Analyzing Historical Accuracy in "Hotel on the Corner of Bitter and Sweet"

Jamie Ford explores the tales of Henry Lee, a Chinese boy facing discrimination in 1942, and Keiko, a Japanese girl, in Hotel on the Corner of Bitter and Sweet. The novel alternates between their experiences in Seattle's international district during both 1942 and 1986.

In Hotel on the Corner of Bitter and Sweet, the novel depicts a strong bond between two young characters, Keiko and her friend, amidst challenges of being sent to Japanese internment camps in the 1940s. The story emphasizes how wartime discrimination against the Japanese impacted individuals from different backgrounds such as Americans, Chinese, and others.

Anne Scott MacLeod's essay "Rewriting History" analyzes Ford's portrayal of historical events in the narrative and compares successful Historical Fiction with less effective ones.

This essay analyzes how Ford's novel Hotel on the Corner of Bitter and Sweet meets three of MacLeod’s criteria for a “good” Historical Fiction: steering clear of glorifying rebellion, avoiding catering to modern values, and questioning established social norms. Despite a few small inaccuracies, the book effectively meets these standards by showcasing meticulously researched historical facts that outweigh any flaws.

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Firstly, Ford ensures that Henry faces consequences for his rebellious actions, a characteristic lacking in many "bad" historical fictions which opt for simple happy endings. Additionally, Ford accurately portrays the racial discriminations of the 1940s, a detail often glossed over in "bad" historical fiction to avoid offense. Furthermore, Henry struggles to navigate the social norms of 1942, challenging the notion commonly depicted in "bad" historical fiction that overcoming such mores is effortless.

By meeting MacLeod's criteria for a "good" historical fiction, Ford's novel avoids portraying rebellion as easy and successful. This is evident in moments like when Henry hides Keiko's belongings under his dresser and when he sneaks into Japanese internment camps to find her. Although Henry's actions may seem rewarded initially, they ultimately lead to a significant consequence as the story unfolds.

Because Henry decided to keep Keiko's belongings and write her letters, his mother informed his father about it. When Henry returned home one day, he found his parents at the kitchen table surrounded by all of Keiko's pictures. Henry's father presented him with a difficult ultimatum: leave the family or let go of Keiko. Ultimately, Henry chose to follow his heart and left his family, causing a lasting strain on his relationship with his father even up to his father's deathbed (182-185).

According to MacLeod's standards, Ford's novel is considered "good" historical fiction because it does not cater to modern sensibilities. The protagonist's experience in their own societies is described as if they were time-travelers, observing racism, sexism, religious bigotry, and outmoded beliefs as outsiders rather than as individuals from within their culture. In Ford's novel, there is the use of dialect that includes racial slurs and comments that were prevalent in the 1940s. The book does not aim to be non-offensive or politically correct in order to appease readers.

According to MacLeod, Ford has made efforts to ensure historical accuracy in the book. Furthermore, Ford's novel is considered a "good" historical fiction as it does not ignore the social norms of the past. This is evident when Chaz takes Henry's "I am Chinese" pin and Henry refuses comfort from Keiko, fearing his father's reaction and the judgment of others.

Ford took his time in facilitating the transition of Henry opening up to Keiko; they didn’t become instant friends. Ford ensures the believability of the relationship between Keiko and Henry. Both are scholarship students at an all-white school and first met while working in the school kitchen as part of their scholarship duties. Their bond is somewhat immediate, but their friendship develops gradually.

MacLeod states that Ford's novel is considered a "good" historical fiction because it addresses the difficult experiences of Japanese-Americans in the 1940s. Hotel on the Corner of Bitter and Sweet does not avoid depicting the animosity between Chinese and Japanese characters such as Henry, his father, and Keiko, along with the forced relocation of Japanese individuals. Ford values accuracy in portraying history over crafting a more pleasing fictional story.

MacLeod's criteria consider Ford's novel a "good" historical fiction because it showcases the changing society without projecting present-day beliefs onto past individuals. The unique bond between Henry and Keiko in the 1940s may have been rare for Chinese and Japanese youth at that time, but it is not unrealistic. It is important to acknowledge that attitudes towards different races, such as the Japanese, have evolved over time in response to shifting global dynamics.

In summary, while Ford's novel is categorized as fiction and Henry's actions did not have a significant impact on history like in the 1940s, the actions of someone during that time did shape history. This connection between Henry and Keiko, along with Ford's novel overall, can be seen as historically plausible. Ultimately, there is a strong amount of evidence supporting the argument that Ford's novel meets MacLeod's criteria for being a quality piece of historical fiction.

Despite the somewhat cheesy and sappy love story ending, Ford makes an effort to ensure that the historical facts in this 'historical fiction' novel remain accurate. Overall, the novel is considered highly plausible and meets MacLeod's criteria for a "good" work of Historical Fiction. Additionally, Ford's novel serves as a reminder of the injustice faced by Japanese-Americans during the 1940s wartime and warns against treating individuals perceived as 'different' with the same prejudice that was shown towards the Japanese.