The highly rated Geisha: The Secret History of a Vanishing World by Lesley Downer is now on sale for a limited time on US kindle (e-book) for $5.99 and Kindle Japan for 499 yen. (441 pages)
The highly rated Geisha: The Secret History of a Vanishing World by Lesley Downer is now on sale for a limited time on US kindle (e-book) for $5.99 and Kindle Japan for 499 yen. (441 pages)
Cathrine Pawasarat, author of Gion Festival: Exploring its Mysteries is one of the founders of the Clear Sky Retreat Center in British Columbia, Canada. Her previous book is From Wasteland to Pureland: Reflections on the Path to Awakening. The former Kyoto resident talks with us today about Kyoto’s most famous event, the Gion Festival that happens every July in the former capital.
Books on Asia Podcast 13 Show Notes:
Japanese at Work is part of the “Asians at Work” series written by John Spiri. Inspired by Studs Terkel’s oral history Working: People Talk about What They Do All Day and How They Feel About What They Do Spiri traveled all over Asia interviewing people about their typical day of work. This volume on Japan, one of five books covering Asian countries, includes interviews with 53 individuals who work in fields as diverse as Japanese traditional crafts (a hariko papermache maker, a Japanese sweets chef, a soy sauce maker, an antiques store owner), music (a violinist, a Jazz club owner) public service (a labor union representative, social worker, an environmental specialist), jobs that employ the homeless (a cardboard deliverer, a magazine vendor, a car counter) and many, many more. The following excerpt is an interview with Kimono Teacher Ms. Matsuoka Fukiko.
John Spiri: Why did you decide to teach kimono?
Matsuoka-sensei: It comes from my interest in sado (Japanese tea ceremony). The kimono is necessary for it. I was always fond of my mother’s kimono and hated to see it just hanging in the closet. It was from the Meiji Period (1868-1912) and was made of silk. It’s the same for many of my friends—they know of beautiful old kimono just gathering dust. I feel that the kimono has both cultural and historical significance. Young women now are losing that cultural identity. I want to help preserve it.
Could you tell me about your training?
I studied for 13 years at a dress school in Kumamoto. I got my license after five years. I’ve been studying sado for eight years now. Some day I want to teach it.
What is teaching kimono all about?
Western clothes, you see, are made to fit the chest, hips and rear, whereas kimono are meant to hide all body shapes. Towels are stuffed underneath, for example, to present a flat shape. During class, I first show women how to put on the undergarments. They are tied with a belt. That takes five minutes. For the kimono to fit properly, many adjustments are necessary—a pull here and a tug there. We practice putting one on several times during the one hour class. There are detailed rules for what type of kimono to wear, according to the woman’s age and a number of other factors. There are formal and informal kimono. Also, kimono styles have subtle differences in each region of the country. I explain how to bow, stand, and sit when wearing kimono. Finally, I give explanations about the materials and dyes used in making a kimono, as well as a little about its history.
Can you summarize its history?
Records show that kimono were worn as far back as the Jomon period (before 300 CE), but they looked quite different back then. I suppose they were more similar to traditional Chinese clothing on which they’re based. Styles changed based on the availability of certain materials and the improvements in techniques. The modern form of kimono started in the Edo Period (1603-1867) and has remained essentially unchanged ever since.
How much do lessons cost?
For beginner-level classes, which meet once a week for six months, the fee is 20,000 yen. At this level, a student learns how to dress herself. The fees rise at the intermediate level (learning to dress others) and advanced level (earning a license).
What about the future?
I’m interested in sado, too. It’s so deep. I’m studying The Book of Tea now. This is a book written by Okakura Kazuko in 1906. It was actually originally written for a Western audience, in English. Its roots are closely associated with Japanese Zen. It is a classic which lays down the guiding principles of tea ceremony. We learn to give up living a luxurious or complicated life. Living a simple life is best. Sado is about learning to concentrate and calm the mind. It takes a long time to improve concentration. People today are too busy. I don’t want future generations to forget these important aspects of Japanese culture.
Japanese at Work can be ordered from Amazon US or, in Japan, directly from the author, John Spiri globalstoriespress (at) gmail (dot) com
Review by Tina deBellegarde
Kyoko Nakajima tackles the past and present, the mundane and the ethereal in her delightful collection of short stories Things Remembered and Things Forgotten, translated by Ginny Tapley Takemori and Ian McCullough MacDonald. The glue that holds these stories together is memory: how the characters remember, wish to remember, or even remember events they never experienced.
This collection includes love stories, narratives of lost memories, and several tales where time-slips and parallel worlds work their magic. Along with other flights of fancy, ghosts make appearances or are implied in almost all the stories. Subtle, charming, they are not always even clearly ghosts, but rather a wish or desire. The apparitions serve a purpose; they are there to blur the past and present, and as they do, they blur reality as well. As readers we begin to understand that perhaps some of the ghosts aren’t there at all, that the character’s desire for the encounter is enough for it to transpire.
Among my favorites, in “Kirara’s Paper Plane” (transl. MacDonald) a ghost remembers when he was alive, and in “The Life of a Sewing Machine” (transl. Takemori) a thrift shop customer experiences nostalgia for times and places she’s never seen, setting the stage for the telling of the “life” of a dilapidated old sewing machine. Through the history of the appliance we learn the evolving struggles of the humans in its orbit. These two stories are particularly rich in cultural and historical details of wartime Japan. They demonstrate how the war, post-war and then modernity changed the world these characters inhabited and how that, in turn, shaped them. The translators are very successful in conveying the nuances of the culture of Japan while not losing the intimacy or immediacy of the story.
“When My Wife Was a Shiitake” (transl. Takemori) is the most fanciful in the collection. A grieving widower is introduced to an unknown side of his wife when he discovers her cooking journal. In it she shares not only recipes but her reflections on life. One of her musings is about remembering when she was a shiitake; she lingers in this memory with all her senses. He learns to cook, fashions a new memory of his wife, and soon he too learns to remember when he was a shiitake.
The final and capstone story is the longest and my personal favorite. In “The Last Obon,” (transl. MacDonald) all the elements of the prior stories converge. Here memories lost and found blur, and the corporeal and the ethereal are indistinguishable. It is also the story where the main character is most self-aware. As Satsuki prepares the festival to honor her ancestors, the last Obon in her ancestral home before it is sold, her faulty memory causes her to stumble through the process. Consequently, each event, conversation, and image evokes a faint memory, reminds her of her childhood, and dredges up long forgotten memories.
“…an image flitted through her mind of her and her two sisters running around the garden with some children whose names she had long since forgotten. Who was the girl in a red pinafore she was chasing? Satsuki sensed that her real childhood had been gradually overwritten with scenes from movies and TV shows set in an imagined, nostalgic past, and the unexpected shallowness of her memories appalled her.” (p. 233)
Finally, Satsuki comes to the realization that her intentional engagement with her ancestors allows the past to take its rightful place.
“Obon wasn’t something mystical or paranormal, nor was it a metaphor for human existence – it was an expression of how the dead were resurrected through the gestures and actions of the living in the performance of traditional customs and practices.” (p. 256)
Each story in Things Remembered and Things Forgotten shimmers with nostalgia and delight, yet at the same time reminds us how ineffective our memory is. The inaccuracy of our recollections and our desire to remember things a certain way blur our reality and intrude on our ability to see the present clearly. These stories assure us that we are not alone in these shortcomings. This collection leaves the characters and reader with the unsettling yet familiar feeling of trying to remember something just beyond reach.
For more on Japanese short stories, see the BOA Issue 8: The Art of the Short Story where you’ll also find a podcast episode with Tina deBellegarde about what makes a good short story and why some short-story writers are so appealing.
About the Reviewer:
Tina deBellegarde’s debut novel, Winter Witness, is nominated for the 2020 Agatha Award for Best First Novel. Her story “Tokyo Stranger” appears alongside celebrated authors in the Mystery Writers of America anthology When a Stranger Comes to Town. Tina lives in New York with her husband Denis where they harvest shiitake mushrooms and tend to their beehives. She travels to Japan regularly to visit her son Alessandro. Visit her website.
About the Author
Born in 1903, Hayashi Fumiko’s first notable literary work was Hōrōki (“Diary of a Vagabond”), an autobiographical novel describing her life of extreme poverty. Many of her stories focus on urban working-class life, a genre sometimes referred to as proletarian literature. Some important topics touched upon in her stories are free will, marriage, illegitimacy (she herself was an illegitimate child), and other feminist themes. Many of her stories feature strong, free-spirited women, but male characters also play an important part, sometimes serving as the main character.
She has produced over 200 books in her lifetime and has been called twentieth-century Japan’s most important woman writer.
Excerpt from “The Tryst”, pg. 73-77 of “Days & Nights: Stories of Classic Japanese Women’s Literature” compiled and translated by J.D. Wisgo
The unheated room was chilly, so I lay in bed with Keisuke. Since we had been talking the entire day, once I slipped into bed I lay silently on my back, eyes open and hands resting on my forehead. Keisuke also pulled his hands out from under the covers. I placed my hand into his large palm. “Are you cold?” Without a word, he gripped his large hand around mine, enveloping it. The rain had continued since morning, calming me. I didn’t feel like doing anything. A man whose heart sparkled like morning dew on a blade of grass, Keisuke made my heart jump with joy. We stared at the ceiling together, fingers entwined and bodies stretched out on the bed. Rain pelted hard against the window. It made a drip, drip sound passing through the gutter, like water falling on a rock, and the sky was a dim yellowish-brown, the air laden with moisture. The maid said that on clear days Mount Fuji was visible from the window, but last night when we arrived at this inn the rain had already begun, and there was no sign of the mountain. Apparently during the war this place served as a dormitory, and now this decrepit room had little more than a heavy mattress and a dirty tatami mat. Keisuke and I had somehow ended up all the way out here in Kofu city. This traveler’s inn was the result of our search for a place with a hot spring, but neither of us minded the grimy room. I was pregnant with Keisuke’s child. The peach-colored pajamas I wore were sewn baggy, for the most part hiding the unsightly form of a pregnant woman. Sometimes, as if struck by a sudden recollection, Keisuke would put his ear to my belly and listen to the sound of the child breathing within. Keisuke had a wife; I, a husband. The war had ended but this difficult situation of ours, having no relation to the war, managed to avoid collapse. It was just that I had to begin preparing for my child to be born several months from now.
We hadn’t had a proper meal for breakfast or lunch, yet neither of us felt particularly hungry. We wanted to lie together like this, even for a short while, resisting the fate that was trying to leave us behind. It felt like we were gripping each other tightly, refusing to let go. I thought that at least for this moment, god would take pity on our honest, glittering souls. I had managed to push aside those dark disturbing feelings that usually accompany trysts like this, and made peace with myself. Once in a while we told jokes and laughed. We had no time to really decide anything; nor did we have a desire to trick the world and stay together. There was an odd silence, like the enjoyment that must come to a prisoner in jail, even if only in the mind—a warm satisfaction, as if we would continue laughing together even if thrown into a valley. Believing that a happy ending would never come to two people like us, I was also comforted by the fact we were beyond the age of worrying needlessly about a dark future. I can just feel it—happiness, or at least that’s what I think it is. I decided that this was enough. Is there any reason to want more? After everything that happened, is there any need to try and justify how we got into all this?
Although seemingly irrational, there was a perfect logic between Keisuke and I. A logic born from our weakness, and while nothing to brag about, we hadn’t even the slightest belief in farfetched miracles. We were convinced that only after accepting that we might lose everything could we get through hard times like this.
Immorality, adultery, fraud—society would surely sling these stones at us. Even so, we could always lie together peacefully, smiles glowing on our lips. Because this was not a mistake. If anything, my seven years of marriage was a mistake, at least that’s how I felt. The only things to judge me now were the wind and the sky.
I never considered marrying Keisuke. When the time came to part with him, I’d just have to accept it…But I had confidence that we probably wouldn’t have a messy breakup. I simply wanted to raise a happy child until it began to think for itself, and then allow my child to lead the life it desired. Unlike many of those young girls, I didn’t concern myself with the myriad distractions of the world. I just loved Keisuke dearly. My heart only had room for him. We were able to get together whenever we liked, but sometimes two months passed without seeing each other. We had faith that even if we were apart for a long time, we could meet at any time, on a moment’s notice. There was no dark specter of our past towering over us. We weren’t able to tease one another with words, like playing with a child’s toy. Nor could we ask anything about each other’s daily lives. Keisuke was a heavy smoker. I didn’t smoke myself, but I always carried a match with me. That was my only way of keeping him on my mind. Sometimes when I was working in the kitchen I would light a match, and gaze at the flame for a while. Feelings of gentle affection radiated out from it, like the light of Venus slowly orbiting the Sun. Always fitting comfortably inside that flame of memory was Keisuke. Just like with the observation of celestial bodies, we are under the illusion that we completely see and understand everything there is to know about the human heart, but I feel there are many mysterious holes in our morals that leave much to be said, much to be discovered, and I refuse to believe in those morals. I refuse to believe in human knowledge that has a beginning, but like the tail of a comet has no defined end, disappearing silently into a world of nothingness.
“I wonder what time it is.”
I took the hand that Keisuke still held and placed it gently against my chest, turned over onto my stomach, and grabbed the wristwatch from beside my pillow.
“It’s odd we haven’t been eating much.”
“What time is it?”
“Three.”
“What do you want to do?”
“I’ll go take a trip to the city. Maybe I’ll pick up something there.”
Keisuke got out of bed and changed. I grinned when I saw his head nearly touching the ceiling. He stepped into the hallway but returned a moment later, saying he forgot his wallet.
“You silly man.”
“Yeah, but I blame you…”
“Just don’t drop your wallet, OK?”
“Don’t worry, I’ll be fine,” he said and left.
Having met as surgeon and patient, it was a little sad that we didn’t have a single common friend, but now I felt that having no shared friends was a blessing in disguise. An unobtrusive general practitioner without a doctorate degree, Keisuke was a man lacking the ambition to become a great doctor. With a modest temperament that didn’t try to keep up appearances, he had been loved by several women before me. I heard that after graduating from the University of Kyushu School of Medicine, Keisuke spent some time in Singapore.
But I didn’t care at all about Keisuke’s past. I fell in love with him naturally. At first, I had the impression he was a man with a harsh tongue, and his way of speaking angered me. Ironically, as a result I began to quietly observe him. Despite being a meticulous worker who was considerate toward his patients, he had a terribly crude way of expressing himself. For some strange reason I dreamt about him two nights in a row.
In a room of an unfamiliar hotel in a foreign land, a place deep in the mountains shrouded by mist, I dined in the light of a lamp. Beside me was Keisuke, and across from us sat two soldiers having dinner. Then, the next night I dreamt that I was searching for Keisuke’s room, and the instant I gently opened his door he yelled out, “Who’s there?” There was nothing particularly special about those dreams, but they haunted me for a long time after that. Whenever I met Keisuke in reality, his tongue was as sharp as ever. At the age of 34, three years younger than me, he was in the prime of his life. During the war Keisuke had his own practice in Aoyama, but when his house was destroyed in an air raid he forced his family to evacuate to their hometown of Himeji, staying in Tokyo by himself to work in the operating room of a certain hospital. I always used to joke how his chloroform anesthetic worked like a charm, and that was the only time the normally sharp-tongued Keisuke would blush, a hint of a grin on his face.
Soon after getting together we discovered that our past experiences held surprisingly little power over us, and this brought us great joy, as if we both had suddenly been born out of thin air. I thought that the mystery of Adam and Eve represented a love like ours. I have an old memory of once seeing the amorous Leda embracing Venus in my father’s study and being in shock for some time afterwards; at times, I daydreamed that Keisuke’s hands were the wings of Leda. To me, passion is like a sea overflowing with water.
About the Translator:
This translated excerpt is from Days & Nights: Stories of Classic Japanese Women’s Literature compiled and translated by J.D. Wisgo. The print book is available on Amazon US and Amazon Japan
In May 2021, J.D. started his own publishing house, Arigatai Books. Currently, he only publishes his own translations, but he has ambitious goals for this new publishing endeavor. Find out more at Arigatai Books.
On the Books on Asia Podcast episode 12: The Art of the Short Story, podcast host Amy Chavez talks with Tina deBellegarde about what makes a good short story, and why certain short story writers are so appealing. Tina has been nominated for the Agatha Award for Best First Novel, has a short story published in the Mystery Writers of America anthology called “When a Stranger Comes to Town” and, most recently won the USA Prize in the Writers in Kyoto annual story competition.
They discuss Japanese short story writers such as Haruki Murakami and Banana Yoshimoto, Hiromi Kawakami, Aoko Matsuda, Kyoko Nakajima and foreign writers, including Lafcadio Hearn and, more recently, Rebecca Otowa. Amy also mentions two short story collection from China, one by the well-known author Xu Xu called Bird Talk and Other Stories, and an anthology of flash fiction called The Pearl Jacket and Other Stories: Flash Fiction from Contemporary China which prompts a discussion on flash fiction, which Tina defines for us and elaborates upon, including the works of Mieko Kawakami. (Click below to see Show Notes). Go to Issue 8 to see all the books discussed in the Short Story Podcast.
In preparation for an upcoming podcast with Catherine Pawasarat, we’re revisiting her two books: The recently released (Nov. 2020) The Gion Festival: Exploring its Mysteries (review here) and From Wasteland to Pureland: Reflections on the Path to Awakening (for a BOA quick take, click here).
The Other Ishiguro
Review by Cody Poulton
Last month in Books on Asia I reviewed Klara and the Sun and contrasted Kazuo Ishiguro with another author with the same surname. Well, here’s a book by the other Ishiguro, Hiroshi, who happens to make robots—and not just imagine them.
Ishiguro Hiroshi is probably the most famous robotics engineer around. Many will be familiar with his android double, Geminoid HI-1, released in 2006, which has had several incarnations since. Ishiguro has had himself updated by cosmetic surgery so that he and his Geminoid twin continue to resemble each other. He has created a number of other Geminoids as well: his daughter; a newscaster; an anonymous woman who was the model for his hardworking Geminoid F (more on her later); the rakugo artist Katsura Beichō; trans TV personality Matsuko Deluxe; and even the early 20th century novelist Natsume Sōseki (with the voice of his grandson, manga artist and scholar Natsume Fusanosuke).
In this manner Ishiguro Hiroshi has kept himself in the limelight for close to twenty years, while publishing dozens of academic papers in both Japanese and English, appearing on a number of Ted Talks, and even cameo-appearing in a Hollywood movie. He has also written a sheaf of popular books. How Human is Human? (Transl. Tony Gonzalez) is one of them.
Androids have been the stuff of Hollywood for decades now: Harrison Ford and Rutger Hauer in Blade Runner, Arnold Swarzenegger in the Terminator series and Alicia Vikander as android femme fatale in Ex Machina. These days even sheep dream of androids.
But we need to distinguish between science fiction and scientific fact. As Ishiguro Hiroshi would be first to admit, we are still years away from fully autonomous bots. His Geminoids are essentially paraplegic because their legs are needed to accommodate the compressors that power the pneumatic actuators that serve like muscles to move their upper bodies and simulate the expressions of joy, doubt, sadness, or annoyance that we normally associate with living humans.
Japan has been at the vanguard of the creation of robots since the implementation of industrial robots in the car industry in the 1970s, and with humanoid robots since at least 2000. Indeed, one could argue that Japan’s robotics industry reaches back to the Edo era with the production of mechanical dolls from the late-17th century on. The father of one of the founders of Toshiba was an inventor of automata. Most robotics and AI research in the US is driven by DARPA (the Defense Advanced Research Projects Agency), but Japan’s postwar constitution prevents robotics research from being used, for the most part, for anything but commercial applications. This is one of the reasons why Japanese robots are generally cute, not scary.
Cutting-edge research for the past couple of decades has been in the area of human-robot interaction (HRI), developing new generations of robots that can interact with, and assist, human beings in a variety of spheres, from staffing a fleet of fully automated hotels (Henn na Hotel) to elder care. Anthropologist Jennifer Robertson has argued, however, that Japan’s robotics industry has been in part driven by a certain xenophobic tendency to avoid immigration to mitigate Japan’s ageing demographic and labour shortage. Indeed, for this reason, Shinzō Abe’s first cabinet touted robotics in its “Innovation 25” campaign of 2007, an initiative Abe would continue to promote throughout his second tenure as Prime Minister.
But the question remains: What are androids good for? Ishiguro’s own research has been guided by an attempt to understand what makes humans tick by attempting to build one. He believes that his various attempts have led to some striking insights into human nature.
Ishiguro is an engaging speaker and his controversial, counterintuitive, man-from-Mars opinions on the nature of humanity and the future of human-robot interactions, in addition to his own technological achievements, are well-known. A materialist and determinist par excellence, he casts doubt on our received notions about the uniqueness of humanity, our sense of possessing a free will, an identity, a soul. Western philosophy has been haunted by mind-body dualism, what English philosopher Gilbert Rile called “the ghost in the machine,” since at least Descartes. Ishiguro would like to disabuse us of that notion. “‘I’ am a fragile array of sensations” he writes (p. 42), which sounds rather like the Buddhist concept of self-hood.
I met the author, who has a Doctorate in Engineering from Osaka University, through one of his colleagues, playwright and director Hirata Oriza. Ishiguro and Hirata first teamed up to create what is claimed to be the world’s first play in which robots are robots: I Worker (2008). The two creators would go on to produce several more, including Sayonara, starring Geminoid F in a two-hander with the Geminoid and American actress Bryerly Long playing a mortally ill woman. (For translations of these plays see Poulton and Hirata, 2019.)
Refreshingly for an engineer, Ishiguro has been an avid interdisciplinarian, working with neurologists, cognitive scientists, linguists, and artists in his ongoing efforts to map out human consciousness and replicate that in machines. Curiosity about human nature has driven his research, not the need to translate it into commercial applications. In this sense, Ishiguro is a pure scientist, not just some inventor.
Some of the most intriguing sections of How Human is Human? discuss telepresence, the feeling that our consciousness can inhabit an object or entity at physical remove from ourselves. (To some extent this is what Marshall McLuhan was getting at back in the 1960s when he wrote that electronic media are essentially extensions of our central nervous system.) Operators of Ishiguro’s Geminoids, including himself, identify so much with their doppelgangers that when their androids are touched they feel it physically. Ishiguro has frequently sent his Geminoid overseas to give lectures, which he can still deliver in his own voice over the internet. If our minds are not in our bodies, then where are they? This further complicates the Cartesian problem.
Androids are certainly tools to think with and one thing they make us think of is our own mortality. That was Hirata’s take in Sayonara and Kazuo’s take too in Klara and the Sun. Hiroshi, who is something of a trans-humanist, would like to think of androids as a way to become immortal. He wonders whether it would be possible to download his identity, his memories, his emotions, into his android double. If we all had one, could we then live vicariously through our surrogates, perhaps extending our lives, not only in space, but beyond our limited time on this planet?
What is elided here is that Ishiguro Hiroshi’s robots are essentially puppets that still mostly need to be operated by a human being. As of yet, they do not possess autonomy or agency. After some years of seeking the roboticist’s Total Turing Test—to build an android that can fool you into thinking it’s human—Ishiguro turned to making more idealized humanoid forms, in various shapes and sizes, to act as tools of communication and intimacy between individuals separated by distance: smart phones if you will, that feel like human flesh and respond to your touch. In truth, however, his Telenoids and Elfoids haven’t replaced our iPhones or Androids (a misnomer, that one). Nobody outside Ishiguro and the folks in his lab carry little homunculi in their pockets. They’re not cute, like Aibo, Pepper or the huggable LOVOT, and we know that in Japan, cute is queen. The current pandemic has driven home the need for new ways of intimacy in a world of physical distancing; if technology can’t solve the problem, at least it is ameliorating it.
A leitmotif in this book is Ishiguro’s sense that he is becoming more and more like his Geminoid, rather than the other way around. This is a feeling first flagged by Donna Haraway in her “Cyborg Manifesto” of 1985, where she writes that “our machines are disturbingly lively, and we ourselves frighteningly inert.” (Haraway herself has a cameo in Ghost in the Shell 2: Innocence [2002].) Technology is undoubtedly transforming what it means to be human, but it’s been doing that since the birth of homo sapiens. Sherry Turkle has also had much to say about recent iterations of this problem.
If I had a bone to pick with this book, it would be, first, the English title. “How human is human?” asks nothing, and provides no answers. More evocative is the original title, Dōsureba Hito o Tsukureru ka: Andoroido ni Natta Watakushi, which literally translates as “How can one make a human? I, who became an android.” Better yet, call it, à l’Azimov, “I, Android.” There is another problem: the original Japanese text was published in 2011. A whole decade has passed since then and, while we still haven’t reached the singularity, robotics research has grown by leaps and bounds. Ishiguro’s book is therefore a report on the state of his corner of the field, but it is no longer up to date.
The biggest issue with this book is that Ishiguro has been digging a trench in the Uncanny Valley for so many years now in an effort to marry resemblance to familiarity but only getting weirder. Simulation isn’t identity and “humanness” (ningen rashisa) isn’t humanity. He’s the first to admit he hasn’t cracked that mystery, however, so let’s give him some credit for trying.
This is a delightful book of short stories from Kyoko Nakajima, author of The Little House, and winner of the Naoki Prize. I’m half-way through Things Remembered and Things Forgotten, (transl. Ginny Tapley Takemori) but my favorite story so far is “The Life Story of a Sewing Machine,” which describes the model number 100-30 machine, born in 1920, and all the events it has seen, experienced, and constructed over its lifetime before it ends up in a thrift store. Battered and beaten, the relic is about to be purchased by someone who is determined to continue its life. This collection also includes Nakashima’s story “My Wife was a Shiitake.” Charming!
Shortlisted for the 2013 Man Asian Literary Prize, “Strange Weather in Tokyo” is a story of loneliness and love that defies age.
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Shortlisted for the 2013 Man Asian Literary Prize, Strange Weather in Tokyo is a story of loneliness and love that defies age.
Book Description: Tsukiko is in her late 30s and living alone when one night she happens to meet one of her former high school teachers, ‘Sensei’, in a bar. He is at least thirty years her senior, retired and, she presumes, a widower. After this initial encounter, the pair continue to meet occasionally to share food and drink sake, and as the seasons pass – from spring cherry blossom to autumnal mushrooms – Tsukiko and Sensei come to develop a hesitant intimacy which tilts awkwardly and poignantly into love. Perfectly constructed, funny, and moving, Strange Weather in Tokyo is a tale of modern Japan and old-fashioned romance.
Books on Asia’s take:
Hiromi Kawakami (transl. Allison Markin Powell) writes lovingly about Tokyo and its people. Possessing a gift for understatement, she nurses the reader along with small insightful details which culminate in something large, meaningful and beautiful. This brilliant soft touch makes you want to keep reading, and reading, and reading…We’d classify this under the sub-genre of “sensei” novels, where, like Natsume Sōseki’s Kokoro, involves the gentle guidance that can only be found in the benevolent character of a sensei, or teacher.
Another Kawakami book, also translated by Allison Markin Powell is The Nakano Thrift Shop, about a used goods and antiques store in Tokyo and the every day customers who come and go, the strange procurements they bring, and the oddly normal relationships among those who work there.