narratives and visual culture
Description: Norman : University of Oklahoma Press, [2020] | Includes biblio-
graphical references and index. | Summary: “An exploration of the ongoing
memories of the atomic bombings of Hiroshima and Nagasaki, as well as the
legacies of nuclear weapons production and testing.”—Provided by publisher.
Identifiers: LCCN 2019030990 | ISBN 978-0-8061-6459-5 (hardcover)
Subjects: LCSH: Atomic bomb—History. | Atomic bomb victims—Japan—
Hiroshima-shi. | Atomic bomb victims—Japan—Nagasaki-shi. | Atomic bomb—
Public opinion. | Nuclear weapons—Moral and ethical aspects. | Hiroshima-shi
(Japan)—In art. | Nagasaki-shi (Japan)—In art.
Classification: LCC UG1282.A8 F54 2020 | DDC 940.54/2521954—dc23
LC record available at https://lccn.loc.gov/2019030990

The paper in this book meets the guidelines for permanence and durability of
the Committee on Production Guidelines for Book Longevity of the Council on
Library Resources, Inc. ∞

Copyright © 2020 by Alison Fields. Published by the University of Oklahoma

Press, Norman, Publishing Division of the University. Manufactured in the U.S.A.

All rights reserved. No part of this publication may be reproduced, stored in a

retrieval system, or transmitted, in any form or by any means, electronic, mechan-
ical, photocopying, recording, or otherwise—except as permitted under Section
107 or 108 of the United States Copyright Act—without the prior written permis-
sion of the University of Oklahoma Press. To request permission to reproduce
selections from this book, write to Permissions, University of Oklahoma Press,
2800 Venture Drive, Norman, OK 73069, or email [email protected].

1 2 3 4 5 6 7 8 9 10

Q7630-Fields.indb iv 11/21/19 11:01 AM

 For Asher

Q7630-Fields.indb v 11/21/19 11:01 AM

Q7630-Fields.indb vi 11/21/19 11:01 AM
 CONTENTS

List of Illustrations ix

Acknowledgments xi

Introduction: Remembering the Atomic Bomb across Space

and Time 3

PA R T I . Disrupting Official Narratives

C H A P TE R 1 . Embodied Memory: The “Hiroshima Maidens” 27

C H A P TE R 2. Narratives of Progress and Peace: Atomic Museums in Japan

and New Mexico 55

PA R T I I . Shaping Testimonies
C H A P TE R 3 . Language and Survival: Writing about Hiroshima 83

C H A P TE R 4. Personal Testimonies: Creating Archives of Memory 102

PA R T I I I . Visualizing Nuclear Legacies

C H A P TE R 5 . The Atomic Photographers Guild: Witnessing Nuclear
Legacies 129
C H A P TE R 6. Memory and Diné Cultural Survival in Postapocalyptic
Landscapes 171

Conclusion: Paper Cranes and Uncontained Memories 194

Notes 201

Selected Bibliography 221

Index 229

Q7630-Fields.indb vii 11/21/19 11:01 AM

Q7630-Fields.indb viii 11/21/19 11:01 AM
 ILLUSTRATIONS

Plates

1. Patrick Nagatani, Effects of Nuclear Weapons, Bradbury Science Museum,

1990 141
2. Hiroshima Peace Memorial Museum, Hiroshima, Japan 142

3. “Selfie Station,” Bradbury Science Museum, Los Alamos, New

Mexico 143
4. “The Bones of a Hand in Glass,” Nagasaki Atomic Bomb Museum,
Japan 144
5. National Museum of Nuclear Science and History, Albuquerque,
New Mexico 145
6. Shinpei Takeda, Hiroshima Nagasaki Download, 2010 146
7. Shinpei Takeda, Alpha Decay 1, installation at CECUT, Tijuana,
Mexico 147
8. Shinpei Takeda, Alpha Decay 3, Phonology of U238 and Pu239,
Mexico City, 2013 148
9. Shinpei Takeda, Beta Decay 5, Nagasaki Art Museum, 2015 149

10. Ishiuchi Miyako in Things Left Behind, 2012 150

11. Patrick Nagatani, Trinity Site, Jornada del Muerto, New Mexico,
1989 151
12. Patrick Nagatani, B-36/Mark 17 H-Bomb Accident (May 22,
1957) 152
13. Patrick Nagatani, Generation to Generation 153

14. Will Wilson, Auto Immune Response 6, 2005 154

15. Nanobah Becker, The 6th World, 2012 155

16. Children’s Peace Monument, Hiroshima, Japan 155

17. Children’s Peace Statue, Albuquerque, New Mexico 156

ix

Q7630-Fields.indb ix 11/21/19 11:01 AM

 I L L U S T R AT I O N S

Figures

1.1. “Japanese Nurse Greets ‘Hiroshima Maidens’” 44

1.2. “Nurse Serving Lunch to Patient,” October 27, 1955 45

1.3. “Japanese Atomic Bomb Survivors,” June 12, 1956 50

6.1. Will Wilson, Auto Immune Response 1, 2004 177

6.2. Will Wilson, Auto Immune Response 2, 2005 180

6.3. Will Wilson, Auto Immune Response 3, 2005 181

Q7630-Fields.indb x 11/21/19 11:01 AM

 ACKNOWLEDGMENTS

THIS PROJECT DEVELOPED over nearly fifteen years, and many people
helped to guide the final product. My research grew out of Gerald Vize-
nor’s 2005 course, The Atomic Bomb: Los Alamos to Hiroshima, which
I took as a doctoral student in American studies at the University of New
Mexico. Gerald became a cochair of my dissertation committee, and his
courses and consultation heavily influenced my thinking about trauma,
reconciliation, human rights, and the atomic bombings. My other dis-
sertation cochair was Amanda Cobb-Greetham, whose example as a
scholar and teacher greatly shaped my academic path. I am thankful for
Amanda’s continued mentorship and friendship throughout our shared
editorial work and now as colleagues at the University of Oklahoma. I
also benefited from working with committee members Rebecca Schrei-
ber and Joyce Szabo, particularly in shaping my work in visual culture
and art history.
Discordant Memories was supported and sustained by several special-
ized research and teaching opportunities. In 2010, I received a Univer-
sity of Oklahoma Junior Faculty Fellowship, which allowed me to travel
to Hiroshima and Nagasaki. In 2013, I served as a visiting scholar at
the Doel Reed Center for the Arts in Taos, New Mexico, to support the
course The Nuclear Bomb and the Land of Enchantment. In 2016, I
co-taught Nuclear Legacies, an OU Presidential Dream Course, with his-
tory professor Elyssa Faison. Guest lecturers in this course included Ran
Zwigenberg, Shinpei Takeda, Linda Hoaglund, and Will Wilson, who all
directly influenced this project. In 2018, I participated in the Tech and
the West symposium in conjunction with the Santa Fe Opera’s produc-
tion of Doctor Atomic. Each of these opportunities sparked new collabo-
rations and added layers to my consideration of the atomic bombings.
Finally, financial support was provided from the Office of the Vice

xi

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 ACKNOWLEDGMENTS

President for Research, University of Oklahoma, which helped me bring

this book to publication.
As a faculty member, I have benefited tremendously from support-
ive and inspiring colleagues. I am indebted to my faculty mentor, Jack-
son Rushing, whose constant support infused every stage of this project.
His guidance, patience, and friendship are invaluable. I am thankful to
Elyssa Faison for her generous collaboration, to Amanda Minks for her
helpful advice, to Pete Froslie for his supportive friendship, and to my
colleagues and administrators in the OU School of Visual Arts. At the
OU Press, I am especially appreciative of former press director and art
historian Byron Price for his ongoing encouragement, and of former
acquisitions editor Kathleen Kelly for her frank and timely feedback in
guiding this project to a conclusion. The thoughtful recommendations
of three peer reviewers also strengthened the final manuscript.
Family members, friends, and caregivers made it possible to continue
pursuing this project over many years. I am grateful to Kari Czypinkski
and Steve Smith, and Kate Vincent and Noah Boone for providing lov-
ing, trustworthy child care. I have been very fortunate to have the sup-
port of my family, especially my parents, Allen and Linda Fields, who
have always shown their unwavering belief in me. Finally, I would like to
sincerely thank Ken Marold, who lived with this project through its many
iterations, and my son, Asher, who placed everything in my life in a new
perspective.

xii

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 D I SCO R DA N T M E M O R I E S

Q7630-Fields.indb 1 11/21/19 11:01 AM

Q7630-Fields.indb 2 11/21/19 11:01 AM
 INTRODUCTION
REMEMBERING THE ATOMIC BOMB
ACROSS SPACE AND TIME

The memories about the bomb were not about some far-away place, a
long time ago. The memories live on, in Japan and in numerous differ-
ent countries in the world, just as the threat of nuclear weapons contin-
ues to live on for all human beings.
—Shinpei Takeda, visual artist and filmmaker

These memories are still happening. They cannot be assigned dates or

limits, which are not their own. They test the alienating slumber of tradi-
tion, the exclusions of national communities, and call us to remember
at life’s boundaries—to rethink the boundaries.
—Kyo Maclear, author

O N AU G U S T 1 3 , 2 0 1 5 ,
to coincide with the seventieth anniversary of
the atomic bombings of Hiroshima and Nagasaki, Japanese visual artist
and filmmaker Shinpei Takeda and cultural anthropologist Ryuta Ima-
fuku led a group of thirty-three participants from the United States and
Japan on a “Monument to Antimonument” walking tour in Nagasaki.
Beginning at the Nagasaki National Peace Memorial Hall for the Atomic
Bomb Victims and moving on to well-known sites of atomic destruction
including the Hypocenter Park, the Peace Park, and the Urakami (or
Immaculate Conception) Roman Catholic Cathedral, the tour con-
cluded at Takeda’s Antimonument exhibition at the Nagasaki Prefectural
Art Museum. The Antimonument title was selected not as a rejection of
monuments themselves, but rather as a call to move beyond distancing
representations of the past and toward engaging with traumatic histo-
ries in the present day. The expansive three-part Antimonument display
occupied three rooms; one room played Takeda’s 2011 documentary,

Q7630-Fields.indb 3 11/21/19 11:01 AM

 D I S C O R DA N T M E M O R I E S

Hiroshima Nagasaki Download, a product of his interviews with eighteen

bombing survivors now living in North America. After completing this
film, part of a broader effort to document the personal testimonies of
survivors in the Americas, Takeda translated the emotional impact of
listening to these narratives into abstract visual art. The second room in
the exhibition contained an installation from his Alpha Decay series, with
vertical banners featuring the voiceprints of survivors’ testimonies. An
accompanying video showed Takeda, dressed in a white radiation suit,
repetitively drawing these audio waves. Finally, creating an auditory jum-
ble, recordings of overlaid survivor testimonies played in the space. The
third room featured Takeda’s Beta Decay 5, an immense (approximately
13′ × 16′ × 39′) string structure. The structure’s soft, flexible materi-
als counter the solid concrete and metal of the peace parks, and the
multitude of strings represents the many individual experiences of the
bombings. Antimonument, the first exhibition at a Nagasaki art museum
to address the atomic bombings, engages the challenges of witnessing at
the time and of extending memories of the bombings into the present
and future.
Although monuments are constructed to provide a resolution of the
past in physical form, they often have the effect of freezing memories in
time and reinforcing official narratives of healing and closure. Broadly,
this form of remembrance does not acknowledge the ongoing nature of
trauma and the complicated, and sometimes suppressed, testimonies of
individual survivors. As Takeda reflects, “When we make monuments,
we wash our hands of these stories. We leave flowers, say a prayer, and
you are done.”1 Takeda’s Antimonument exhibition helps to address two
questions: What expressions of public memory would allow open, diffi-
cult discourses that give credence to survivor testimonies? And, how can
forms of remembrance not only commemorate the past but face present
realities and future possibilities? By representing survivor testimonies in
new ways, Takeda takes steps to disrupt the fixed nature of monumental-
ized history.2 Takeda, who was born in Osaka in 1978 and went on to live
in Germany, the United States, and Mexico, grew up feeling distanced
from the historic bombings. Through his work, he has striven to achieve
empathy and connection with seemingly incomprehensible experiences,
to channel the emotional weight of listening to painful personal testimo-
nies, and to consider the limits and possibilities of serving as a witness to

Q7630-Fields.indb 4 11/21/19 11:01 AM

 INTRODUCTION

the bombings more than seventy years later. However, he recognizes that
these testimonies are challenging for both the speaker and the listener.
In line with his Antimonument philosophy, Takeda was dissatisfied
with the static nature of his exhibition space and wished to mobilize his
audience through the walking tour. During the tour, Takeda and Ima-
fuku provided minimal commentary and instead encouraged personal
reflection. Each participant received a tangled ball of dyed wool yarn,
of the same sort used in the Beta Decay installation, and was encour-
aged to unravel the yarn and wrap up objects, ranging from seashells to
pinecones, found along the way. The group moved at differing paces,
stopping together at only two sites before reaching the exhibition. At
the former house of Ms. Moto Watanabe, the group gathered at a stor-
age space where stained glass and the head of a damaged Virgin Mary
statue were recovered after Watanabe’s death in 2000. The artifacts were
thought to be from the Urakami Cathedral, located near the hypocenter
and destroyed in the bombing, then rebuilt in 1959.
At the next stop, the Nagasaki University School of Medicine, the
group examined glass jars containing the internal organs of atomic
bomb victims, and Imafuku commented on the legacies of U.S. medical
research in Japan.3 The walking tour did not privilege any one site, and
for Takeda the point was the process of moving between differing forms
of memory—from the center to the fringes, from realism to abstraction,
from the public to the private.4 Through this movement memories of the
bombing remain active, with the vitality to evolve over time.
Embedded in this walking tour were important considerations of
how memories of the atomic bombings are expressed. First, remem-
brances in Hiroshima and Nagasaki are site-specific, emanating from the
highly sacralized zones surrounding the bombs’ hypocenters and the
subsequent peace memorial parks. The testimonies of atomic bombing
survivors, or hibakusha, are tied to understandings of space, and often
begin by identifying the survivor’s distance from a bomb’s hypocenter.5
This distance largely determined the waves of radiation illness and death
that followed, with those closest to the hypocenter being most immedi-
ately affected, creating what Nagasaki doctor Tatsuichirō Akizuki called
“concentric circles of death.”6 These concentric circles of damage and
loss were physically mapped onto aerial photographs of the bombings’
aftermath, reflecting the distanced perspective of American bomber

Q7630-Fields.indb 5 11/21/19 11:01 AM

 D I S C O R DA N T M E M O R I E S

pilots. As Lisa Yoneyama writes, this “gaze from above” mediated wit-
nesses’ memories and “subsumed diverse experiences and subjectivities
under the universal and anonymous identity of hibakusha.” 7 This univer-
sal identity, which emphasizes anti-nuclear global peace, is given form in
Hiroshima’s and Nagasaki’s memorial landscapes. As sites of memory,
which French historian Pierre Nora describes as places of origin where
“memory crystallizes and secretes itself,” these landscapes include mark-
ers at the hypocenters, peace memorial parks, and ruined structures.8
Visitors engage with the sites by following city-produced maps and guide-
books, or by taking memorial tours and peace walks.9 The Monument
to Antimonument walking tour was developed as an alternative to pre-
scribed forms of remembrance, providing a pathway out from the center
of bombing memories.
This effort to move from the center to the periphery is based on geog-
raphy, but also on conceptions of time. In the Antimonument catalogue,
Akira Nonaka, chief curator at the Nagasaki Prefectural Art Museum,
reflects that monuments “can encourage the formation of collective
memories that give everyone a comfortably uniform, cookie-cutter
understanding of the events being commemorated.”10 Monuments asso-
ciated with the bombings reinforce abstract notions of global peace and
remembrance, providing viewers with a false sense of closure and dis-
connecting them from the ongoing realities of atomic trauma. Nonaka
points to Shomei Tomatsu, one of Japan’s most influential postwar pho-
tographers, who wrote in 1968, “Nagasaki has two times. There is 11:02,
August 9, 1945. And there is all the time since then. Both times must
not be forgotten.”11 Tomatsu’s statement stresses the need to remember
the bombings and their resulting devastation, but warns against isolating
these events in 1945. Instead, the lives of survivors and the memories of
the bombings evolve over time. Takeda writes, “In the hypocenter, 1945
is still frozen in a certain way, and by walking out of it, we came to 2015.
[The tour] was a collective act of updating the memory to the contempo-
rary senses.”12 Physical movement through space and reflection on time
gave memories of the bombings enhanced relevance in the present day.
Finally, the two organized stops on the Monument to Antimonument
walking tour—Ms. Watanabe’s house and Nagasaki University School of
Medicine—offered opportunities to reflect on the bodily trauma and
material remains left behind by the bombings. The School of Medicine’s

Q7630-Fields.indb 6 11/21/19 11:01 AM

 INTRODUCTION

collections preserve visual evidence of the impact of radiation on human

bodies. As medical specimens, they serve as a reminder of the Atomic
Bomb Casualty Commission, formed in 1946 to study radiation’s long-
term effect on bodies for scientific purposes, when no medical treat-
ment was provided. The specimens also demonstrate that the bombings
inflicted internal trauma, evidenced on individual bodies.
The discovery of material remains from the Urakami Cathedral had
cultural resonance in the port city of Nagasaki, where Europeans intro-
duced Catholicism in the late 1500s. After decades of violent persecu-
tion of Catholics and centuries of secret worship, the construction of
the Urakami Cathedral in the 1920s marked an official reemergence of
the religion.13 The stained glass and damaged Virgin Mary statue both
had religious significance and served as symbols of Nagasaki’s history.
Over time, such remains of the bombings have been carefully man-
aged—stored in archival collections, placed on public display in muse-
ums, and incorporated into documentary and artistic projects.14 Farther
along on the walking tour, Takeda and Imafuku deliberately contrasted
the physical artifacts of the bombings with Takeda’s abstract artworks
in the Antimonument exhibition, creating another kind of movement
between forms.
The Monument to Antimonument walking tour suggests, then, that
memories of the atomic bombings are tied to specific sites and visual
perspectives, are solidified in forms of remembrance, are physically
embodied, change with time and new layers of representation, and carry
individual and cultural significance. Takeda’s and Imafuku’s goal in the
tour is not to disavow monuments, but to attempt to place these cen-
tralized, fixed hubs of remembrance into conversation with the diverse,
difficult-to-translate memories on the periphery. For example, by privi-
leging the experiences of expatriate survivors, the Antimonument exhi-
bition incorporates voices frequently left out of formal remembrance.
As Yukinori Okamura, curator at the Maruki Gallery for the Hiroshima
Panels, observes, “Antimonument addresses the memories lost in the pro-
cess of aggregation, retrieving those that cannot be contained, those
that spill over.”15 This book continues the exploration of uncontained
memories of the atomic bombings of Hiroshima and Nagasaki, as well as
legacies of nuclear weapons production and testing. Discordant Memories
is an attempt to move through space and time in a manner similar to

Q7630-Fields.indb 7 11/21/19 11:01 AM

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