Horses Horses In The End The Light Remains Pure

"As we passed from the city center into the Fukushima suburbs I surveyed the landscape for surgical face masks. I wanted to see in what ratios people were wearing such masks. I was trying to determine, consciously and unconsciously, what people do in response. So, among people walking along the roadway, and people on motorbikes, I saw no one with masks. Even among the official crossing guards outfitted with yellow flags and banners, none. All showed bright and calm. What was I hoping for exactly? The guilty conscience again. But then it was time for school to start. We began to see groups of kids on their way to school. They were wearing masks." Horses, Horses, in the End the Light Remains Pure is a multifaceted literary response to the earthquake, tsunami, and nuclear meltdown that devastated northeast Japan on March 11, 2011. The novel is narrated by Hideo Furukawa, who travels back to his childhood home near Fukushima after 3/11 to reconnect with a place that is now doubly alien. His ruminations conjure the region's storied past, particularly its thousand-year history of horses, humans, and the struggle with a rugged terrain. Standing in the morning light, these horses also tell their stories, heightening the sense of liberation, chaos, and loss that accompanies Furukawa's rich recollections. A fusion of fiction, history, and memoir, this book plays with form and feeling in ways reminiscent of Vladimir Nabokov's Speak, Memory and W. G. Sebald's The Rings of Saturn yet draws its own, unforgettable portrait of personal and cultural dislocation.

Belka, Why Don’t You Bark? begins in 1943, when Japanese troops retreat from the Aleutian island of Kiska, leaving four military dogs behind. One of them dies in isolation, and the others are taken under the protection of U.S. troops. Meanwhile, in the USSR, a KGB military dog handler kidnaps the daughter of a Japanese yakuza. Named after the Russian astronaut dog Strelka, the girl develops a psychic connection with canines. A multi-generational epic as seen through the eyes of man’s best friend, the dogs who are used as mere tools for the benefit of humankind gradually discover their true selves, and learn something about us. -- VIZ Media

This collection examines the event of Fukushima in Japan in terms of urban sociology and cultural politics to portray the triple catastrophe of March 2011 as both a planetary event and a dual economic and environmental crisis which indelibly marked Japan and the wider global community. The contributors examine how this new situation has been expressed in particular cultural forms (literature, film), political discourses and urban everyday life in Tokyo and Fukushima, arguing for an imperative need to redefine the national frame of analysis in terms of the concept of the planetary. Building on recent debates in ecocriticism, Planetary Atmospheres and Urban Life After Fukushima deconstructs the spatial logic of containment that reduces the event of Fukushima to a place-bound object to instead reinscribe this event within an open narrative of the planetary. This we believe will allow us to redefine our topologies of attachment to local places beside national discourses of unity, resilience and global strategies of risk management, and open the way to a radical rethink of Japan’s cultural politics of Japan after March 2011.

A startling novella from the heir to Haruki Murakami and Gabriel García Márquez Trapped in Tokyo, left behind by a series of girlfriends, the narrator of Slow Boat sizes up his situation. His missteps, his violent rebellions, his tiny victories. But he is not a passive loser, content to accept all that fate hands him. He attempts one last escape to the edges of the city, holding the only safety net he has known - his dreams. Filled with lyrical longing and humour, Slow Boat captures perfectly the urge to get away and the necessity of finding yourself in a world which might never even be looking for you.

Ecocriticism in Japan provides an answer to the question, “What can ecocriticism do when engaging with Japanese literature and culture?” Engaging works ranging from The Tale of Genji to Abe, Ōe, Ishimure, and Miyazaki, this volume examines works Japanese people and culture in terms of nature and environment.

This volume of essays and translations analyzes the prodigious and wide-ranging output of Keijiro Suga. Based in Japan, Keijiro Suga's works are wide-ranging and multilingual. His volumes of poetry have been shortlisted for a range of poetry prizes, and he was awarded the 2011 Yomiuri Shinbun Prize for Travel writing. He has translated dozens of books and has authored or co-authored more than fifteen other books across various genres. He is, by his own introduction, a poet first, but is also a prolific book reviewer, an astute theorist, and an insightful critic. His presence and contributions have been profound in many countries around the globe.

The 2011 Tōhoku earthquake, tsunami and Fukushima nuclear disaster (collectively referred to as ‘3.11’, the date of the earthquake), had a lasting impact on Japan’s identity and global image. In its immediate aftermath, mainstream media presented the country as a disciplined, resilient and composed nation, united in the face of a natural disaster. However, 3.11 also drew worldwide attention to the negative aspects of Japanese government and society, thought to have caused the unresolved situation at Fukushima. Spurred by heightened emotions following the triple disaster, the Japanese became increasingly polarised between these two views of how to represent themselves. How did literature and popular culture respond to this dilemma? Re-imagining Japan after Fukushima attempts to answer that question by analysing how Japan was portrayed in post-3.11 fiction. Texts are selected from the Japanese, English and French languages, and the portrayals are also compared with those from non-fiction discourse. This book argues that cultural responses to 3.11 had a significant role to play in re-imagining Japan after Fukushima.

Fukushima Fiction introduces readers to the powerful literary works that have emerged out of Japan’s triple disaster, now known as 3/11. The book provides a broad and nuanced picture of the varied literary responses to this ongoing tragedy, focusing on “serious fiction” (junbungaku), the one area of Japanese cultural production that has consistently addressed the disaster and its aftermath. Examining short stories and novels by both new and established writers, author Rachel DiNitto effectively captures this literary tide and names it after the nuclear accident that turned a natural disaster into an environmental and political catastrophe. The book takes a spatial approach to a new literary landscape, tracing Fukushima fiction thematically from depictions of the local experience of victims on the ground, through the regional and national conceptualizations of the disaster, to considerations of the disaster as history, and last to the global concerns common to nuclear incidents worldwide. Throughout, DiNitto shows how fiction writers played an important role in turning the disaster into a narrative of trauma that speaks to a broad readership within and outside Japan. Although the book examines fiction about all three of the disasters—earthquake, tsunami, and nuclear meltdowns—DiNitto contends that Fukushima fiction reaches its critical potential as a literature of nuclear resistance. She articulates the stakes involved, arguing that serious fiction provides the critical voice necessary to combat the government and nuclear industry’s attempts to move the disaster off the headlines as the 2020 Olympics approach and Japan restarts its idle nuclear power plants. Rigorous and sophisticated yet highly readable and relevant for a broad audience, Fukushima Fiction is a critical intervention of humanities scholarship into the growing field of Fukushima studies. The work pushes readers to understand the disaster as a global crisis and to see the importance of literature as a critical medium in a media-saturated world. By engaging with other disasters—from 9/11 to Chernobyl to Hurricane Katrina—DiNitto brings Japan’s local and national tragedy to the attention of a global audience, evocatively conveying fiction’s power to imagine the unimaginable and the unforeseen.