The past serves as a tabernacle for experiences and memories. The past not only lives in Henry but also constitutes Henry's very nature. Henry is her past. Life's faded memories shape choices. Author Jamie Ford builds the relationship between experience and consciousness through Henry, his protagonist, in his novel Hotel on the Corner of Bittersweet. Henry reflects on his experiences, with Keiko and with his father during the evacuation, before making difficult decisions. Henry's experiences educate his conscience. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Experiencing Keiko's humanity forces Henry to not only accept, but love Japanese culture. Henry's acceptance and love for Japanese culture portrays a transformation of consciousness. At the beginning of the novel, Henry shares America's prejudice against the Japanese. Prejudice manifests itself when Henry's childhood antagonist, Chaz Preston, mocks him: "'Oh, that's right, you Japanese don't salute American flags, do you?' Henry wasn't sure what was worse, being targeted for being Chinese or accused of being Japanese” (17). Japanese until Keiko allows Henry to alienate the Japanese and unconsciously foster prejudice. After spending just one day with Keiko, Henry's opinion of Keiko, and by extension his Japanese culture, goes from alien to familiar Henry's feelings for Japanese culture allow him to make connections with the Japanese residents of Nihonmachi. These physical and metaphysical connections require an unquestionable recognition of humanity, a humanity that makes the defense of fundamental rights and respect essential. The bonds Henry establishes compel his conscience to defend Nihonmachi's Japanese culture. When he sabotages his father's meeting with Mr. Preston, Henry reconciles his actions by reflecting on his experience with the Japanese people: “He had never disobeyed. his father so blatantly. But he had to do it. He had seen the fires in Nihonmachi and the people burning their most prized possessions. . . He needed to find Keiko” (90). Ford fuels the transformation of consciousness, inspired by experience, creating new divisions between Henry and his father and opening the doors of Japanese culture to Henry. Henry's priorities have changed; his undernourished experience and intimacy with his father weaken the patristic bond. As a result of the weak bond, Henry's conscience faces no challenge or remorse. In contrast, Henry's connections to Keiko, her family, and the Japanese-American population of Nihonmachi are fresh and intimate. These experiences force Henry's conscience to act on behalf of Japanese Americans. Henry furthers his inclusiveness with Japanese culture when he assumes a Japanese identity to gain entry into the Minidoka camp. Henry considers the situation: “For once in his life, there was an advantage for Caucasian people to think that he was one of them, that he was Japanese” (226). By admitting this point of view, Henry not only accepts Japanese culture, but also appropriates it. Henry ventures beyond his connection to Nihonmachi and connects similarly to the rest of Japanese America. Henry's experience with Keiko makes possible the strong connection with Japanese-American culture. Likewise, Henry's consistent defense of Nihonmachi and Japanese culture makes the disc's presence in the hotel possible, along with other remnants of Japanese culture. Henry, with thehis conscience guarding the culture of Nihonmachi, feels the warning of traveling to China; his father must prevent the sale of the Hotel Panama. Henry learns much earlier that the hotel also serves as a refuge for Nihonmachi cultural remains. Henry negotiates: “I will go, but only on this condition. . . If you can prevent the sale, I will do as you wish, I will go and finish my studies in China. . . don't thank me, I'm not doing it for you, I'm doing it for me, for the girl, the one you hated so much” Henry wasn't sure why. Or did he? The hotel was a living and vibrant memory for him. (251) By stopping the sale of the Panama Hotel, Henry preserves the record and its connection to Japantown for decades. All of Henry's childhood experiences contribute to the pinnacle of the transformation of Henry's character and consciousness. Henry goes from disdaining the Japanese to self-proclaimed Japanese: “'Yes! I'm Japanese." Henry shook his head. 'Of course I am'" (64). Henry's conscience radically changes his attitude towards the Japanese. Henry loves Japanese-American culture because Keiko is Japanese-American. Ford validates further the power of experience to shape consciousness through Henry's love for Keiko and the physical choices that love pushes him to make Henry's love for Keiko pushes him to make choices that express that love, despite the conflicts that such choices can create. This connection between the emotions aroused by Henry's romantic experiences with Keiko and Henry's risky choices emerges early in the novel. Henry meets Keiko at Kobe Park after curfew photos of his family, asks Henry to keep them safe. Henry, more than willing to help Keiko, agrees after reflecting on his experiences and feelings for Keiko: “Henry remembered the horrible scene in Japantown that afternoon. , the Ochi-Studio photographer visibly shaken. «I can hide them in my room. Do you have more?' . . . Keiko hugged Henry for a brief moment. He found himself hugging her back. His hand touched her hair. She was hotter than Henry had imagined” (95-96). Henry, aware of the danger that comes from aiding and abetting Keiko and her family, chooses to hide Keiko's photos and in doing so commits a crime. His love transcends the arbitrary shackles of law and rests among palpable truths. Henry's conscience, after connecting the pain of the Japanese people to Keiko's pain, orders Henry to help Keiko. Henry can't bear to think of Keiko, a girl he loves, as a girl who has to suffer the same emotional trauma the photographer experienced in Japantown. Likewise, Henry makes conscientious choices influenced by his love for Keiko, knowing that they could create family conflict. . Henry returns to his Canton Alley apartment after shopping for Keiko's birthday. When he enters the house, he sees that his father has discovered Keiko's photos. At the height of this argument, Henry's father throws Keiko's photos out the window. Images of Keiko and her family falling to the ground flash through Henry's mind. Henry expresses his love for Keiko: he turned to his father. “I'm going to get his photos. I told her I would keep them for her, just until she returned. His father pointed to the door “If you walk out that door you are no longer part of this family. You are no longer part of us. It's not a part of me." Henry didn't even hesitate. He touched the doorknob feeling the cold, hard brass in his hand. "I am what you made me, Father." He opened the heavy door. (185) Henry parts ways from his father and his family and bonds with Keiko and her family, a Chinese boy in a Japanese family, similar to the way Henry grafts and grows his Ume tree, a Chinese tree in a Japanese park Henry takes this..