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No One Else, written and illustrated by R. Kikuo Johnson, chronicles the everyday lives of a nikkei family on Maui.

What I liked:

• I spotted No One Else quite by chance in the graphic novel section of my local independent bookstore and was surprised to realize R. Kikuo Johnson had published another book. Since I do my best to stay on top of releases by nikkei authors, I actually considered this moment unexpectedly auspicious and took it as a sign to buy the book. I imagine fellow readers who spend long hours browsing in the bookstore, but often leave without buying much – thanks to the out-of-control TBR piles already taking up inordinate amounts of space in our homes – can relate to the spark of joy when we come across a book we never expected to find, but nonetheless know we must purchase. Shout-out to my local independent bookstore for stocking your tiny graphic novel section so well! Thank you!

What I learned:

• Is it just me, or does No One Else feel incredibly Japanese-as-in-nihonjin to any other nikkei readers? I do not mean the surface of the story, of course, the visual references like the setting, character design, and so forth, but rather the nature of the story, the studied focus on what initially appears mundane yet, when thrust under the spotlight, proves startlingly compelling and sometimes just plain odd or funny. Most JA graphic novelists and comics creators do not overtly bring manga to mind for me, but in this case, the atmosphere of No One Else was one I could easily envision in any number of manga, though, as stated above, the surface of the story would likely be completely different. I wonder what Johnson would make of this assessment of his work. It would be funny if he totally disagreed with me. That said, No One Else also very much has the feel of US comic strips, which is not surprising given Johnson’s portfolio.

Questions I had:

• The more I read about Johnson’s background and “day job,” the more I get the sense he is kind of a big cheese in the illustration world. No One Else is an intimate work, but also – or perhaps, because of – is potentially a work that might easily fly under the radar of many readers. Although I could be wrong, I get the impression this book was published because Johnson wanted to publish a book, not necessarily because he expected to derive any substantial income from it. If I’m correct, I wonder, who is Johnson’s intended audience for this book? Did he envision one? Is it for fans who know his illustrations for the New Yorker? Is it for nikkei families and/or any local families in Hawaii who are just trying to make it in the world? How did Johnson picture readers reacting to this book?
• No one else. I really liked this title because it felt very open to interpretation. It might mean, there is no one else to do the work to keep a family going, except the family members themselves, which Charlene, her son, and her brother all clearly understand in their own ways. Although other characters appear on the pages, Charlene and her family are depicted as vividly alone – and lonely – as they navigate the death and aftermath of death of her father (I am suddenly very curious to hear Brandon Shimoda’s thoughts on the depiction of death/aftermath in this story). It might also mean, there is no one else who experiences such hardships or trials, not necessarily in the sense that literally no one else experiences hardships, but in the sense that, when you are experiencing trauma, it can be difficult to see beyond your current situation or to comprehend or care that someone else might be going through the same or worse. From a broader perspective, I wonder if “no one else” might also illuminate the underlying isolation of life in Hawaii for locals. While living in Hawaii may be like living in a small town, as Charlene’s brother observes, it also comes across as impersonal, as everyone outside of Charlene’s family goes about their own lives, unable and/or unwilling to penetrate the barrier to meaningful interaction. I recall one unit from an art history class in which the terror, loneliness, and isolation of “modern” life were major themes in a certain period of US art, as depicted in sweeping landscapes, industrial cityscapes, and seemingly intimate, quiet, yet cold and uncaring interpersonal scenes. Although the examples we studied were works by white men (I hope the curriculum has since been reevaluated), I felt echoes of similar themes while reading No One Else, and I wonder if Johnson was referencing – or perhaps responding to – these preceding artworks as well. Is he writing back against stereotypes of Hawaii as a warm, welcoming paradise in which words like ohana are over/used by outsiders? If this is the case, depending on whether or not Johnson is of Native Hawaiian descent, what might it signify for a potentially non-Hawaiian nikkei person to imply ownership, or insider-ness, in Hawaii, by reacting to outsider encroachment?

Follow-up:

• When I read Johnson’s previous work, Night Fisher, I did not particularly think of Johnson as one of my favorite nikkei graphic novelists, but I find myself increasingly impressed with his ability to convey thoughts and emotions so subtly and sensitively through his minimalist style. I’m looking forward to his future work!