Revisiting Perceptions of Fatherhood

In Julie Otsuka’s poignant novel, *When the Emperor Was Divine*, a boy's vivid imagination constructs an idealized image of his absent father, despite not having seen him for years. This portrayal of his father as a noble, loving figure stands in stark contrast to the grim reality that unfolds. Similarly, Nathaniel Hawthorne’s *Young Goodman Brown* explores the theme of disillusionment, as the protagonist grapples with revelations about those he once revered. Both narratives delve into the complexities of human perception and the psychological mechanisms employed when faced with unsettling truths.

This essay explores why the boy in Otsuka’s novel clings to his idealized image of his father, drawing parallels with Hawthorne’s work, and examines the broader psychological and societal implications of such idealization.

The Psychological Shield: Protecting the Father’s Image

The boy's perception of his father in *When the Emperor Was Divine* is more than mere delusion; it's a psychological defense mechanism. His memories of his father as a "loving, mild-mannered, and gentle man" (Otsuka 90) serve as a refuge from the harsh realities of internment and familial disruption. This idealization is a protective measure, allowing the boy to preserve a sense of stability and normalcy amid chaos. Similarly, in *Young Goodman Brown*, Goodman Brown's desire to see his father as a virtuous man, despite evidence to the contrary, reflects a need to protect his own identity and worldview. By idolizing his father, the boy shields himself from the pain of betrayal and the fear of an uncertain future.

The Quest for Normalcy: Coping with Displacement and Trauma

In *When the Emperor Was Divine*, the boy's clinging to an idealized paternal image also represents a quest for normalcy. The dislocation caused by World War II, compounded by the loss of familial security, leaves the boy yearning for the comfort of familiar, stable images. His vision of his father as a heroic cowboy reflects a deeper longing for a return to a simpler, safer world. This quest for normalcy is mirrored in *Young Goodman Brown*, where Goodman Brown’s resistance to accepting his father’s dark past underscores a yearning for a purer, untarnished reality. Both characters use idealization as a coping mechanism, a way to navigate personal and societal upheaval.

The Power of Imagination: Reconstructing a Superhero

The boy's reconstruction of his father’s image in Otsuka’s novel is an exercise in imaginative resilience. Faced with the stark contrast between memory and reality, he chooses to revert to a comforting narrative. This act of imagination is not just an escape but a form of empowerment. In maintaining the image of a superhero father, the boy resists the erosion of his identity and agency. Hawthorne’s Goodman Brown similarly grapples with disillusionment by clinging to familiar narratives. His journey through the forest symbolizes a confrontation with the darker aspects of human nature, yet his retreat into despair highlights the difficulty of reconciling idealism with reality. Both stories illustrate how imagination can serve as both a refuge and a prison, offering solace but also hindering acceptance and growth.

Conclusion: Navigating Idealization and Reality

In both *When the Emperor Was Divine* and *Young Goodman Brown*, the characters' struggles with idealization reflect broader themes of identity, resilience, and the human capacity for self-deception. The boy’s unwavering image of his father is a poignant testament to the power of hope and the need for continuity in a fractured world. Yet, it also underscores the potential pitfalls of clinging too tightly to illusions. As he navigates the complexities of identity and belonging, the boy’s journey invites readers to reflect on the delicate balance between preserving cherished ideals and confronting harsh realities. By examining these narratives, we gain insight into the ways individuals cope with trauma and change, highlighting the enduring tension between perception and truth.

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