Review—Lonely Planet Best Day Hikes Japan

The long-awaited third installment in the series, entitled Best Day Walks Japan (US edition: Best Day Hikes Japan) has been published.

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Review by Wes Lang

My time in Japan coincides directly with the history of Lonely Planet’s Hiking in Japan guidebook. I arrived on these shores in March of 2001, just one month after the release of the first edition of the guide. I soon picked up a copy of the teal and black cover and immediately set out to climb as many of the mountains as I could. My focus soon shifted upon turning to page 21 and finding a side bar about the Hyakumeizan, and I set my sights on climbing all of the hundred mountains on Fukada Kyūya’s seminal list. Using the guide as a reference, I worked my way through the mountains until reaching my goal in late 2008, just as the authors were doing research for the second edition of the book. I picked up a copy of this new version after its release in 2009 and published a closer look on my blog, Hiking in Japan, which details the changes between the two editions along with my thoughts on the update. Both editions eventually went out of print, leaving a void in the market for a comprehensive in-print guide to Japan’s mountains. Fast forward to 2021, and the long-awaited third installment in the series, entitled Best Day Walks Japan (US edition: Best Day Hikes Japan). Here’s a closer look:

The positives: First of all, the latest guide is visually pleasing, with 130 full-color photographs laid out through 210 pages of content. This certainly marks a big departure from the previous two books, which were done in 2-color offset with a full-color photo insert. The Japan book is among the first in a new series called ‘Lonely Planet Best Day Walks,’ which is an interesting concept in this need for social distancing during the pandemic. Casual browsers in bookshops can simply open the book and immediately get an idea of the natural beauty of Japan. The designers have done an excellent job of presenting the materials in an easy-to-follow layout organized by region, and users will be able to flip through and find a hike that suits their travel needs.

Speaking of hikes, the new guide features what are simply billed as “60 walks with maps”, ranging in difficulty from flat strolls through Oze National Park to strenuous ascents of proper mountains such as Miyanoura-dake on the island of Yakushima. Regional content allocation is fairly balanced, with each region covering between 5 and 10 unique hikes, which gives readers enough variety to satisfy their outdoor thirst and match their travel itinerary. The first two Hiking in Japan guidebooks feature 71 and 69 hikes respectively, in double the page content of the latest Best Walks Japan.

Curating a guidebook is no easy task. Lead author Craig Mclachlan has struck a good balance bringing not only some of the best hikes from his previous two Hiking in Japan guides, but also a few new hikes that have not yet appeared in print, such as Sanbe-san in Shimane and Tanesashi Kaigan in Aomori. Also worthy of praise is the addition of experienced writer Rebecca Milner to the team – this  long-overdue female prospective is a welcome change from the all-male leadership of the previous two books.

Furthermore, the full-color English maps for each hike provide enough detail for hikers to follow, while the hike descriptions themselves  feature the kanji readings and symbols for each waypoint along the walk, which will help walkers to decipher the Japanese language signposts proliferating the mountain trails nationwide. The information is practical, and in many cases the URLs are included next to the items mentioned in-text such as transport companies and mountain huts.

Most of the hikes feature a ‘Take a Break’ sidebar with personal recommendations for places to eat and rest near each hike, including nearby hot spring baths. Each regional overview also includes a sidebar of practical resources for planning, featuring mostly government tourism websites and official promotional literature.

Room for improvement: While the book looks great upon first glance, there are a few things that could clearly make this book even better. The first issue is cosmetic. Ninety percent of the photos are stock images, which is a huge departure from the Lonely Planet of bygone days with their 100% author-sourced photographs. Stock images do look nice, but they lack any kind of personal touch and perspective that the authors can give, especially since they are the ones who were on the trails doing the research. Among the 130 photographs, I have counted around 10 that are credited to the authors themselves. The notable exception is Ray’s photo of the higuma bear in Hokkaidō, which is a thing of beauty.

Two of the stock images chosen actually don’t refer to places on the actual hike: the stock photo for the Rokku Gaaden in Kobe is of the Suma Alps, which is further west in the Rokkō range but nowhere near the hike, and the stock image of the Kujū hike is actually Amagaike marsh looking towards Mt Hiji, which again is in the Kujū range but not on the actual trail described in the book. These kinds of issues are happening more and more in publications that rely too much on stock images, especially if the contributing stock photographer does not caption or tag their photos properly.

Another issue with the guide is inconsistency between sections. A good editor should be able to take a guidebook written by three authors and make each section seem indistinguishable from the other in terms of detail and flow. However, with this guidebook some of the walk descriptions feel rushed and lack the appropriate amount of detail, while others are very well-written and presented. These descriptions can mean the difference between an amazing hike and one bordering on disaster. For example, the Ōtake-san hike in the Tokyo section is excellent: it gives you all the practical information you need (how to get to the hike, how long it will take to get there, cost of train fare) and the trail description includes estimated hiking times between each waypoint in the hike. Every hike in this guide should include exactly the same amount of detail. I think the problem is with word limitations – they simply reached their word count limits and ran out of space. One possible way to free up space is to axe the four-page Shikoku Pilgrimage, which is definitely not a ‘day hike’ and instead do a shorter text box description of the 1400-km route. That would free up more space to add more details to other hikes that lack transport information such as Norikura-dake.

Thirdly, some of the information in the latest guide is simply out of date, which is quite a shame considering the publication of the book has been delayed by a year from its original slated publication date of spring 2020. For instance, at the time of writing the Aso-san volcano in Kyūshū was off limits to hikers, but the mountain reopened in September 2020, which should have given the authors plenty of time to update the trail description to reflect the most current conditions. As it stands, the information about the Sensui-kyo Ropeway is simply incorrect, considering the ropeway ceased operations in 2010 and is now in a state of complete ruin. Perhaps this guidebook was printed in early 2020 and has simply been sitting in a warehouse collecting dust all this time?

Next, each hike lacks a ‘when to go’ box. Information about the best season to visit is handled in the introduction to each region, but these particulars should be clearly presented within the individual hike overviews themselves. The authors tout Fushimi Inari as one of “most impressive and memorable sights in all Japan”, but perhaps they should warn people about the immense number of tourists that jostle elbows with others to get a selfie for their Instagram feed, and instead recommend a pre-dawn or early dusk ascent.

One final item is with the difficulty rating system, which ranges from ‘easy’ to ‘hard’. These ratings are explained on the insider cover page of the book, but they really should include vertical elevation gain and distance recommendations. The book lacks vertical elevation loss and gain, so it’s difficult for experienced hikers to evaluate a hike without this valuable data. Any hike that includes an elevation gain of 1000 meters is going to be a hard hike for anyone who is not fit. In addition, any hike over 20 kilometers in length is going to be tough on the feet. The Sandan-kyō hike in Hiroshima Prefecture is listed as ‘easy’, yet the total round-trip distance is 32 kilometers – that’s three-quarters of a marathon!

The verdict: This guidebook will definitely appeal to first-time visitors to Japan, especially those interested in the variety of beautiful walks and hikes that Japan has on offer. Repeat tourists may also find the information invaluable for making informed choices about where to go and what to climb. However, be warned that some of the walks include only ‘bare bones’ information, requiring readers to do their own research about bus and train timetables. Or they can simply enlist the assistance of a travel consultant to supply the logistics.

Long-time residents who are not fluent in Japanese will also find a great deal of valuable content in the latest guidebook. However, anyone who is fluent in the language could easily find better Japanese-language sources for hikes in their region.

That being said, I will definitely pick up a copy of Best Walks Japan to add to my collection. My philosophy has always been: the more published content about Japan’s mountains the better, and while the latest guide is far from perfect, it is a step in the right direction and, with a few improvements, could easily be a go-to resource for both tourists and residents alike.

About the reviewer:
Wes Lang is co-author of Hiking the Japan Alps & Mt. Fuji (Cicerone Press, 2020). This review originally appeared on his blog, Hiking in Japan.

Review—Earthlings: A Novel

Opens as a coming-of-age story, evolves into psychological suspense, and settles into dark fantasy and horror.

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Grove Press (October 8, 2020)

Review by Tina deBellegarde

Earthlings by Sayaka Murata (transl. Ginny Tapley Takemori) is a unique literary experience, one that is impossible to pigeonhole into any specific genre. It opens as a coming-of-age story, evolves into psychological suspense, and settles into dark fantasy and horror.

As she did in Convenience Store Woman, Murata questions the meaning of normal and undermines our understanding of happiness, but Earthlings takes the subject matter to a much bleaker place. Do not let the cover, or your experience reading Convenience Store Woman, fool you. This book is not for everyone. It is not warm and fuzzy like the plush toy on the cover. It starts out as thought provoking, but ramps up at full throttle as a hard-to-read horror story that exposes dysfunction in the form of toxic families, sexual abuse, pedophilia, and violence.

Natsuki is a nine-year-old misfit whose plush toy bestows upon her the magical powers she uses to cope with her cruel mother as well as the sexual abuse of her teacher. She lapses into dissociative behavior to handle the most traumatic events she encounters.

She is closest to her cousin Yuu, who suffers under his mother’s mental illness and believes himself to be an alien. He is awaiting the return of his spaceship to take him back to his true home. Natsuki hopes to join him. Yuu and Natsuki develop a special bond as a result of their common plight and decide they will “survive, no matter what.” It’s the “no matter what” that drives the rest of the book.

Twenty years later, Natsuki has arranged for a mock marriage to fool friends and family. Tomoya is merely a roommate with a marriage certificate. Natsuki, Tomoya and Yuu will do anything to avoid being caught up in the expectations of society, or the Factory, as they call it. The trio refuses to assimilate. Normal tools of the Factory are expected to enter the traditional workforce in order to earn enough money to afford marriage and babies. All three are repulsed by society’s insistence on breeding. None of them is willing to conform, but more than that, none of them is able to conform. They have been so traumatized by their experiences that they are unable to have what society perceives as normal relationships and desires. They have found ways to be happy outside what is considered the norm, but with no acceptance from family, friends or society at large, they must hide their real lives and pretend to comply.

This is not the first, nor the last story where individuals need to hide their otherness, but in this case their non-conformity spirals out of control. Murata makes sure we understand the consequences of forcing individuals to conform to social constructs. All the characters in this story do whatever they believe they need to do to overcome the obstacles thrown at them, at times with shocking effect.

There is no point in sharing any more of the plot. This story can only be experienced properly once. My advice would be to avoid spoilers elsewhere and read Earthlings if you think you are up to a thought provoking story that is unique, unpredictable and sometimes disturbing. (Also consider that critical praise for Earthlings is consistently high, while general reader feedback is much more mixed.)

Earthlings is difficult to recommend, but impossible not to. There are several remarkable things to note about this book. First, Earthlings is continuously unpredictable. As each layer unravels, and the reader presumes to anticipate its direction, it takes a wild turn. Many books are described as twisty, but this is one of the rare times that the twists were indeed unexpected.

Second, the lack of morality will keep you off balance. The concepts of good and bad are completely thrown out. There is no one to root for here. The conformists are clearly not good, but the non-conformists aren’t either.

Most of all, it will leave a lasting impression. You will not quickly forget this book and that is a rare feat indeed. I can’t say for certain that I enjoyed Earthlings, but it is compulsively readable and unique.

Podcasts

BOA Podcast 9: Janine Beichman on translating Japanese Haiku and Tanka

In this episode of The Books on Asia Podcast host Amy Chavez talks with author and translator Janine Beichman, whose translations include two books of poems compiled by Makoto Ōoka: Sleepless Tossing of the Planets: Selected Poems (Kurodohan, 2019) and Ori Ori no Uta: Poems for All Seasons (Tankoban, 2001). She has also penned two biographies: Masaoka Shiki: His Life and Works (Cheng & Tsui Co 2002) and Embracing the Firebird: Yosano Akiko and the Rebirth of the Female Voice in Modern Japanese Poetry (Univ. Hawaii Press, 2002). Just last week, she released a new translation called Well-Versed: Exploring Modern Japanese Haiku by Ozawa Minoru (Japan Library/JPIC).

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Review—Klara and the Sun, by Kazuo Ishiguro

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Kazuo’s trademark estrangement paradoxically brings his characters closer to us.

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A Tale of Two Ishiguros

Review by Cody Poulton

Once upon a time there were two men who shared the same surname and an interest in robots. One of them, Kazuo, left Japan and became a little Englishman, but he always felt like an outsider, which is a good thing for a writer, which is what he became. He impersonated Japanese people in his first two novels but really didn’t find his voice until he became the English butler “Stevens” in his very popular novel The Remains of the Day (1989), for which he won the Booker Prize. That was made into a movie, as was Never Let Me Go (2005). He was awarded an even bigger prize, the Nobel, in 2017, and even knighted by the Queen.

His latest novel, Klara and the Sun, is about an android, though in the novel she’s called an AF, short for Artificial Friend. Klara tells the reader how she becomes companion to a sick young girl called Josie (who is just a typo away from becoming josei, “female” in Japanese). Many other children have AFs in the novel, that is if they can afford them. Some children are “lifted,” which gives them a head start on life. Rick, Josie’s friend, is gifted, but the better schools only take the lifted ones. (There is a common theme about genetic mutations in a play called “The Sun,” by Maekawa Tomihiro, which had a staged reading at RADA in London, in 2016).

The other Ishiguro, Hiroshi, stayed in Japan and became a famous engineer, making android twins of real people, which he calls Geminoids. Hiroshi is a little like Mr. Capaldi in Kazuo’s novel, who is an echo (or do we call it a kind of copy? Imitation is the name of this game) of Coppelius/Coppola in The Sandman, E.T.A Hoffmann’s 1816 weird tale about an automaton. Hiroshi first made a copy of his daughter, which was so creepy that when the girl met her Geminoid she said she didn’t want to go to daddy’s school any more. (Hiroshi likes telling that story). Then he made a copy of himself, but found he had to undergo cosmetic surgery so he could stay as young as his Geminoid, who never gets old. Asked why he made these Geminoids he explained that the best way to understand what a human is was to build one. His Geminoid F (F stands for female) starred in “Sayonara,” a play written by Oriza Hirata, his colleague at Osaka University. This play was about an android companion given by a father to his sick daughter, played by American actress Bryerly Long. It was later developed into a movie by Fukada Kōji about a Japan that had become uninhabitable after a nuclear accident like the one in Fukushima. Geminoid F was nominated for best actress in the Japan Academy Awards for 2015 but didn’t win.

Robots are already a crowded literary genre. On the first page of Ian McEwan’s 2018 novel Machines Like Us (a novel Kazuo studiously avoided reading when writing Klara) his protagonist remarks that, “artificial humans were a cliché long before they arrived.” Mary Shelley, who invented science fiction, was also the first to write a narrative in the voice of someone who is not human, a character she calls the Creature, in Frankenstein (1818). Karel Čapek’s play “RUR” (Rossum’s Universal Robots), first staged in Prague in 1921, coined the word “robot.” It used the idea of the automaton to explore twentieth-century fears about the effects of mass production. When it was staged in Tokyo just three years later, it was translated as Jinzō Ningen (artificial humans). A Japanese film adaptation of “RUR” is being released this month. Čapek’s play kicked off a century-long fascination with robots in Japan. Usually, like Astro Boy and Pepper, they are friendly, as Fred Schodt and others have pointed out. Even Major Kusanagi in Masamune Shirow’s Ghost in the Shell (manga version, 1989-90; anime version by Ōtomo Katsuhiro in 1995) is a sympathetic cyborg. Hiroshi’s quest for human verisimilitude, however, plunges his bots straight into what roboticist Mori Masahiro called the Uncanny Valley. The closer they seem like us, the more repellent they are.

In contrast, Kazuo’s trademark estrangement paradoxically brings his characters closer to us. The author has a way of using the most ordinary language to make the world seem very strange indeed. Klara calls parties “interaction meetings,” for example, and every once in a while the world through her eyes becomes pixilated, devolving into cubes and cones. Yet Klara’s keen power of observation (she looks, she learns) is the very source of her uncanny sense of empathy for the human beings she comes in contact with. She would do anything for Josie, but like so many Kazuo characters, she seems to miss the bigger picture until the story pretty much swallows her whole. As is usual in Kazuo’s novels, the truth is hiding in plain sight. Klara is very smart but she’s also quite naive. She thinks the Sun (which she always capitalizes, like God) is a sentient being that cares for her. (Klara is, after all, solar powered, so she’s not totally wrong). So strong is her faith in the Sun that it brings about a kind of deus ex machina that takes the course of the story in an unexpected, salvific direction, which some readers may feel is a cop-out.

Will humans be replaced? Rendered obsolete? This is the perennial, and now rather tiresome theme of the robot genre, especially for Hollywood. Kazuo takes a rather different tack, by using the Artificial Friend as a means to explore the mysteries of human intimacy. (So, essentially, does McEwan). At one point Paul, Josie’s father, asks Klara if she believes in the human heart, to which Klara replies she certainly believes that it is complex, but it must be limited and therefore can be understood, even imitated. Paul, an engineer, remains skeptical. For him, the heart is like Artificial Intelligence’s black box, something we really cannot look inside to figure out how it arrives at the computations it makes. Like Hiroshi, Kazuo also asks what it means to be human, but in order to go somewhere toward answering this big question he tackles other hard, ethical questions about love, loneliness, mortality, the fear of losing control—of being, as this novel calls it, “substituted.” Hiroshi should read Kazuo. So should you. You might say Kazuo has beaten Hiroshi at his own game.

Review—Tokyo Junkie: 60 Years of Bright Lights and Back Alleys…and Baseball

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A memoir and book about the dramatic growth of the megacity Tokyo

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Review by Mark Schumacher

Since the 1977 release of his first book The Chrysanthemum and the Bat, author Robert Whiting has remained the “go to” guy for entertaining and educating and enlightening books about Japan. His many English books and articles, once translated into Japanese, have hit the bestseller lists in Japan. Whiting resonates on both sides of the Pacific.

This book is Whiting’s memoir of his adventures (often riotous) as a longtime Japan resident. It is a definitive, detailed, and authoritative book: an “ensemble of curiosities with enough facts to fill two books.” That quote, by the way, is from the N.Y. Times book review of Chrysanthemum and the Bat. It still accurately describes Whiting’s style of writing.

Tokyo Junkie‘s 60-year trajectory carefully and entertainingly details the rebuilding of Tokyo (and Japan) from a destroyed postwar backwater reeking of urine, into a global economic powerhouse reeking of graft, bribery and scandal. It references slogans, cartoons, poems, propaganda films, secret reports, sports columns, and a wealth of other documents of the time. It is also a roller-coaster ride into the underbelly of Japan and into the underworld of Whiting’s own life in Tokyo during those decades.

Drunkenness and debauchery and chicanery play a big part in Whiting’s riveting narrative, but the book’s larger message of “renewal” (both Japan’s & Whiting’s) and the “goodness” of Japan’s common people, is crafted with great skill. His wife Machiko plays a big part in Whiting’s “recovery.”

Writes Whiting: “My story is part Alice in Wonderland, part Bright Lights, Big City, and part Forrest Gump, among other things. It is a coming-of-age tale as well as an account of a decades-long journey into the heart of a city undergoing one of the most remarkable and sustained metamorphoses ever seen. It is also something of a love story, with all the irrational sentimentality that term entails. Tokyo and I have had our differences, our ups and downs—I once left for what I thought was good, so tired of being a gaijin (foreigner) that I thought I would die if I stayed any longer—but as our relationship reaches the end and I look back, I must say that all in all it was the right place to spend all these years. It is not too much to say that I am what I am today because of the city of Tokyo. It was here that I learned the art of living, discovered the importance of perseverance, grew to appreciate the value of harmonious relations as much as individual rights, and came to rethink what it means to be an American as well as a member of the larger human race.”

Later in the book, Whiting describes his own metamorphoses: “I had developed bizarre social skills, to use the term loosely. I knew how to talk to my fellow Tokyoites but found I was becoming less conversant with Americans. I peppered my speech with Japanese words used all the time in daily conversation—sugoi, shoganai, maitta (wow, can’t be helped, I give up)—without realizing what I was doing. Moreover, I had unconsciously adopted Japanese mannerisms: bowing when talking on the phone, sucking wind as Japanese do when trying to think of something to say, pouring beer for dinner partners.”

Whiting and I have been friends since the mid-1990s, when we both lived in Kamakura. He was perpetually stuck inside a Japanese newspaper or magazine, researching his latest book. When I visited to fix or backup his Microsoft computer (I was his PC tech), I asked him how long it took him to write a book. He said: “About five years.”

Like Japanese baseball, Whiting’s approach to writing is a lot of hard training and practice and research, over and over and over. He had a routine of reading the Japanese newspapers and magazines and journals, with a toothpick in his mouth, which replaced the thousands of cigarettes he had smoked and beers he had drunk in earlier times. He had come down to earth. He had become one of us again, a famous man without pretension. I like him for that.

This book is Whiting’s love letter to Japan, to Tokyo, to the overall kindness of Japanese people and Japan’s endearing culture, which allowed him to arrive as a hated foreign conqueror and later to return as a friend. Writes Whiting: “I first came to the city over five decades ago in 1962 as a raw nineteen-year-old GI from small-town America. I spent over three years working for the CIA and the NSA, secretly spying on the communist regimes in Russia and China.”

In his book’s conclusion, he writes: “The product of the city’s continuing renewals and rebirths has redefined what it means to be Japanese. Along the way it redefined me as well.”

Tokyo Junkie is a likeable, breezy, well-written memoir, packed intensely with detail and eye-opening information about Japan, about the foibles of its author, and about bitter WWII enemies becoming steadfast friends in the following decades.

About the Reviewer:

Mark Schumacher is a longtime Japan resident based in Kamakura. He is an independent scholar of Japanese Buddhist statuary, and author of the popular A-to-Z Photo Dictionary of Japan’s Buddhist & Shinto Deities (online since 1995).

About the Author:

Robert Whiting’s best-selling books include The Chrysanthemum and the Bat, You Gotta Have Wa, The Samurai Way of Baseball: The Impact of Ichiro and the New Wave from Japan, as well as Tokyo Underworld: The Fast Times and Hard life of an American Gangster in Japan. Whiting is one of only a few Western writers to have a regular newspaper column in Japanese. Listen to our podcast interview with Whiting.

Excerpt—Cherry Blossom poems from “Well-Versed: Exploring Modern Japanese Haiku”

bookWith the cherry blossoms in mankai (full bloom) now in Japan, we take some time to contemplate their beauty through poetry.

The following are two excerpts from the just released Well-Versed: Exploring Modern Japanese Haiku (Japan Library/JPIC March 23, 2021) with commentary by Japanese haiku poet and critic Osawa Minoru (translated by Janine Beichman). The book walks the reader through Japan’s seasons presenting poetry for each time of the year and the significance of its poetic images. Reading poem translations with commentary is a great way to start to understand the nuances of Japanese poetry.

We hope you enjoy these cherry blossom haiku!

To quiet the heart of

the mountain god

the cherry blossoms opened

by Takada Chōi

Commentary: These cherry trees are flowering deep among the mountains, not down at the foot where people live. Humans almost never see them, but when the deity who presides over the mountain gazes on them, they do his heart good.

At one time the flowering of the mountian cherry blossoms was the time of an advance celebrations of a good rice harvest. This was based on the traditional poetic comparison of the cherry blossoms to snow. When snow lay deep in the mountains, the farmers could be sure of an abundant supply of snow meltwater in the coming months, which was necessary for the young rice plants to grow. The blossoms, because of their visual resemblance to snow, thus became prophets. With its slightly formal ceremonial quality, this poem reminds us of the old belief.

Chōi made a deep study of the history of the Shinto prayers called norito, and at one time served as the head priest of Minatogawa Shrine in Kobe.

Yamazumi o / suzushimu sakura / sakinikeri

Mountain god / quiet the heart cherry trees / bloomed

Flying through the sky

in a cluster—

a flurry of cherry blossoms

by Takano Sujū

Commentary: This poem unfolds almost like a riddle. What might follow, after the clustered mass that flies through the sky of the first two lines? Personally, I would be at a loss to reply. It cannot be birds—they can fly close together, but not close enough to appear as a solid clump. What about butterflies? If they were clustered in such a tight mass they would be unable to move.

Reading on, the unexpected answer comes: this is a dense mass of cherry blossom petals blown by a strong wind across the sky. Such flurries of petals are usually though of as light swirls lifted on a gust, but here they seem to be a single mass flying across the sky, as if they had a will of their own, making a strange spectacle. Seen through the swirling petals all around him, this flying cluster seems almost like the spirit of the blossoms in concentrated form.

This poem was composed at Yoshino, famous for its cherry blossom trees.

Sora o yuku / hito katamari no / hanafubuki

Sky moving through / a cluster of / flower flurry

 

Read a review of Janine Beichman’s translation of Beneath the Sleepless Tossing of the Planets, poems by Makoto Ōoka here.

 

First Book—Jon Tanimura & The World-Traveling Udon Maker

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The true story of a world nomad who cooked Japanese Udon noodles for 5,000 people in 24 countries    

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“First Book” is a new column where we ask first-time authors what inspired them to write their debut book/novel/translation.

Books on Asia: What’s your book’s “elevator pitch?”

Jon Tanimura: It’s an autobiography of a Japanese man who cooked Japanese Udon noodles for 5,000 people in 24 countries while traveling around the world as a nomad chef. It focuses on my struggles about “how to live my life” as Jon Tanimura, and how these struggles led me to become a “World-Traveling Udon Maker.” I take the reader to various scenes that I encountered while traveling around the world as a chef.

BOA: Is there really such a thing as Udon School?!

Jon: Yes! The one I attended was in Kagawa prefecture in Shikoku and it took me a good three months to finish the course. There are also other udon schools in Kagawa, a prefecture that is so famous it is known as the “Udon prefecture.” During the course, students learn how to make hand and machine-made udon using various types of wheat flour brands, soups, and side dishes like tempura. They even teach you how to run an udon restaurant or business.

BOA: In which language did you first publish your book?

Jon: I published my book in Japanese first and then I translated it into English.

BOA: What made you want to write a book? And why translate it into English?

Jon Tanimura
Author Jon Tanimura

Jon: The first thought in my head was that I wanted to share my whole experience with those who I’ve met on my udon journey. Even though we’d shared time talking about ourselves while eating my udon, there wasn’t enough time to tell what exactly I’ve gone through to become a “World-Traveling Udon Maker” and what I’ve been thinking about while traveling around the world. If I could share the whole experience, I thought, I could inspire others or connect with them in a different way rather than through just a partial experience.

The second thought was that I wanted to share the life of a “World-Traveling Udon Maker” with those who don’t know anything about me. Reading my book might make people feel like they want to try my udon and it could create an opportunity to meet each other and expand each other’s worlds. Even without being able to physically meet readers, I hope the book can have a positive impact on their lives in some way.

The people I’ve met on the road were from various countries and obviously I wanted the book to be reachable to more people, so I translated it into English.

BOA: What do you want readers to get out of reading your book?

Jon: I hope that by reading my book readers may become a bit more brave in taking a step forward in their lives. They’ll learn that there is a person like me who has been struggling with my identity and life (and I still am) but was somehow guided to a path that at least decorated my late 20’s with happiness and excitement.

BOA: What other people inspired you to do what you are doing?

Jon: I thought of the idea of becoming a “World-Traveling Udon Maker” when I saw on TV Mr. Atsushi Kogure, a Japanese chef who was invited to kitchens of various households around the world. But, I have always been inspired by Gandhi, the Dalai Lama, and Michael Jackson while wondering “How can I impact society through udon?”

Jon Tanimura’s Udon

BOA: What did your parents think about your idea of traveling the globe?

Jon: They were happy that I was doing what I wanted to do, but at the same time, they were worried about my future. Haha.

BOA: Have you made udon in the U.S.?

Jon: No, unfortunately. I hope I can soon!

BOA: In your book you tell a lot of stories, talk about the mistakes you made and what you learned from them, and you even give some excellent advice on how to live a good life. The book is very inspiring. What is the number one thing you learned from traveling to 24 countries teaching people about udon?

Jon: learned that there are many good people around the world who can reach out to others. When I was on the road without food or shelter, people who I didn’t know asked me to stay with them and they treated me as a part of their family. I stayed with many different families in each country for over a month and I had dinner with them countless times. In return, I cooked udon for them. In the end, when I was to leave, they said “My door is always open for you.” I learned that there are people in this world who can do such nice things for a random traveler like me, and it made me feel like I wanted to be like them. I thought how wonderful this world would be if everyone was like them.

BOA: Well, the world would be a lot more wonderful if everyone was like you! So, what are you doing now?

Jon: Honestly, I didn’t know what to do after traveling the around the world for a good three years. I had to suddenly stop traveling because of Covid-19. Now that I’ve finished writing my book, I am looking for a job where I can inspire or help other people.

 

Review—Providence Was With Us: How a Japanese Doctor Turned the Afghan Desert Green

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book cover

Nakamura Tetsu’s account of his thirty-five years as a volunteer in the nebulous border regions of Afghanistan and Pakistan

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Reviewed by Chad Kohalyk

One day in 1985, from the hills of Kunar province in northeastern Afghanistan, came three women dressed in chador, their faces covered. The two sisters and their mother were victims of the Soviet invasion of Afghanistan, and had come to the hospital ward of Nakamura Tetsu, a volunteer doctor from Fukuoka Japan and a specialist in treating Hansen’s Disease (leprosy). Removing their niqab, the younger sister “had a cavity where the bridge of her nose should have been” and the older sibling was completely bald. The mother had a burn on her foot which was necrotizing. The younger sister, Harima, pleaded for death. Meanwhile, the Soviet army was pushing up the valley getting closer every day. But Dr. Nakamura’s immense determination allowed him to press on with treatment for months among the chaos, even through his own self-doubt: “I, too, was just another lowly, confused human being, living awash in the mud of life along with our patients.”

Providence Was With Us: How a Japanese Doctor Turned the Afghan Desert Green (translated by Carl Freire) is Nakamura Tetsu’s account of his thirty-five years as a volunteer in the nebulous border regions of Afghanistan and Pakistan. Nakamura was an internationally decorated aid worker who started his humanitarian work helping patients one-by-one in a Pakistani hospital. He aspired to maximize his impact by building clinics, delivering food aid and digging over 1600 wells. He further constructed mosques and madrassas for local communities. His titular accomplishment was the irrigation of a twenty-five kilometer long canal, reclaiming desert to turn into farmland thus impacting the lives of over six hundred and fifty-thousand people.

“One irrigation canal serves the community more than 100 clinics.”
— Nakamura Tetsu

In all these endeavors there were many hardships, too many for a two hundred-page book to cover:

“We went through seven years truly on only spirit and willpower. Natural disasters in the form of great floods and concentrated local downpours on a scale not seen for several centuries were not the only problems. We also faced human-caused troubles, such as mistaken attacks on the wrong targets by US forces, sabotage by local warlords, anti-American violence, desertions by engineers, betrayals, robberies, malfeasance by staff, internal conflicts, struggle with people living on the opposite bank, disputes with landholders…the list was endless.”

Dr. Nakamura possessed an incredible determination, but also an adept pragmatism. The first chapter covers his upbringing in post-war Fukuoka, scraping together a living with hard-drinking parents who operated in the grey parts of society. His uncle, a famous writer and propagandist for the war effort, unable to reconcile his ideals with the results of the war, ended up committing suicide. These extreme experiences seem to have contributed to the doctor’s ability to navigate the complex tribal politics in Afghanistan and stay alive for so long. He points out “[i]t is normal for foreign armies to be uncertain who is their enemy or their friend and to become gnawed by suspicion and doubt” while adding “foreign aid organizations are also affected by it.” How systems and ideologies let people down is a common theme throughout the book. Providence Was With Us provides an unvarnished view of an aid organization that has been on the ground for the long term, and has operated through two foreign invasions, massive drought, and the aftermath of such crises. Other NGOs came and went, but Nakamura’s Peace Japan Medical Services, aka the Peshawar-kai, stayed. At one point he was forced to close most of his clinics, not due to war or drought, but interference from foreign NGO bureaucrats and their ignorance of conditions on the ground.

Treating leprosy patients while under threat of invasion from the Soviet Army, a letter from Tokyo arrived. It was a request for the doctor to share his experiences: “Let us have a conversation in an Asian mountain village surrounded by its people and the beauties of nature.” Nakamura had little time for high-minded internationalism, focusing rather on practical problems such as boulders too large to jackhammer while digging wells. A keen listener, he relied on local knowledge and skills in the application of “unexploded rocket shells and landmines” to blast them. When he did go back to Japan to speak at official functions, he brought a simple anti-war message, inconvenient for Japanese politicians keen on using the US-led invasion of Afghanistan to transform Japan’s overseas military capabilities. Determination and pragmatism, combined with the virtue of listening carefully to both local needs and local knowledge, allowed Dr. Nakamura to have an outsized impact and become a beloved hero in both Afghanistan and Japan.

Nakamura Tetsu was murdered on 4 December 2019 in Jalalabad, shot to death with five companions in a targeted attack by unidentified assailants. A state funeral was held for him in Afghanistan; 1300 mourners attended his funeral in Fukuoka. Released one year after his death, this translation of his final book (Japanese title Ten to Tomo ni) is an important step to bring Nakamura Tetsu’s legacy to a wider audience. It is only the second of his dozen books translated into English,the first being a practical guide to canals that was also translated into Dari and Pashto.

Providence Was With Us is a short memoir of specific projects in the field, not an autobiography. Nakamura is telling us the “what” and “how.” For him, the “why” was self-evident. Yet the book gives tantalizing hints of action off-screen, making the reader want to learn more about his life and philosophy. He barely mentions his wife and five children whom he left in Japan. According to Yatsu Kenji, a documentarian who filmed Nakamura for over twenty years, he was well read and a
deep thinker. There is much more to explore about this remarkable man’s life. What better than to begin with this account of his deeds.

Notes:

The reviewer visited one of the sites in the book in Fukuoka and uploaded a Twitter video. (@chadkoh)

The original Japanese version of the book is available here.

Excerpt—Angkor’s Temples in the Modern Era

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The following is an excerpt from a new release by John Burgess, Angkor’s Temples in the Modern Era: War, Pride, and Tourist Dollars (River Books, 2021).

During the research for this book, the author’s fifth on Angkor, he found an abiding theme: tensions between the foreigners who came to Angkor—the capital of a great empire from the ninth to the fifteenth centuries—and the Cambodians who were already there. Foreigners were largely concerned with archaeology and conservation; Cambodians saw Angkor in mystical terms, a focus of spiritual energy.

 

In 1941, the world was watching Japan, wondering what its huge armed forces were going to do next in East and Southeast Asia. The United States had imposed economic sanctions and was demanding, among other things, that Japan withdraw its troops from Indochina. Japan was refusing, in fact sending more soldiers there. The signing of the Franco-Thai treaty in Tokyo, formally ending a brief border war, coincided with the landing of Japanese troops at Cam Ranh Bay in Vietnam to set up a new base there.

Angkor Wat, largest of the temples at Angkor, was capital of the Khmer Empire for roughly six centuries. (Photo by John Burgess).

In Siem Reap, people experienced the suspense close-up. Japanese soldiers continued to arrive. A detachment of them climbed to the top tier of Angkor Wat in uniform, a comrade with a flag in the lead. These men were clearly not tourists. The Japanese newspaper Asahi noted the event with a photograph, turned into an illustration in the journalistic style of the day. The temples of Angkor were now under the protection of the Imperial Army, a related article announced.

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Japanese troops climb to the top of Angkor Wat in this illustration from an August 1941 edition of the Asahi newspaper.

By late in the year, the Japanese force in Siem Reap had grown to about fourteen hundred men, French conservator Maurice Glaize told his superiors in Hanoi. He reported no ‘grave incidents,’ but there were plenty of the minor ones that come with hosting large numbers of military men. The Japanese were driving trucks through the gates of Angkor Thom at full speed, the vibration risking knocking loose stones from their places. They were cutting trees indiscriminately. They had taken bamboo that was part of a memorial to Charles Carpeaux, the man who had surveyed the Bayon four decades earlier. Some of the soldiers were visiting the temples unsupervised, raising fears of theft or other misbehavior. Glaize worked with Japanese commanders to address these and other problems, but his influence was limited. The Japanese might or might not listen. Commanders did pledge that their soldiers would go to temples only in the company of superiors. But in a report to the Hanoi headquarters of the École française d’Extrême-Orient (EFEO), the institute that oversaw Angkor, Glaize revealed a certain feeling of helplessness on this point: ‘We believe that the religious character of the monuments will be their best safeguard.’

One day there came a ‘request’ from the Japanese for something that surely dismayed him: the creation of a live-ammunition firing range by a small hill inside the Angkor zone, about a kilometre from Preah Khan temple. Glaize signed off, noting that the requested area had only scrub and no ancient structures.

At the airport. meanwhile, the Japanese were now doing their own construction work—and paying better wages than the conservation. Many of its workers defected to jobs there. And soon the Japanese were pressing for the same thing that French civil engineers had earlier sought: removal of ancient towers near the runway on grounds they were a hazard to aviation.

It was in this period that a new king ascended the Cambodian throne, Norodom Sihanouk. He was a nineteen-year-old feeling his way. The French were convinced they could easily manipulate him, but in the years ahead he would become a seminal, willful figure in the country’s modern history, as well as Angkor’s.

 

French conservators oversaw extensive work at Angkor, such as this restoration of the Victory Gate of the walled city Angkor Thom. (Photo from Les Ruines d’Angkor).

Shortly after his coronation, the young king paid respects at the old capital, Maurice Glaize at his side. He visited the various anastylosis sites, showing detailed interest in the reconstruction work underway there (he was given a photo album including before-and-after shots). But perhaps his most important purpose was attending a large-scale religious ceremony at Angkor Wat. It was really more of a mass display of patriotic sentiments unleashed by the recent loss of three provinces to Thailand after the border war. In the presence of five hundred monks, the young king was solemnly presented with a silver box containing soil collected from the provinces. It would stay at Angkor Wat until Cambodia regained sovereignty over those lands. A flame that Sihanouk lit burned for a night in the central tower, then began an Olympic-style relay that French officials had organized as a demonstration of colonial unity. It would wind around Indochina and end up in Hanoi.

International tensions with Japan continued to mount. As a precaution, conservation workers created a protective dug-out near their buildings.

Before the outbreak of World War II, some tourists arrived at Angkor by flying boat, such as this one that landed on the moat of Angkor Wat around 1930. (Image courtesy of Collection Ville de Biscarrosse (France)—Musée de l’Hydraviation, Origine Tixier).

On December 7, the wait came to a close. In coordination with the attack on the U.S. fleet at Pearl Harbor eleven thousand kilometres away, Japanese troops staged a general offensive in Southeast Asia. They struck the Americans in the Philippines and the British in Malaya. And the Thais in Thailand. Siem Reap, now a border town due to the shifting of frontiers earlier in the year, was a natural jumping-off point for this assault. Thailand had failed to promptly grant permission for Japanese forces to pass through its territory as part of the offensive, so troops simply stormed across the border at Siem Reap under cover of darkness, treating Thailand as a hostile power. Japanese planes took off from Siem Reap airport to attack the Thai town of Aranyaprathet. War with Thailand proved very brief—its government capitulated in less than a day, letting the foreign army enter unopposed. Western colonial powers in neighboring countries kept up resistance, though they would succumb too. By some accounts, Japanese planes flew support missions from Siem Reap during the two-month campaign against the British that ended with their surrender in Singapore.

As it turned out, the ignition of total war across the region was good news for Angkor. It meant that almost all of the Japanese troops there moved into Thailand and did not return. Soon the Japanese warplanes at the airport flew away as well. All that remained at the end of December, Glaize noted in a report to Hanoi, was a Japanese guard post at the Bungalow hotel at Angkor Wat’s main entrance. ‘The most complete calm’ had settled in, Glaize wrote.

At the airport, the towers near the runway remained undemolished. Glaize had again turned back that pressure.

Angkor’s Temples in the Modern Era: War, Pride and Tourist Dollars will be published by River Books in April, 2021.

Excerpt—7+2: A Mountain Climber’s Journal

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book cover

Mountain verse from China

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by Luo Ying, translated by Denis Mair (White Pine Press, Nov. 2020)

“It was Gary Snyder’s short 1965 book of poetry, Riprap,” writes Jonathan Stalling in the introduction to 7+2: A Mountain Climber’s Journal, “where English readers gained access to something close to mountaineering poetry. It is not a coincidence that Snyder’s work arises from melding of his own upbringing among the Mazamas mountain range in Oregon with the Buddhist poetics of Han Shan, whose work appears in translation in the same volume. Taken together with the pioneering English translations from Arthur Waley to contemporary translators like David Hinton, English readers have become more familiar with the cosmological mountain poetics of China and, little by little, English has taken its first steps into writing its own mountain verse.”

Stalling explains that the title of this collection refers to the climbing the seven highest peaks on the seven continents plus the two Poles, by foot. “Huang Nubo, pen-named Luo Ying, is the first poet to do so, and his mountaineering poetry explores these experiences in real time, revealing connections between the socio-cultural, political, economic, and modern spiritual complexities that undergird such experiences.”

With permission from the publisher, we offer you these three examples of mountain verse from this recently released volume.

SUMMITING ON VINSON MASSIF

I’ve seen the underside of the world
Snow-white and pale gray to the edge of vision
Swirls of wind blow from crevices
No place to hide nowhere to evade
It would be nice if the world had such an underside
Not like the ball of murkiness we deal with now
Viewing all corners of creation from the summit
Such icy, piercing beauty robs me of speech
Just stand here not presuming to surpass it
We’re only vulgar lumps of flesh
With our suffering souls we may show up anywhere
But can never surpass so many meters of pure altitude
May wind and snow bury my footprints instantly
Like lightning that blanks out the last few stars
Vinson Massif in this lifetime I dare not look back

2010-01-05, 21:35 / Camp tent, back from summit

FEAR OF BOUNDLESSNESS

Fearsomely boundless
Dread wells up from the bottom of your heart
Feeling like a person spurned by mankind
On this ice sheet you even wish for houseflies
Not much use in looking all around you
In all directions you see straight to the horizon
Clouds steal up soundlessly above
As if ready to pounce and swallow you
Your walking makes eerie crunching sounds
Like words addressed to someone far away
Beneath the sun you stop and look for him
The whole scene stares back at you in silence
Your yelling sounds die away in a flash
As if gobbled up by a giant beast
You conclude that you are that beast
Nothing under the sun but your shadow watches

2009-12-18, 9:18 / Patriot Hills Camp tent

HUMAN REMAINS ON THE MOUNTAIN

The glacier has been melting
You might find body parts anywhere
Horrified as I raise a femur
I hear its owner gasp in pain
To sleep for decades under the glacier
Is the optimum outcome of a climbing disaster
They’ve evaded the depredations of crows
Today they appear in grisly form
Goggles on a skull still keep out UV Light
A safety belt is still fastened around a pelvis
From high on the peak they’ve made it to base camp
Their decades-long return trip must have been agonizing
Back to where prayer flags are fluttering
And climbing teams are setting out for the peak

2010-06-09, 17:04 / Chomo Peak Base Camp