The past acts as a tabernacle for experiences and memories. The past not only lives in Henry, but also constitutes Henry's very nature. Henry is his past. The erased memories of life shape choices. Author Jamie Ford constructs the relationship between experience and consciousness through Henry, his protagonist, in his novel Hotel on the Corner of Bitter and Sweet. Henry reflects on his experiences – with Keiko and with his father during the evacuation – before making difficult decisions. Henry's experiences inform his conscience. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Keiko's experience of humanity compels Henry to not only accept but also cherish Japanese culture. Henry's acceptance and love for Japanese culture depicts a transformation of consciousness. At the beginning of the novel, Henry participates in American prejudice against the Japanese. The prejudice is shown when Henry's childhood antagonist, Chaz Preston, taunts Henry: "'Oh, that's right, you Japs don't salute American flags, do you?' ' Henry didn't know which was worse: being harassed for being Chinese or accused of being Japanese” (17). Henry's prejudices reflect the American prejudices and origins of the time; it comes from ignorance. Never meeting a Japanese person until Keiko allows Henry to alienate the Japanese and unconsciously deepen prejudices. After spending just one day with Keiko, Henry's opinion changes. Keiko, and by extension her Japanese culture, goes from alien to familiar to Henry. Henry's feelings for Japanese culture allow him to connect with the Japanese residents of Nihonmachi. These physical and metaphysical connections require an indisputable recognition of humanity, a humanity that makes the defense of fundamental rights and respect essential. The relationships Henry makes force 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 it had to be. He had seen the fires in Nihonmachi and the people burning their most precious possessions. . . He needed to find Keiko” (90). Ford fuels the transformation of consciousness – inspired by experience – by creating new divisions between Henry and his father and opening the doors of Japanese culture to Henry. Henry's priorities have changed; his experience of malnutrition and his intimacy with his father weaken the patristic bond. Due to the weakness of the bond, Henry's conscience faces no challenge or remorse. In contrast, Henry's ties to Keiko, her family, and the Japanese-American population of Nihonmachi are fresh and intimate. These experiences compel Henry's conscience to act on behalf of Japanese Americans. Henry strengthens his integration into Japanese culture when he assumes a Japanese identity to enter Camp Minidoka. Henry considers the situation: “For once in his life there was an advantage in the Caucasians thinking that he was one of them, that he was Japanese” (226). By accepting this view, Henry not only accepts Japanese culture, but he also makes it his own. Henry ventures beyond his connection with Nihonmachi and connects analogously to the rest of Japanese America. Henry's experience with Keiko makes the strong connection to Japanese-American culture possible. Likewise, Henry's constant defense of Nihonmachi and Japanese culture makes possible thepresence of the record at the hotel, as well as other vestiges of Japanese culture. Henry, his conscience guarding the culture of Nihonmachi, warns against a trip to China; his father must prevent the sale of the Panama Hotel. Henry learns much earlier that the hotel also serves as a refuge for Nihonmachi's cultural relics. Henry negotiates: “I’m going, but only on this condition. . . If you can prevent the sale, I will do what you want, I will finish my studies in China. . . don't thank me, I'm not doing this 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, breathing memory for him. (251) By stopping the sale of the Panama Hotel, Henry preserved the record and its connection to Japantown for decades. All of Henry's childhood experiences contribute to the culmination of the transformation of Henry's character and consciousness. Henry goes from disdaining the Japanese to finally proclaiming himself Japanese: “'Yes! I am Japanese. Henry nodded. 'Of course I am'” (64). Henry's conscience radically changes his attitude towards the Japanese. Henry likes Japanese-American culture because Keiko is Japanese-American. Ford further validates the power of experience in shaping consciousness through Henry's love for Keiko and the physical choices that love impels him to make. Henry's love for Keiko pushes him to make choices that express that love, despite the conflicts those choices may 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. Keiko, unable to burn her family's photos, 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 warmer than Henry had imagined” (95-96). Henry, aware of the danger of Keiko and her family's complicity, chooses to hide Keiko's photos and commits a crime in doing so. His love transcends the arbitrary fetters of the law and is based on 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 go through the same emotional trauma as the Japantown photographer. Similarly, Henry makes conscientious choices influenced by his love for Keiko, aware that they can create family conflict. . Henry returns to his Canton Alley apartment after shopping for Keiko's birthday. When he enters his house, he sees that his father has discovered Keiko's photos. At the climax of this argument, Henry's father throws Keiko's photos out the window. Images of Keiko and her family falling to earth flash through Henry's mind. Henry expresses his love for Keiko: He turns to his father. “I’m going to take his photos. I told her I would keep them for her until she returned. His father showed him the door: “If you walk through this door, you are no longer part of this family. You are no longer part of us. It's not 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 separates from his father and family and becomes attached to..