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If we look at these final thoughts and testimonials in terms of genre, we can see that “Memoirs of Hijiyami” has certainly succeeded in terms of memoir, and also as a memorial. The two are very different things, and to encompass both is a testament to Yuen’s capacity as a historian and artist. As a memoirist, he has presented to us the intimate stories of people directly affected by the bombing of Hiroshima-their experiences, testimonials and art. In a single, succinct piece, he has brought together disparate elements and people to form a cohesive nod to a single event, a memorial. “Memoirs of Hijiyami” succeeds in these genres because of Yuen subtle hand-in graphics, in layout, in artwork and in the spare snippets of writing he chooses to covey his message. The piece stands in direct opposition to the bombing itself: if Little Boy rained down death and horror, destruction and fire, light and poison, then “Memoirs of Hijiyama” is that quiet space that follows, where we are invited to grieve and to think |
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