The Japan Society Review
Book, Stage, Movie, Arts and Events Review

Issue 26 Volume 5 Number 2 (April 2010)

Editor: Sean Curtin
Managing Editor: John Toppon....................................................................................................

.....................................................................................................................................................................................................

As spring finally bursts forth and election fever grips the
British media, we present another issue brimming with
illuminating reviews on the latest Japan-related books
and movies. Sir Hugh Cortazzi looks at a fascinating bookon the Mongol invasion of Japan. Most readers areprobably familiar with the so called sacred/divine wind or kamikaze which blew the invading
Mongol fleet off course, saving Japan. Few willknow the more detailed historical picture thisinformative and well-researched work provides.

Contents(1) The Mongol Invasions of Japan(2) Yasukuni, the War Dead and the Struggle for Japan’s Past
(3) Japan and its worlds: Marius Jansen and the Internationalizationof Japanese Studies(4) Still Walking (歩いても 歩いても)(5) Soul Dance(6) Story in My Life - The Youth of the Showa Era (わが人生の歌がたり 昭和の青春)(7) The Year of No Money in Tokyo

Our next review examines the complex issues ....................................................................................................
surrounding Tokyo’s Yasukuni Shrine, the Shinto
The Mongol Invasions ofestablishment often at the epicentre of recent SinoJapan 1274 and 1281
Japanese tensions. The wide range of perspectives within
this single volume provides some enlightening insights
by Stephen Turnbull,on this seemingly intractable issue. Ian Nish reviews aillustrated by Richard
collection of history papers compiled in honour of Marius
Hook
Berthus Jansen, one of the postwar pioneers of Japanesestudies in the United States. Susan Meehan expertly
Osprey, 2010, 96 pages ,dissects director Hirokazu Koreeda’s latest movie, “Still
copious illustration.
Walking,” which both powerfully and humorously
Paperback, £14.99
explores the stresses and strains and of Japanese family life.
ISBN 978 1 84603 4565
Adam House offers his first review for this publication,
looking at a book of beautifully crafted and emotive
poems by Takako Arai. Mikihiro Maeda attempts to
explain the elusive mechanics and philosophy behind
Hiroyuki Itsuki’s nostalgic “My Song Story in My Life”
while William Farr gives us his down-to-earth take on thecontroversial “The Year of No Money in Tokyo.”

Review by Sir Hugh Cortazzi

Stephen Turnbull has specialised in the study of the samurai
and Japanese warriors. His latest book on the Mongol
invasions of Japan provides a colourful introduction to theseimportant episodes in Japanese medieval history. Turnbull
has drawn not only on published studies by previous
Sean Curtin.................................................................................................... scholars but also on translations which he has made fromthe Hachiman Gudōkan, a work “believed to date from not
New reviews
long after the invasions as it was intended to be used as awww.japansociety.org.uk/resources/the-japan-society-review
lever to obtain rewards [for the samurai fighters against theArchive
invaders] from Kamakura” where the bakufu then had its
http://www.japansociety.org.uk/reviews_archive.html
headquarters with Hōjō Tokimune controlling the nominal
We are grateful to our regular reviewers:
shogun. This account is “complemented by the text andSusan Meehan
illustrations of the famous Mōko Shūrai Ekotoba (Mongol
Sir Hugh Cortazzi
Takahiro Miyao
Simon Cotterill
Invasions Scroll), the painted scrolls with accompanying
Ian NishWilliam Farr
narrative commissioned by an ambitious samurai called
Ben-Ami Shillony
Fumiko Halloran
Takezaki Suenaga who sought reward for his services.
Mikihiro Maeda

Tomohiko Taniguchi....................................................................................................

intelligence about Japan was inevitably limited but did
they not realise that Hakata bay was so well defended?
Why did they not attempt multiple attacks on a numberof Japanese targets?

Yasukuni, the War
Dead and the Struggle
for Japan’s Past
by John Breen

The samurai Suenaga facing Mongol arrows and bombs. Mōko Shūrai
Ekotoba (蒙古襲来絵詞), circa 1293.

As Turnbull points out, the numbers involved in medieval
battles “are notoriously prone to exaggeration.” Heestimates that in the first invasion of 1274 the Mongol
force may not have been much more than 3,600 strong
and the Japanese defenders about 6,000. He notesthat for the first time in Japanese history the invaders
used gunpowder in “exploding bombs.” These bombs
surprised and puzzled the Japanese warriors whose bodyarmour of metal and leather was much lighter than thatworn by medieval knights in Europe. Turnbull speculates
that the first invasion which lasted only one day may only
have been intended as a quick probing raid. The invaders
nevertheless lost one in three of their force.
The second attempt seven years later was a muchlarger affair. “Six hundred warships” were ordered by
the Mongols from South China. There were supposed tobe “40,000 troops on the eastern route from Korea and100,000 Southern Chinese.” But these numbers werecertainly exaggerated. The Japanese were prepared
and, anticipating an attack in Hakata bay, which lay atthe end of the route from Korea via Tsushima and theisland of Iki, had built around the shore of Hakata Bay astrong defensive wall. The wall, which still survives in part,
prevented the invaders from gaining a foothold in thebay. Instead they took possession of two islands in the bay
from which they planned to launch raids against Hakata,but the typhoon, which struck the area and became
known as the divine wind or kamikaze, destroyed manyof the Mongol ships and had a devastating effect on the
morale of the attackers who were already weakened bydisease. Inevitably the defeat of the Mongols createdmany myths not least about the divine wind which wasused by Japanese nationalists to boost the idea of Japanas the land of the gods.
Turnbull draws attention to archaeological evidence
discovered in recent years. In 1994, three large woodand-stone anchors were found and in 2001 the remainsof one of the Mongol ships were discovered.
Many questions remain unanswered. For instance did theMongol leaders really think that they could conquer andkeep the Japanese islands under their hegemony? Their
2

C Hurst & Co Publishers Ltd,
2007, 202 pages.
Hardcover £25.00
Review by Sean Curtin
Long-standing
disputessurrounding
Japan’s
wartime conduct in China
during the 1930s and 1940s
continue to plague present day diplomatic relations
between the two neighbours, making bilateral politicalties volatile and prone to bouts of instability. One of
the key Sino-Japanese points of friction is the relatively
obscure Yasukuni Shrine in Tokyo. In this impressive
English language work John Breen brings together eightscholars who represent a diverse array of perspectives
spanning the entire spectrum of thought on the Shinto
shrine. The conflicting Chinese, Japanese and foreign
opinions found in this volume, illuminate the radicallydiffering standpoints and national narratives surrounding
the shrine. They also demonstrate the daunting challenge
the two countries face in their efforts to resolve this highly
emotive and contentious issue.
In an excellent introductory chapter John Breen puts
Yasukuni firmly in its historical and contemporary context.
The shrine is dedicated to the Japan’s war dead and isprimarily controversial for two reasons. Firstly, twelve
convicted Class A war criminals are enshrined within
it, and secondly its attached museum, known as the
Yushukan, presents a highly selective account of Japan’s
actions in China and during WWII. The establishment was
unexpectedly catapulted into the international arena
during the entire tenure of Prime Minister Junichiro
Koizumi (2001-2006) who visited it annually, each timecreating waves of regional protest which effectively
crippled Sino-Japanese political exchanges and seriously
damaged links with South Korea. Since Koizumi left officein September 2006, bilateral political ties have markedly
improved but the shadow of Yasukuni continues to posea threat to long-term progress and stability. A future
Koizumi-style flare up over the shrine could easily wipeout recent political advances which are constructed on a
fragile basis.
Breen’s opening chapter sets the scene for Caroline Rose’s
informative piece on the shrine’s place in modern SinoIssue 26 Volume 5 Number 2 (April 2010)

Japanese relations. She analyzes why Yasukuni is such acurse on current political dynamics and looks at Prime
Minister Yasuhiro Nakasone’s 15 August 1985 pilgrimage,which ignited the first international protest and thrust thesleepy shrine to global prominence. Nakasone did not visit
the shrine again and much later confessed in his memoirsthat this was to avoid offending Beijing. Her analysis thenfocuses on the damage caused by Koizumi’s six forays andthe severe problems created in the diplomatic sphere.

Chinese people find it so utterly offensive when Japanesepolitical leaders visit the controversial shrine. He manages
to capture many of the mainstream arguments thatcirculate amongst ordinary Chinese people and are
frequently found in the Chinese media. For example, he
explains, “Thirteen of the fourteen Class A war criminals
enshrined at Yasukuni, men who inflicted the gravest
harm on the Chinese people in modern history, had
hands soiled with Chinese blood…the Prime Minister isthe leader of a nation and a public figure. His very act ofvisiting Yasukuni was calculated to reflect the feelings of
the whole of Japan, and embodied the attitude of theJapanese government towards Japan’s war of aggression
and Class A war criminals (page 75).”
When a Japanese leader visits Yasukuni he believes,“Asian nations, and particularly China, cannot forgive suchan outrage. (page 72).” He strongly condemns Koizumi’s
Yasukuni forays as, “reprehensible in emotional andrational terms, unforgivable in both Eastern morals andinternational ethics. (page 73).” Wang is offended by those
who try to down play Japan’s wartime record and denyits wartime guilt. In present day Japan, some, including
elected politicians, openly question whether the Nanjing
massacre occurred (see chapter six by Nitta Hitoshi), if

PM Nakasone’s 15 August 1985 visit first thrust Yasukuni to global
prominence

Despite pleas from several of his predecessors, including
Nakasone, to cease the contentious pilgrimages, Koizumi
doggedly ignored all requests. Rose notes, “Nakasone
suggested that Koizumi could have demonstrated greatercourage by choosing not to visit the shrine (page 46).”
In the following chapter, “A Religious Perspective on
the Yasukuni Shrine Controversy” Kevin Doak gives us aspiritual perspective on the controversy, and also reminds
us why academics seldom make good politicians or
diplomats.
With regard to Koizumi’s controversial annual sojourn
Doak declares, “I wish that he had abandoned his reserveand visited Yasukuni monthly or even weekly, insteadof the annual visits of his premiership, to gain greaterfamiliarity with the sacred nature of the sacrifices that arecommemorated there (page 54).” Doak is also against theremoval of war criminals arguing, “Can the Chinese leaders
and those that argue that the Class A war criminals should
be removed from Yasukuni really be so arrogant as tobelieve that they themselves are perfect human beings?
(page 56)” Doak passionately believes that future prime
ministers should frequently visit the shrine and strongly
encouraged Koizumi’s successor, Shinzo Abe, to do so. He
must have been bitterly disappointed that Abe and his
following two LDP successors never went near the shrine
and that current Prime Minister Yukio Hatoyama has
clearly stated his intension not to step foot in its grounds.
In the next chapter Wang Zhixin clearly explains why
Issue 26 Volume 5 Number 2 (April 2010)

Yasukuni acts as a magnet for extreme rightwing groups

women were forced in to sexual slavery by the military, as
well as the validity of the war crimes trials. Doak touches
on this last aspect in the previous chapter, when he writes,“The legitimacy of the verdicts is highly questionablefrom a legal perspective, given that they were judged
according to ex post facto law, it is only natural that someJapanese oppose the verdicts, even though they do notnecessarily justify the war (page 57).” Yasukuni also acts
as a gathering point for extreme rightwing groups which
deny the country’s wartime guilt.
Looking at the issue again from a religious perspective,
Seki Hei’s view is radically different from his fellow
countryman in the preceding chapter. However, heagrees that “It is no exaggeration to say that for five
years after Koizumi took office as Prime Minister, SinoJapanese relations revolved entirely around the issueof his visits to the Yasukuni shrine (page 91).” Seki Hei
3

visualizes the dispute in an entirely different light fromhis compatriot, observing, “China’s abnormal obsession
with the issue of prime ministerial Yasukuni visits resulted
in its government being forced into a cul-de-sac in termsof its diplomacy with Japan (page 93).” He arrives at his
conclusions by interpreting the dispute from a deeply
religious perspective. He believes Chinese leaders inability
to “recognize the existence of the spirits of the deceased”
inhibits them from fully comprehending what he seesas the religious dimensions of the issue. He writes, “theleaders of the CCP cannot accommodate the notionthat ‘after people die, they become spirits of a different
nature to living people,’ they cling to the belief that Tojo
Hideki and the others venerated at Yasukuni are today thesame Class A war criminals and the leaders of the war of
aggression against China as they were before their deaths(page 99).” Seki Hei states that at the heart of the problem
is a cultural gap in which the atheist Chinese communists
are unable to understand the Japanese Shinto need toconsole the spirits of the dead through ritual performances
at Yasukuni. Like Doak, Seki Hei sees the crux of the issue
as a fundamental religious matter in which China has noright to interfere in. He concludes, “there will never be asolution to the antagonism and controversy between
China and Japan surrounding the issue of Yasukuni visits;
for it is a clash of civilizations (page 104).”
Neither Doak or Seki Hei explain why a political leader ofa constitutionally secular state like Japan should indulge
in controversial religious pilgrimages to a shrine of suchprofound symbolic significance. Constitutionally theprime minister is a political figure, not a religious leader,and both Daok and Seki Hei fail to properly address thisissue in their analysis.
If one adapts Doak and Seki Hei’s logic for comparative
purposes, it would seem to highlight this religious element
as an important factor in explaining why Germany has
been able to construct good political ties with its former
foes. Imagine the storm of protest if a Berlin shrine deified
Adolf Hitler and a German leader were to visit it, the country
would become a Pariah.
Tetsuya Takahashi’s informative fifth chapter takes us awayfrom the esoteric worlds of Seki Hei and Doak, examining
Yasukuni as a legacy of colonialism and empire. He
provides an excellent historical overview to support hiscase, observing, “Yasukuni shrine forms an inseparable
unity with the imperialism and colonialism of the modern
Japanese state. Given that Yasukuni is inseparable fromJapan’s modern colonialism, and given that these war
dead continue to be honoured publicly in the same way as
the executed Class A war criminals, the extent of the denialof Japan’s responsibility for its colonial rule becomes fairly
obvious (page 114).” He also sees the shrine as functioning
as a means to sanitize and glorify war by ignoring its brutal
reality, the suffering of all individuals involved and theconflict’s horrific consequences. He makes a very powerfulargument by analyzing the various ways those rememberedat Yasukuni died, pointing out that about sixty percent diedeither directly or indirectly from starvation rather than in
4

action on the battle field. He warns, “Yasukuni ideology has
sought to cancel out the violent nature of death in war by
re-imagining it as ‘glorious death’ (page 119).”
In the following chapter, Hitoshi Nitta takes an almost
diametrically opposing view to Takahashi, arguing thatJapanese prime ministers, and indeed the general public,
should as a matter of patriotic duty worship at Yasukuni. He
writes, “I believe that it is a citizen’s important duty and rightto pay respects, and other thanks, to those who sacrificed
their lives for the nation (page 126).” Nitta believes Beijing
exaggerates the extent of Chinese suffering during war inorder to gain political advantage. For example despite thegovernment’s 1993 acknowledgement and the massive
amount of eye-witness testimony, he does not believe
there is any “objective proof” (page 137) indicating the mass
sexual enslavement and forced prostitution of women
during WWII by the Japanese army. Nitta bemoans the 1993
official government apology for these horrendous sexual
war crimes and considers the entire issue a “fabrication.”
In a similar vein he also dismisses the Nanjing Massacreand the forced group suicides in Okinawa, stating, “thesestories were fabricated (page 141).” He also denounces
the following chapter by John Breen for questioning
the Yushukan’s version of history which he sees as moreaccurate.
Breen examines the role of Yasukuni in what he calls a lossof historical memory. He echoes Wang’s early argument,
seeing prime ministerial patronage as highly problematic
because a visit by a prominent political leader accords
the shrine with the status of a national shrine and thus its
representation of history is likewise accorded an official
status. By analyzing how the shrine presents itself andhistory, Breen is able to highlight the serious problems
created by this approach which airbrushes out the sufferingof hundreds of thousands of ordinary people during thewar. Breen observes, “Neatly obliterated from the historicalmemory of the Yushukan are the historical facts of Japanese
war crimes, of Japanese colonialism and aggression, and ofJapanese defeat (page 155).”
Philip Seaton rounds off the volume with a fact filled lookat the media’s treatment of Koizumi’s Yasukuni sojourns.
Seaton see the saga as having the right elements for a goodemotive media story. He methodically charts the nationaland regional press’s reporting as well as TV coverage. He
concludes that “it is difficult to see how ongoing prime
ministerial and particularly imperial Yasukuni worship could
ever be part of any reconciliation process (page 188).”
How the relationship between East Asia’s two economic
giants develops in the 21st Century will have a significant
impact not only regionally, but also globally. This fact makes
this impressive work, which encompasses the cardinalpoints of the Yasukuni issue, extremely valuable and allows
the reader to understand difficult to grasp viewpoints.
Breen must be congratulated for assembling such an
enlightening collection of views on what still remains oneof the most contentious issues in Sino-Japanese relations.
Issue 26 Volume 5 Number 2 (April 2010)

Japan and its worlds:
Marius Jansen and theInternationalization ofJapanese Studies
Edited by Martin
Collcut, Kato Mikio andRonald P. Toby
I House Press, Tokyo, 2007,
299 pages . Hardcover,£22.00ISBN 978-4-903452-08-1
Review by Ian Nish
This is a volume of papers in honour of Marius Berthus
Jansen, one of the great post-war pioneers of Japanesestudies in the US, who died in 2001. Born in Holland, heemigrated to the US, served for three years during the
Asia-Pacific war and then took up East Asian studies at
Harvard. From 1959 he took up the chair of Japanese
history at Princeton where he had been an undergraduate
and taught there till his retirement. His colleagues andfriends held a conference after his death and this book
is a compilation of the papers presented there in hishonour.
The book also contains one of Jansen’s last public papers
entitled “Japan and its World” which was delivered as a
keynote presentation at a conference in Kyoto in October
1994. I was fortunate enough to be present at themeeting. The other keynote speaker was Oe Kensaburo
who had on that very day been awarded the Nobel
Prize for Literature. Jansen’s title was, therefore, doubly
symbolic. It was a session straddling a western writer
analysing Japan with a Japanese writer reflecting on hislife in the wider world.
Jansen’s theme was to speculate about sakoku, [鎖国] that self-inflicted seclusion whereby Japan was formore than two centuries sealed from the outside world
apart from the Dutch presence. Jansen challenges thisconception, arguing that, while the Tokugawa rulers
varied in their attitudes, Japan was in these centuries aregional player, having trade and cultural contacts with
Korea, the Ryukyus and China and was a relatively open
society until the early 19th century when the Tokugawa
shogunate felt threats to their rule and clamped down
on overseas contacts. So sakoku applied not to the Asian
region but to Japan’s relations with the wider world.
While the Japanese were in Jansen’s view quite outgoingwith their neighbours, they were secretive and wanted
to prevent foreigners acquiring too much knowledgeof their country. That secretiveness persisted and meantthat there have been even in the present day difficulties
in bringing works of Japanese scholarship to the rest of
the world.
Happily this book is one of the early volumes publishedby the new I House Press, the commercial imprint ofIssue 26 Volume 5 Number 2 (April 2010)

the International House of Japan, Tokyo. I congratulateInternational House for taking on the task of publishing aseries of English-language translations of seminal writings
by Japanese scholars, which the western world badly
needs. Marius Jansen spent a year (1960-1) on the staff ofInternational House charting a course for the institution
in its early days. He would have been delighted by thisnew publishing endeavour which will bring the fruits ofJapanese research and thinking to a wider readership.
This volume contains essays of the highest quality which
advance our knowledge considerably in the central areasof modern Japanese history which were of interest to
Jansen. They are a fitting tribute to a great teacher who
was always reaching out to general readers in the US andJapan and trying to increase understanding between
them. The world is the gainer from them.

Still Walking [歩いても 歩いても]
directed by Hirokazu Kore-eda [是枝裕和]
2008, 114 minutes
Review by Susan Meehan
Kore-eda’s latest film is a sympathetic, humorous andwarm portrayal of a Japanese family laid bare revealingstrains and tensions universal to all social groupings. The
spectator is almost lulled into forgiving or excusing his/her own familial shortcomings, finding solace in the factthat they are repeated eternally.
The two Yokoyama siblings and families gather at theparental home, a wonderfully large and open space, forwhat we gather is the fifteenth anniversary of older brother
Junpei’s tragic drowning. Chinami, the sister, is alreadythere with her husband and two children when brother
Ryota reluctantly arrives with his wife, recently widowed,
and his stepson, Atsushi. Ryota is uncomfortable in his
parents’ home, feeling they don’t condone his marriage
and that he has let down his taciturn father by notfollowing in his footsteps to become a doctor.

The patriarch, pretending to be busy in his own study formuch of the film, is disdainful of Ryota’s career choice,5

forever comparing him with Junpei. When Ryota catches
him recommending a medical career to Atsushi, he puts
his foot down and tells him not to interfere. Atsushi is,in fact, keen on becoming a piano tuner; we later findout this was his own father’s occupation. Paralleling this,
it is also revealed as the gathered women begin looking
through Ryota’s childhood books and pictures that heonce wanted to become a doctor, emulating his own
father’s career choice.
Was it disillusionment with his father that led to Ryota’schange of career plan – the kind of disillusionment Atsushi
won’t encounter having lost his own father at a youngage, the ideal of his father forever left unshattered?
The sadness and twistedness in the characters is palpable,
and the audience is given a taste of the deceptions weplay on one another and ourselves. Chinami is keen
to move in to her parents’ house with her family in an
attempt to give her mother company and support while
her mother, in an aside to Ryota, pragmatically says shewould rather not have that noisy lot move in and disturb
her peace.
On the other hand is Ryota, a picture restorer whose
professional life is in limbo; he pretends to receive workrelated calls and has involved his wife and Atsushi in thisdeceit. Atsushi, who tends to call Ryota by his first nameis told by his mother to call him ‘father’ in front of her inlaws; unwillingly, he complies in this pretence.
As the film progresses we are able to witness, througha bittersweet moment when the grandmother plays the
1960s tune ‘Blue Light, Yokohama’ on the record player,
the unspoken hurt that she has been harbouring for
decades. The viewer comes to understand that the snide
remarks she makes to her new daughter-in-law are an
expression of this pent-up pain; so is her act of inviting
the (unfortunate) boy whom Junpei died while saving, tovisit their home every year. This is not done for altruistic
reasons, it transpires, but for the pleasure of taunting him
and making him remember the death of her child. The
shock of the audience at this disclosure reverberated
round the cinema.
Despite the intricate emotions this sprawling family laysbare, they seem fond of each other and imbued with
6

genuine concern and love for one another. We are all harddone by at times and the best way to deal with setbacks,
it would seem, is to keep positive without wasting time
becoming twisted; it will only end in regret.

Soul Dance:
Selected Poems
by Takako Arai,
Translated by Jeffrey
Angles, with Sawako
Nakayasu and You
NakaiMi’Te Press, 2008, 64 pages.
Hardcover, £9.50
ISBN: 978-4-9904416-0-9
Review by Adam House
Born in Kiryu City, Gunma Prefecture, Takako Arai grew up
in a family closely connected to the local textile industry,a traditional craft in danger of facing extinction. The city’sskyline is famed for its sawtooth-roofed mills. In the Nara
period, the city’s textiles were presented to the Imperialfamily, along with those from Kyoto. A phrase from theEdo period “For the West, it is Nishijin, for the East, it isKiryu” is an indication of the prominence that textiles
from Kiryu were held. Many of the poems included in“Soul Dance”are situated within this industry. Takako
Arai’s first collection of poems Haobekki was publishedin 1997 and Tamashii Dance, (Soul Dance), her second
collection published in 2007 won the 41st Oguma Hideo
Prize, published in English translation in 2008 by Mi’Te
Press, a poetry journal where Arai is editor.
In her introduction Arai laments the effects that the recent
economical downturns have had on the textile factories ofher hometown, standing amongst the vacant lots where
the factories once stood, these lots now sadly sold off at
auction prices. Arai has chosen poetry and language asa means of showing resistance to these closures that are
turning her hometown into a desolate place. In New Yorkand Belgrade Arai saw vacant lots similar to the ones thatthe factories had occupied in her hometown, shadowlessplaces that had been created by violence. She saw inthem a profound message of what the present means to
us. Soul Dance is a collection in two parts that infuses thephysical and the spiritual, through them we are given a
glimpse of life lived in proximity to a living industry. The
poems are full of movement both in word and concept, in“For Amenouzume-san,” which appears in both Japaneseand English, a natural rhythm builds within the poem,
Ame-no-uzume, the mythical Goddess who coaxed out
the Sun Goddess Amaterasu, who had hidden in a cave,plunging the world into darkness, by using song anddance. “Mohei’s Fire” a prose poem starting in a Tokyo
suburb under redevelopment, and a meeting with theelderly Takejiro-san who recalls when the area was a
Issue 26 Volume 5 Number 2 (April 2010)

farming village, harvested vegetables were washed in
the Yata river. Whilst recalling these slower days, Takejirosan remembers Grandpa Mohei’s encounter with a fox,
in a poem that is like a fable from folklore brought up
to date, when a candle seen in the present merges with
one mentioned in the reminiscence. In the last poem
“Shadow’,” amongst the rubble of a flattened factory, anobject found left there before the bulldozers moved in,initiates a salvage into memory and attachment, a poem
that at its root also turns to an inquiry on value.
Soul Dance is translated by Jeffrey Angles, assistantprofessor of Japanese literature and director of theJapanese program at Western Michigan University,
whose award winning translation of “Forest of Eyes” isforthcoming from California University Press. Additionaltranslators are Sawako Nakayasu, whose book “Texture
Notes” is forthcoming from Letter Machine, and You
Nakai, a member of no collective.

My Song Story in My
Life - The Youth of the
Showa Era [わが人生の歌がたり昭和の青春]
by Hiroyuki Itsuki [五木寛之]
Kadokawa Shoten, 2008,
206 pages. Paperback, £11
ISBN: 978-4-04-883994-5
Review by Mikihiro Maeda
This is the second book of Hiroyuki Itsuki’s “My Song Story
in My Life” series. The first one was about the “joys andsorrows” of the Showa era with the focus on the sorrowfulside of his own life (see the review in Issue 14 – Volume
3 Number 2 pages 4/5). This one, the second is about“youth” in the Showa era and covers the initial period of
rapid postwar economic growth following the periodof chaos and poverty in the immediate postwar period.
The author, after dropping out of Waseda university,
somehow managed to find a job, but his life did not gosmoothly with little hope for his own future.
Japan went through the period of repatriation,
demobilization and black markets, and then, due to thegovernment’s income doubling program in Showa 35(1960), it was moving toward becoming a consumer
society. For example, the Tokaido Shinkansen (Bullet
Train) was opened, and the Tokyo Summer Olympics
wre held in Showa 39 (1964). The spirit of the Japanese
went high and their eyes were beginning to shine. Many
fascinating popular songs were born and, with alluring
lyrics, which captured the people’s hearts and minds inthis bright era. In this volume the lyrics of fifty popular
Issue 26 Volume 5 Number 2 (April 2010)

songs are selected and commented on by the author,
each with his special memory full of pathos.
In his school days, the author picked up many parttime jobs to make ends meet, for example, delivering
newspapers, selling his blood, etc. After he unwillingly
dropped out of university due to his failure/inability to pay
tuition fees, he became a copywriter, worked for an ad
agency, and helped produce radio or TV programs. Then,he began receiving requests to write essays and columns
from his own clients. In spite of these developments,
however, his own feelings were something like working“at the bottom of the mass media” to borrow his own
words (page 81). After that, he started to write commercial
songs and became a songwriter under contract with arecord company. His pen names were “Nobu Takashi”
and “Tachihara Misaki.” And his lyrics around that time
were somewhat influenced by such American singers
as Bob Dylan and Joan Baez, who were at the forefrontof the protest movement, expressing emotions which
captured the era. Among those lyrics, he wrote one
poem using his real name in the late 60s, depicting one
boy who was abandoned in a war-torn village alone. It is
entitled “A Village without a Dove” sung by Hiroko Fujino
in 1969, it was awarded a special prize the following year
(page 170). His feelings in those days were reflected in
the loneliness and sadness of the lyrics written in his real
name.
He makes an interesting analysis on page 160 of thebook, saying that Japanese popular songs in the 60s
might be categorized into three groups. The first is“Enka”, native Japanese folk songs. Another is westernstyle popular songs. The third group is “Utagoe” songs.
There were many Utagoe tearooms in Tokyo around thattime. The Olympic year 1964 was a turning point for the
postwar history of Japan’s economy. At the same time,
many people sang the same songs together in “Utagoe”
rooms, sharing the same feelings or same messages
toward their own lives as well as their communities. Itsuki
wrote a novel entitled “Enka,” a story about an ambitious
record producer in the era and it was made into a movie
in 1968.
Then, he became intensely busy, although he foundtime to marry a lady (Reiko) who was once his university
classmate and was working as a psychiatrist at the timeof their wedding. On this occasion, he sorted out his jobs
and then travelled to the Soviet Union and Scandinavia,
leaving the city of Yokohama for Nakhodka by way of thevessel Baikal, a passenger boat. It seemed that one of thereasons why he wanted to go to the Soviet Union was
because the author majored in the Russian literature at
the university.
Probably a more important reason for his travels might
be that he could not feel at home but was alienated fromrealities of life in Tokyo at that time. So, he wanted toescape to the Soviet Union which was not very popular
as a tourist destination in those days. For the same reason,
7

after returning to Japan, he retreated to a remote town,
Kanazawa, which was the hometown of his wife.
In the meantime, he wrote a novel “Say Goodbye to
Hoodlums in Moscow” (Saraba Mosukuwa Gurentai),based on the experience of his travels, and was awarded
the Shosetsu Gendai Shinjin Award in 1966. In thefollowing year, he won the prestigious Naoki prize for“See the Pale Horse” (Aozameta Uma-o Miyo).
Surprisingly, even after he received these reputable prizes,
his inner feelings still remained the same as before. He did
not want to be disturbed by the frantic cries of the mass
media, but to continue his quiet life in Kanazawa awayfrom Tokyo (page 205). The economy appeared to bebooming and many popular songs at the time reflected
this phenomenon, but his feelings were quite apart fromthe general mood of the public. He describes himself asa “deracine” (page 81) who lost his home town, a rootless
wanderer like duckweed. On the final page of this book,he concludes by saying that he would have to leadan extremely busy, “thunderous and stormy” life after
receiving the Naoki Prize. The reader will have to wait tosee how his life and environment will changed and how
the popular songs he chooses in this volume will reflect
his feelings accordingly in the next, and presumably final
volume of this series.
This book comes with a CD featuring two songs, “Songfor the Circus” and “Sweet Blues,” along with the author’s
narration which can remind the listener of the author’s
own program on the NHK midnight radio, broadcast oncea month some years ago. Most listeners will probably besoothed by the “low-key” talk as well as the nice songs.
The introductory part of the CD is exactly the same asthat of the author’s radio program.

This review was produced in collaboration with the
Global Communications Platform and a different andshorter version of this article has also been published on
the Platform: http://www.glocom.org

like in Will Ferguson’s “Hokkaido Highway Blues,” or Alan
Booth’s monumentally brilliant “Roads to Sata.” But Mr
Aponte’s new book, “The Year of No Money in Tokyo” has
the feel of a Ryu Murakami novel (e.g. In the Miso Soup).
It is unapologetic, the narrative is driven and there is noreal end point in sight. There are times when the actual
story would not be believable in a piece of fiction as it issimply too fantastical. The story of an African-American
man trying to make a living for himself in Tokyo when
he falls down on his luck is not one often told. In politicalterms this would be ‘Realpolitik’, and the significance of
this book is that it does not have any rose tinted glasses
on. His expolits include being forced to share a one room
flat with a girl who splits the room with a large clothes
rail and then engages in what can only be described as
strange nocturnal habits in a shared room. Even though
the author at the end of the book has gone through the
crucible and emerged stronger, more willing to engage
in difficult times, he is indelibly scarred. Not scarred in
the same way as in Shizuka Tendo’s “Yakuza Moon” (seeissue 24) that traces the real life story of a girl brought
up in a Yakuza family. Rather in this book, Mr Aponte
experiences the harshness of unemployment coupledwith this occurring in a foreign country. Japan in termsof unemployment is an unforgiving country, groupthink is the norm but drop off the map through lack of
employment and the system very quickly will not let you
back in if you have no current experience. The award
winning documentary “A Story of Love and Hate”’ tracessome of this. The book in essence encapsulates a feelingof uneasiness about Japanese society that runs deeper
than Mr Aponte suggests. Koizumi’s attempts to reformpublic sector services such as the post office, and therecent swing in the Lower House elections all reflect this‘something is rotten within’ undercurrent that appears to
be burdening modern Japan.

Next Issue:
When Honda Met RoverThe Year of No Moneyin Tokyoby Wayne Lionel
AponteWatkins & McKay, 2009, 168
pages. Hardcover, £13.79
ISBN 0982055005
Review by William Farr
Japanesecommentaries
and travelogues from ageneration of Westerners
who have lived and (mostlikely) taught in Japan are often floral affairs. There issome difficulty faced – such as in Robert Twigger’s “Angry
White Pyjamas” (see issue 19) – or a journey is undertaken
8

edited by Mike Carver, Nicholas Seale and Anne
YoungsonIn the next issue of theJapan Society Review wewill be looking at When
Rover Met Honda, whichcharts the successful 15-year
partnership between two
car industry giants. The book
explores the gripping sagaof how Eastern and Western
car manufacturing methods
were able to harmoniously
blend to create a winning
formula. It also details how
this fruitful venture wasprematurely terminated.
Issue 26 Volume 5 Number 2 (April 2010)