The magazine of The Foreign Correspondents’ Club of Japan

Art,
November 2019 Vol. 51 No. 11 ¥400

continuing

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PluPart 3 s:
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In this issueVol. 51, Number 11

November 2019contact the editors

no.1shimbun@fccj.or.jp
Publisher FCCJTHE FRONT PAGE

From the (ex-)President by Peter Langan
Letter to the editor
From the archives:
The man who moves markets
by Charles Pomeroy

Editor Gregory Starr
Art Director Andrew Pothecarywww.itsumo-music.jp/design
Editorial Assistant Naomichi Iwamura
Photo Coordinator Michiyo Kobayashi
Publications committee members
Gavin Blair, Freelance (co-chair)
Geoffrey Tudor, Orient Aviation (co-chair)
Warren Devalier, Associate Member
Sonja Blaschke, Freelance
Albert Siegel, Freelance

4
5
5

FCCJ BOARD OF DIRECTORS
President Thomas Hoy Davidsen,
Jyllands-Posten
1st Vice President Monzurul Huq, Daily
Prothom Alo
2nd Vice President Robert Whiting, Freelance
Treasurer Willem Kortekaas, Associate Member
Secretary Takashi Kawachi, Freelance
Directors-at-Large Khaldon Azhari,
PanOrient News
Mehdi Bassiri, Associate Member
Warren Devalier, Associate Member
Abigail Leonard, Freelance
Kanji Kazuo Abiko, Freelance
Associate Kanji Makoto Honjo,
Associate Member
Ex-officio Peter Langan, Freelance

FEATURES

Cover stories
The power of symbols
Art vs censorshipby David McNeill

Investigating thestory of the century
by James Fahn

8

12Page 12:
The third and final part of our series onreporting the climate crisis

PROFILE

Randy Schmidt
CBSby Julian Ryall

10

Join the Film Committee; FCCJ Exhibition;
14-17
The FCCJ Golf Tournament; Quiz Night;
Press conference voices; New Members; New in the libraryFCCJ

NOVEMBER 2019

FCCJ COMMITTEE CHAIRSAssociate Members Liaison Keiko Packard,
Yuusuke Wada
Compliance Kunio Hamada, Yoshio Murakami
DeRoy Memorial Scholarship Abigail Leonard,
David SatterwhiteEntertainment Sandra Mori
Exhibition Bruce Osborn
Film Karen Severns
Finance Willem Kortekaas
Food & Beverage Robert Kirschenbaum,
Peter R. Tyksinski
Freedom of Press Abigail Leonard
House & Property Peter Langan,
David Satterwhite
Human Resources Willem Kortekaas
Information Technology Albert Siegel
Library, Archives & Workroom
Koichi Ishiyama, Suvendrini Kakuchi
Membership Andrew Horvat, Peter O’Connor
Membership Marketing Abigail Leonard,
Willem Kortekaas
Professional Activities Tetsuo Jimbo,
David McNeill
Public Relations TBA
Publications Gavin Blair, Geoff Tudor
Special Projects Haruko Watanabe
Foreign Press in Japan Robin Harding
The Foreign Correspondents’ Club of Japan
Marunouchi Nijubashi Building 5F
Marunouchi 3-2-3 Chiyoda-ku Tokyo 100-0005
Tel: (03) 3211-3161 Fax: (03) 3211-3168 fccj.or.jp

CLUB NEWSLens craftby photographer Members

Illustration ANDREW POTHECARY. Images from DREAMSTIME.COM

Flags of our fathers
Looking for a battleby Mark Schreiber

6

19

Published by the FCCJ All opinions contained within
Number 1 Shimbun are those of the authors. As such,these opinions do not constitute an official positionof Number 1 Shimbun, the editor or the Foreign
Correspondents’ Club of Japan.
Please pitch and send articles and photographs, oraddress comments to no.1shimbun@fccj.or.jp
Read the Number 1 Shimbun online:
fccj.or.jp/number-1-shimbun
Cover design: Andrew Pothecary3The Front Page

FROM THE PRESIDENT
Dear Members,
I assume that some Members
will have read the recent
mail saying I will soon beleaving Japan and hence have
stepped down as president of
the FCCJ.
Danish journalist Thomas Hoy Davidsen has
been chosen as the new Club president, but I havebeen allowed the opportunity to write this final
message. Someone who is halfway out the door istypically not of much interest to those that remain,
so I want use this space to introduce Thomas.
Before that, I need to address some othermatters. We had a complaint from Associate
Member Shuji Yoshida earlier this year about
being served wine that he said was spoiled andimproperly labeled. An investigation has foundthat Mr. Yoshida’s two complaints were accurate,
and on behalf of the FCCJ, he has my apologies,
as well the apologies of General Manager Marcus
Fishenden and F&B provider Silvano Borroni.
Despite the rumor mill that kicked in over thisincident and certain individuals making otherallegations involving wine served in the Club, apanel comprising the two kanji and the co-chairof the F&B Committee found the incident
involved just three bottles of wine. Oncediscovered, all others in the batch were disposedof. The GM and F&B provider have given
assurances it won’t happen again.
While on the topic of complaints, the GM has
informed the Board about some recent incidents
that can only be characterized as abuse of staff
members. Be very clear that membership of
this Club does not come with some right to beabusive to others. Such cases will be reported to
the Board and action taken if needed.
Back to the new president. Thomas has beena member of the FCCJ since 2012 and I firstmet him when we were both on the Professional
Activities Committee, vetting potential speakers
for press conferences at the Club.
He works for the daily Danish newspaper Jutland
Post, though like most journalists he now lives andbreathes in the 24/7 news cycle that the Internet
demands. It’s to be noted that while many news
organizations were cutting staff in Japan, his paper
kept him on (a clear sign of his journalistic abilities)
and as a result he was on hand to report fromTohoku after the 2011 earthquake and tsunami.
Consequently, his newspaper had the first-handreports of the disaster that most other news
outlets in Scandinavia lacked.
Thomas is the first to say that he finds theprospect of being president of the FCCJ somewhat
intimidating, but I’m convinced with the support ofthe Board and the Members, he is just the sort ofyounger journalist that the Club needs to remain
4

LETTER TO THE EDITOR
relevant. He is a whiz at social media and has
inspiring ideas for what the Club can do in marrying
the Number 1 Shimbun, the FCCJ’s new website
and our social media accounts. Whether you use
social media or not, that is where the audience isand that’s where the FCCJ needs to be to remain
relevant to that audience.
The FCCJ produces that special thing called“content” and has a huge reservoir of content
from thousands of press conferences andspeakers. We need to get that content onto theradar of new generations. The number one priorityof the Club is to bring in Members, and that means
staying relevant to new generations. That does notmean ignoring traditions, but it also does not mean
hankering for some perceived golden age. It alsodoesn’t mean taking the easiest route of all: to siton the sidelines and just complain.
The maxim is that “people don’t like change,”
which is an odd statement, since according tocurrent understandings of physics and the second
law of thermodynamics, everything is in a state ofconstant change, which would include the FCCJ
hamburger. However, in the case of the latter, you
can do something about it by filling in comment
cards in the dining room with suggestions andrequests. These are fed back to the GM, the F&B
Committee and the kitchen.
The new Club is an opportunity to build on
the FCCJ traditions while also facing up to thechallenges confronting journalism as a whole. It
bears repeating that journalism is like an insurance
policy: you don’t realize how much you need it
until basic democratic freedoms and civil society
are under threat.
Who would have predicted at the end of 2018
what is now taking place in Hong Kong? Who
can predict what will be happening in Tokyo in
six months? Whatever does happen, journalists
will be there to report on it, and in many partsof the world they are being illegally detained,
imprisoned and murdered for those activities.
The FCCJ may have been sustained on
hamburgers and pickled herring over the years,
but that’s not what it’s built on. It’s not a social
club. Too often the Board gets dragged into
matters that take the focus away from what
the Club’s fundamental function is—journalism.
Thomas has the task of keeping the focus on thatfunction. I wish him every success in that and ask
again that you support him in taking the FCCJ into
2020.
I end with my thanks for the support of so many
Members over the years and their contributions
to the Club. I wish you every success, good health,and may the second law of thermodynamics treat
you kindly.
Best regards,– Peter Langan
ex-FCCJ President“The new
Club is an
opportunity
to build on the
FCCJ traditions
while also
facing up to
the challenges
confronting
journalism as
a whole.
...
Journalism
is like aninsurance
policy: you
don’t realize
how much
you need it
until basic
democratic
freedoms andcivil society
are under
threat.”How do we get the Club out of thisdownward spiral of complaints, pessimism,
looking back instead of forward? The Club
seems to be suffering from collective
depression. The occasional Member trying
to stop it soon loses his or her enthusiasm
due to the negative attacks of members
who—while claiming to have the bestinterest of the Club at heart—do everything
they can to take the Club back into thetwentieth century.
With the benefit of hindsight there is
no doubt that the Club in its recent pasthas made some unfortunate decisions.
Moreover, execution of such decisions has
not always been particularly successful. Yet
that is where we are at the moment, andobjectively the Club is in a good position toreclaim some of its old glory with a numberof active programs, a prestigious location,and modern facilities.
The world of media has changed
and this Club will never again be thecorrespondents’ club it once was. But that
does not mean the end of the Club as ajournalists’ club. It is an opportunity tomake the Club more inclusive. First of all,bring more of a broader range of journalists
and writers to the Club. Secondly, bringinteresting business people to the Club as
Associate Members.
Most of all, bring younger Members to theClub. No previous board has ever identified
and sounded the alarm bells about thegradual aging of the membership. We aretaking in a good number of new Members
but we are losing Members to naturalcauses faster that we can replace them andthis process has been going on for morethan 10 years.
These membership statistics, however,can be addressed in a positive way by goodmarketing. What is much more difficult
but of higher priority at the moment is topull the Club out of its present depressed,
negative state. Many seem to be scaredof new initiatives, afraid of the future.
Old customs and practices cannot bechanged. The internal fiefdoms have to be
maintained.
Will Members who have—often justified—complaints take on a positive, pro-activerole and either take or support initiatives toreactivate the Club and truly take it into thetwenty-first century? Will they, for instance,join committees, help organize events thatwill bring more young people to the club,
identify possible new Members?

– Willem Kortekaas
Associate Member & Treasurer

NOVEMBER 2019

FCCJ

FCCJ

NOVEMBER 2019

FROM THE ARCHIVES

The man who moves markets

George Soros, controversial financial guru, international investor, andphilanthropist, making a point at a professional luncheon on Jan. 17,
1996, with FCCJ president Jim Lagier (AP) looking on. In the preceding
year, Soros had published a book, Soros on Soros, presenting his views
on financial theory, political analysis, and morality, along with personal
reminiscences that summed up his life’s work. He had become known
worldwide for his financial acumen after shorting the British poundin 1992, achieving a profit of over $1 billion, and for his wide-ranging
liberal philanthropy.
Soros was born in 1930 into a family of Hungarian Jews that changed
its name in 1936 from Schwartz to Soros to avoid antisemitism. He
survived the Nazi occupation through subterfuge and emigrated to
the UK in 1947, where he attended the London School of Economics.
After working in merchant banks there and in the US, he establishedhis first hedge fund in 1969.
His success there was followed in 1970 with the establishment of
the Soros Fund Management and the renaming of his earlier fund as
the Quantum Fund, which became a major source of his huge wealth.
He credits his theory of “reflexivity,” which takes advantage of boom
and bust economic cycles, for his success as a strategic investor.
As a philanthropist, Soros was influenced by Austrian-born
British philosopher Karl Popper’s open-society concept. He began
his philanthropic career in 1979, funding scholarships for black
university students in South Africa and for East Bloc dissidents tostudy in the West. In 1984, he set up a foundation in Hungary—followed by others in Eastern Europe and Russia—that blossomed
into his Open Society Foundations (OSF) network. OSF’s goal was totransform closed societies into open ones and protect existing open
societies. This network eventually extended to over 50 countries aswell as two regional areas of Africa.
Controversy has dogged the multi-billionaire. His financial coups
have led critics to call him a currency speculator. He’s been accusedof manipulating markets built on his reputation as “the man who
broke the Bank of England” in 1992, some believe his off-shore
Quantum Fund is organized to avoid taxes and accountability. Hisphilanthropic contributions, according to conservatives, includes
supporting left-wing causes worldwide as well as the liberal media.
In the US, conservatives malign him for opposing Republicans andsupporting Democrats.
Soros, who has married three times, divorced twice, and fathered
five children, remains active.

– Charles Pomeroy
editor of Foreign Correspondents in Japan,
a history of the Club that is available at the front desk
5

Controversy 1: Art in Aichi

:
ls
o
b
m
y
s
f
o
r
e
w
o
The p

and blames not just the shifting political climate under Prime
Minister Shinzo Abe but a worldwide clampdown on freedomof expression.

art vs. censorship
By David McNeillT

he artistic director of the Aichi Triennale 2019 had few
illusions when he began to plan an exhibition called“After Freedom of Expression.” By choosing exhibitsthat poked painfully at some of Japan’s most tender spots—
war crimes, subservience to America and the status of theimperial family—Daisuke Tsuda told the FCCJ on Sept. 2 that
he wanted to “provoke discussion” on the health of freedomof expression in the country. Even he was taken aback, how
in the three days after the exhibition opened on Aug. 1 at
the Aichi Arts Center in Nagoya, the organizers were blitzed
with hundreds of angry phone calls and emails. Protestors
shouted at staff or symbolically poured liquid on the floor,
threatening to burn the exhibition to the ground. One man,later arrested, faxed in a handwritten threat to firebomb the
exhibits in the same week as an arson attack on a Kyoto animation studio that killed 36 people.
“It was very frightening,” recalls Shihoko Iida, the Triennale’s chief curator. What surprised her, she says, was that somany of the demonstrators were women. Though the center
had planned for the blowback by hiring extra staff, they werequickly overwhelmed. As public servants, custom dictatedthey must give their names if callers requested and listenpatiently to tirades that could stretch for over an hour.
Far from being a spontaneous eruption of public fury, thecampaign against the arts festival appears to have been coordinated. Many callers appeared to be reading from scripts
downloaded from the internet. “The staff could hear thepages rustling,” says Tsuda. Protestors had the same talking
points, which echoed the rhetoric of conservative politicians,
notably Takashi Kawamura, the mayor of Nagoya and a member of the ultra-right lobby group, Nippon Kaigi.
KAWAMURA MADE A HIGHLY publicized visit to the exhibition, where he zeroed in on a statue of a Korean “comfort
woman” by the husband-and wife sculptor team Seogyeong
and Unseong Kim. Officially titled “Monument to Peace,” thestatue, Kawamura intoned, “tramples on the feelings of theJapanese people.” His intervention seemed to egg the protesters on. On Aug. 3, Tsuda and the Governor of Aichi Hideaki
Omura closed the exhibition, citing public safety issues.
Divorced from its context, the reaction to the statue, showing a beatific girl sitting beside an empty seat (so visitors
could sit at eye level) seems misplaced, even bizarre. But thecontroversy has far less to do with the exhibit’s artistic merits than its ability to trigger well-worn political responses.
“We’re not talking about art here, in the sense of artworks
6

and their meaning or effect,” says Ayelet Zohar, a professorof art and history at Tel Aviv University who is following thecontroversy. “It is about [what it signifies] and what it does topoliticians who understand very little about art and its subtleties, but can recognize a specific symbol when confronted
with it.”
Mayor Kawamura is part of a political movement thatregards the mainstream view of Japan’s war in Asia in the
1930s and 1940s as self-debasing and masochistic. In Feb.
2012, he said the 1937 Nanjing Massacre never happened (asnub to four former Japanese prime ministers who made pilgrimages of atonement to the Chinese city—most recently
Yasuo Fukuda). The movement’s activists leap into action overany suggestion that Asian women were pressed into sexual
servitude by Japan’s wartime army. Many say the women were
prostitutes and accuse South Korea and China of stoking antiJapanese feeling by refusing to put the issue behind them.
DESPITE A “FINAL AND irrevocable” deal between Japan andSouth Korea to end the dispute in 2015, the issue continues
to poison bilateral ties. South Korea triggered a major row
by scrapping a fund partly set up by Japan to compensate thesurviving comfort women. A ruling last year in South Korea’s
Supreme Court on Japan’s use of wartime conscript laborrubbed more salt on raw diplomatic wounds. The court ordered
Nippon Steel and Sumitomo Metal Corp. to compensate four
Koreans. Japan insists that all compensation claims were settled in the 1965 treaty that established diplomatic ties between
the two nations. But resentment at Japan’s colonial rule of the
Korean Peninsula from 1910-1945 still runs deep. At least a dozen similar suits have been filed against Japanese companies.
Arguably, the statue is among the more anodyne exhibits
in a show defined by transgression. Katsuhisa Nakagaki’s“Portrait of the Period—Endangered Species idiot Japonica,”
a dome-like installation, contemptuously lambasts the JapanUS military alliance. Meiro Koizumi’s “Air#1,” a portrait of
the Imperial Family with all its members erased, nods to theghostly space they occupy in the collective Japanese unconscious. Yoshiko Shimada’s twin portrait of the Showa Emperor with his face scratched out, then burned, also unsurprisingly infuriated nationalists.
All have previously run afoul of timorous curators. Shimada’s portraits, for example, which she created to raise questions about the taboo against the use of the emperor’s image,were returned by Toyama Modern Art Museum in 1993. The
point of Aichi, said Tsuda, was to drag such pieces out of
dusty warehouses and back into public view—the title of theexhibition implies it was a second chance to sample them.
In one sense, the reaction by the Japanese establishment
bore out the worst fears of the Aichi curatorial team andseemed to confirm the old dictum that censorship reflects
a society’s lack of confidence in itself. Yuka Okamoto, one of
the curators, called the shutdown an act of “artistic violence”
NOVEMBER 2019FCCJ

DAVID McNEILL

An exhibition of censored artwork in Nagoya city
triggers a furious debate on artistic expression

THE JAPANESE GOVERNMENT’S RESPONSE was mealy mouthedat best. Yoshihide Suga, the chief cabinet secretary, called
the threats against the exhibit wrong “generally speaking.” Amonth later, the Agency for Cultural Affairs pulled ¥78 million in subsidies for the Triennale because of “inappropriate
procedural matters.” Education Minister Koichi Hagiuda,
who is in charge of the agency, denied he was in effect tellingthe mob that threats of violence work.
Yet, the shutdown also helped answer Tsuda’s call for awider audit on the health of artistic freedom in Japan. Angry
debate spilled out into public view. Hideaki Omura, the governor of Aichi Prefecture criticized Kawamura, calling his
demand that the exhibition be closed “unconstitutional” andpledging to legally fight the subsidy withdrawal. (The prefecture is paying roughly half the ¥1.2 billion cost of the Triennale). Dozens of artists in Japan, South Korea and aroundthe world boycotted the Triennale. Some spoke at a forum,
organized by the prefecture to discuss the row. “Censorship
thrives on fear and insecurity and silence is its accomplice,”
said Mexican artist Monica Mayer. She advised the organizers to prepare “offensive strategies” against attempts at further suppression.
These strategies were in place when the show reopened fora week on Oct. 8. Phone staff rotated every two hours to avoid
over-exposure to toxic callers, and they were allowed to hang
up after 10 minutes. Metal detectors were introduced at theentrance. The number of visitors was limited by a lottery system for a guided tour, complete with a lengthy exposition oneach exhibit. Photography was restricted and posting snaps
on social media was banned. Still, the protests continued,
totalling 10,000 often abusive phone calls, faxes and emails
by the week of October 9th. Some callers threatened to film
staff and put the videos online. Nagoya’s Kawamura, meanwhile, announced the city was refusing to pay its share of¥33.8 million for hosting the event.
THE TACTICAL REOPENING ANSWERED criticism that Tsuda
and the organizers were in over their head from the start, when
they decided to poke Kawamura and his ilk in the eye. Tsuda
acknowledged that the exhibition was “extremely challenging”
in a “society rife with intolerance” towards different opinions
and attitudes. “It is precisely because of the value we set on
freedom of expression that we worked so hard to overcome
numerous difficulties and realize this exhibition,” he said.
The row comes roughly a decade after similar controversy
over the documentary Yasukuni, directed by Li Ying (with thehelp of ¥7.5 million in funding from the Japan Arts Council).
More recently, Shusenjo, a crowd-funded documentary on the
comfort women issue, directed by Miki Dezaki, has also been
threatened with violence. The result in both cases was thata larger audience has seen the film than would have otherwise. It’s unclear if the same will apply in this case. Once theexhibition ends, the censored art may be returned to storage,
waiting for a curator brave enough to risk the consequencesof another public viewing. ❶David McNeill writes for the Irish Times and the Economist, and teaches
media literacy at Hosei and Sophia Universities.
FCCJ

NOVEMBER 2019

The face of controversy
Seogyeong and Unseong Kim’s “Monument to
Peace” – a seated woman next to an empty chairfor people to sit beside her – which Nagoya’s
Mayor, Takashi Kawamura said, “tramples on the
feelings of the Japanese people.”

7

Controversy 2: Raising the flag

Flags of our fathers:

Looking for a battle

Will the squabbles over the possibility of seeing
the Rising Sun flag at next year’s Olympic
games turn into a real battle—or fade in theonslaught of the next controversy?

By Mark SchreiberM

y late friend, Adrian Johnston, born in 1934 in Pittsburgh, Pennsylvania, served in the Korean War anddeveloped a great affinity toward Japan. Years later,
he would still visit at every opportunity, taking time off fromhis jewelry manufacturing business to enroll in Japanese-language summer school courses.
In the late eighties, on one of his trips here, he phoned me,sounding puzzled.
“Do you think Japanese are becoming more right wingthese days?” he asked.
“I can’t really say I’ve noticed,” I replied. “Why are you asking?”“I’ve been watching this marathon on TV just now,” he toldme, “and the spectators on the roadside were all waving Rising Sun flags while cheering the Japanese runners.”
It took a moment before it dawned on me. It was obvious my friend had confused the corporate flag of the Asahi
Shimbun—sponsor of the marathon—for the Rising Sun flag.
The Rising Sun flag, with rays emanating from a red circle,
was and is still used by the Japanese military, as opposed toJapan’s official national flag, a red circle in the middle of awhite background. The Asahi’s version has rays emanatingfrom a quarter of a red circle in the lower corner.
It seems the similarity had revived traumatic childhood
memories of the Rising Sun flags he saw as a boy in UP newsreels and John Wayne movies like Back to Bataan and The
Sands of Iwo Jima. I patiently explained the Asahi’s involvement and added that its corporate logo notwithstanding, thenewspaper’s political positions were, if anything, the diametric opposite of right wing.
But since the above exchange nearly 30 years ago, I can’t
recall one conversation I’ve had with anyone on the topic ofJapan’s Rising Sun flag. It’s an image I rarely see, and as far
8joint military exercises with other countries. Banning it from being brought into [Olympic] venues is
not being considered, and I am in agreement withchief cabinet secretary Suga on this.”as I know, it cannot be found on a public flagpole anywherein the Tokyo metropolis, certainly not at the National Dietbuilding or the Ministry of Defense in Ichigaya.
YET IT HAS BECOME the hot spot of the latest controversy
between this country and its closest neighbor.
It began with two fairly low-key events in late August. The
first came when officials from the Korean Sport & Olympic
Committee on a visit to Tokyo lodged a complaint with theirhosts. They wanted a proactive ban put in place to keep displaysof the Rising Sun flag out of Olympic venues. Then, the same
week, another Korean group representing handicapped athletes protested the design of the medals for the Tokyo Paralympics, which it claimed “evoke the image of the Rising Sun flag.”
These South Korean groups and other critics of the flag see its
continued use by the Japan Self Defense Forces as evidence that
unlike Germany, where symbols of the former Nazi regime areprohibited by law, Japan has not engaged in serious efforts “toeradicate militarism” since the war. Now the flag issue is being
lumped with such other festering historical points of contention as “comfort women” and forced labor during the war.
On Sep. 5, Chief Cabinet Secretary Yoshihide Suga remarked
at a press briefing that Japan saw no need to take action tohalt displays of the flag.
A week later, Seoul’s Ministry of Culture, Sports and Tourism announced it had written to IOC President Thomas Bach
expressing “disappointment and concern” that the Japaneseorganizers have not taken steps to ban displays of the flag.
On Sep. 23, the head of the Chinese Civil Association for
Claiming Compensation from Japan chimed in with a letterto the IOC that made similar demands. The same day, North
Korea’s official government newspaper, Minju Choson, predictably jumped into the fray, criticizing Japan for “Plotting
to transform the ‘war criminal Rising Sun flag’ into a ‘symbolof peace.’” On Sep. 30 the Yonhap news agency reported thatlegislators in South Korea’s national assembly passed a resolution urging a ban, by a vote of 196 to 3.
Following Suga’s remarks, other government officials andorganizations fell into line. In a press conference on Sep.
6, Education Minister Masahiko Shibayama stated, “We areaware that claims have been raised that it carries a political message, but it is regularly flown, for example, during
NOVEMBER 2019

FCCJ

JAPAN’S MINISTRY OF FOREIGN Affairs, meanwhile,posted a PDF file on its web site under the title“The Rising Sun Flag As Part Of Japanese Culture.”
It explained, “... the design of the Rising Sun Flag isseen in numerous scenes in daily life in Japan, suchas in fishermen’s banners hoisted to signify large
catch of fish, flags to celebrate childbirth, and inflags for seasonal festivities.” It added, “For morethan half a century, these flags have been playing an indispensable role to show the presence of
the Self Defense Forces vessels and units, and arewidely accepted in the international community.”
On Sep. 24, Masanori Takaya, spokesman for the Japan
Olympic organizing committee, defended the flag to reporters, “The design of the Rising Sun flag is widely used in Japanand does not convey any political message. We are not planning to ban it from being brought into the venues.” Takaya
nonetheless did not entirely rule out proactive measures,
stating, “From the perspective of preventing trouble, ourguidelines are to consider measures that might be necessary
for dealing with the issue.”Some local media took the side of the flag’s detractors.
“In general, where else can one see the Rising Sun flag otherthan at hate demonstrations?” wrote author Koichi Yasuda inShukan Kinyobi on Oct. 11. “Last month, at a rightist demonstration demanding Japan sever diplomatic ties with South
Korea, you could see as many Rising Sun flags in the crowd
as the Hinomaru. And what was their intention? Harassment
and intimidation.”
WHILE THE PRESENT CONTROVERSY represents the first time
Koreans have demanded the Rising Sun flag be banned inside
Japan, protests outside the country began several years ago,
with mixed successes. In 2013, a female Korean student inFrance successfully led a campaign forcing the retail chain
Fnac to remove a promotional poster bearing an illustration
showing the rising sun motif together with a comic character
brandishing a Japanese sword.
At a soccer game played in Suwon, South Korea in April
2017, supporters of the Kawasaki Frontale club nearly provoked a post-game riot by waving the flag. After the game,
Korea took its complaint to the Asian Football Confederation(AFC), which ruled that use of the flag constituted a “discriminatory offense.” The Kawasaki team was fined $15,000 andobliged to play a home game to no audience.
Yoshiaki Sei, author of the book Soccer and Patriotism,
believes that permitting Rising Sun flags to be waved at
Olympic events isn’t worth the potential downside. “If Japan
were to garner negative reactions from the international
community or formal complaints from foreign governments,
it’s possible that Japanese teams will get penalized,” he cautioned in Weekly Playboy. “I think the organizing committee’s
decision [not to ban the flag] is an extremely risky one.”FCCJ

NOVEMBER 2019

HOME-GROWN PRIDE
Tatsuo Kobayashi, 63, is president of Tokyo Seiki, Inc. He is
the fourth generation in his family’s flag-making business,
which was founded in 1937.
Kobayashi’s Japanese flags are entirely home-grown, andas proof he offers photos from his factory in Gunma, where
the flags, produced using the silk-screen method, are run off
on an automated assembly line.
Rising Sun flags constitute only a miniscule amount of
TOSPA’s total business, and there’s no evidence of any surge
in demand. Overall sales of Japanese flags and those of othernations (of which TOSPA produces 206) will no doubt benefit
from next year’s Olympics.
Rising Sun flags are sold via the company website, and as
far as Kobayashi can tell, their buyers appear to be individuals
rather than organizations. TOSPA offers the army flag (where
the red dot is positioned at mid-center) in five sizes, and thenaval flag (with the off-center dot) in 32 varieties, including
sets with flagpoles. They are constructed of durable, wrinklefree polyester.
An impressively large naval flag is the largest item in the
catalog, measuring 140 x 210 cm and priced at ¥19,500,
which is probably suitable for flying on the mast of a
destroyer or coast guard patrol boat.
Kobayashi declined to comment on the current politicalsquabble—which caught him unawares. “For some 50 years,
nobody’s raised any issues about those flags. And thenall of a sudden this happens,” he said, shaking his head in
bewilderment. (M.S.)

MARK SCHREIBER

Battle stations
The Yashima, built for the Imperial Japanese Navyin the 1890s, in a print belonging to the author.

Essayist Keiko Kojima, writing in the Sept. 14 edition of theweekly magazine AERA, was adamant in her opposition to theflag. “What kind of person would wave the Rising Sun flagin the Olympic Stadium?” she asked. “At which game, underwhich situation, and for what intended purpose would theywave it? During the summer, a time when we mourn the many
who died beneath that flag at home and abroad, it’s a sight I
don’t want to see.”South Korea’s raising the issue of Rising Sun flags seems
to have caught Japan unprepared. The Japanese government
has made clear it’s taking a hands-off position, trusting thenation’s sports fans—who have shown exemplary behavior
during the Rugby World Cup—to do the right thing. It will beinteresting to see how this story develops. But if one thing’s
certain, no one wants next year’s games marred by acts ofviolence, whether by exuberant fans or rowdy nationalists. ❶Mark Schreiber currently writes the “Big in Japan” and “Bilingual”
columns for the Japan Times.
9Series: Profile

Randy Schmidt
CBS

By Julian RyallR

not being able to get a job without aandy Schmidt is a difficult man
to pin down. One day he’s in“YOU GET TO DO SO MANY working visa and not being able to getvisa without a job.
Hong Kong, filming confronTHINGS THAT MOST PEOPLE a working“But then I got lucky,” he said. “Itations between protesters venting
DON’T GET TO DO”
started to get freelance work with
their fury at the city’s government and
CNBC as a cameraman-editor and fiveriot police—who have, in recent days,
months after arriving, I landed a staff
shown an alarming propensity to use
camerman-editor job at the Tokyo bureau of CNN.” Schmidt
live rounds at very short range—and the next he’s off to India
stayed with CNN until massive editorial cuts in late 1997
for another assignment. After that, he might be back home
reduced the Tokyo bureau from 13 positions to just 5. Afterin Tokyo for a few days. But it’s very possible that something
five years, including a stint with Reuters and lots of freeelse is going to crop up somewhere else in the Far East and helancing, he set up his own production company, American
will be living out of his backpack once more.
Ronin Productions, that worked with all the major EnglishIt’s a punishing schedule that is particularly hard on his
speaking networks.
wife and 9-year-old son Dylan, but he still gets that familIn February, 2006—on the strength of shooting an interiar kick out of what he does. “I love it because there is soview with Madonna for CBS—Schmidt was hired to work at
much variety, and you get to do so many things that mostthe broadcaster’s Tokyo bureau, covering all of Asia, includpeople don’t get to do,” he said. Originally from Saratoga in
ing China for up to six months of the year and North Korea. “I
California, the 56-year-old Schmidt is now both cameraman
travel as much as seven months of the year,” he said. Until twoand editor contributing to all CBS news programs from themonths ago he even maintained a China Resident Journalist
region. “I like the thrill of breaking news assignments on
Visa, which requires journalists to physically be in mainland
location somewhere and doing lots of live-shots, and I like
China for 183 days of the year.
taking my time and shooting and editing feature stories.”
Technology has made Schmidt’s life significantly easier.
Covering the news is not, however, the career that Schmidt
His equipment is far lighter and more compact, SD video has
intended after finishing a degree in motion pictures andchanged to HD, and multiple hard cases of editing decks andtelevision at UCLA. “My initial interests were in Hollywood
monitors have been whittled down to a single laptop. It also
motion pictures, as a cinematographer, director or screenhelps with personal relationships. “I was 43 when I took thewriter,” he said, and his first position was as an artist andCBS News job and started travelling extensively,” he said. “It’sanimator on a stop-motion animated short titled, Frog andtough, especially on my young son, but we chat once or twice
Toad are Friends.
a day via Skype and play chess remotely online. An hour ago,
“I worked at 20th Century Fox for the producer of Die
he kicked my ass.”
Hard and other action movies, but I was mainly performing
North Korea remains Schmidt’s “most fascinating” assignscreenplay analysis, which was too much of a desk job for myment. He has been to Pyongyang on eight occasions and once
liking,” Schmidt said. “I also worked for a small production
to Wonsan, when the North Korean regime invited the Westcompany in Los Angeles which did TV news coverage within
ern media to record the destruction of tunnels at its nuclear
the United States for Japan’s Fuji-TV network.” The company
test site.
was run by a Japanese woman who was effectively the FujiAnother favorite is India, where in 2013 he covered the
TV news correspondent. Schmidt’s coverage included the
Kumbh Mela festival, with 40 million people descending upon
infamous Kazuyoshi Miura murder case in the mid-1980s, ina village for a religious event that is believed to have been thewhich a Japanese businessman allegedly had his wife murlargest gathering of people in history.
dered in order to collect insurance money.
Documenting the impact of the Tohoku disaster in March
Schmidt’s work for Fuji-TV gave him an opportunity to visit
2011 was especially tough work. “It was simply shocking to see
Japan for two weeks in 1986, followed by similar spells in 1987
how much damage was caused by the tsunami,” he said. “Alland 1992—and that helped piqued a boyhood interest in thethe lives lost, towns wiped out. Ships littered all over the place.
country that he traces back to the 1967 James Bond movie You“There is a cliché that cameramen are somewhat immune
Only Live Twice.
to the horror of what might be happening in front of them
“Even then,” he said, “I never really thought about moving.
because you are working and sort of ‘watching TV’ in yourBut in 1996, dissatisfied with my career not really taking off
viewfinder,” Schmidt said. “This is true to a certain extent,in Hollywood, I thought I would have an adventure for a year
but we are certainly not oblivious to what’s going on andand move to Japan.” Making that leap in pre-Internet times
often see it closer up than most others.” ❶was far more tricky than it is today, and Schmidt found it
difficult to find information on living and working in Japan.
He had no job lined up and was in the catch-22 position ofJulian Ryall is Japan correspondent for the Daily Telegraph.
10

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Climate crisis: Part III of a series

In the third and final
installment of this series,
we look at the need toinvestigate suggested
solutions, how to coverhuman adaptation and how
to explain geo-engineering

By James Fahn
The development of biofuels—
derived from vegetation and thus, intheory, consuming as much carbon
as they emit—was once seen as themost promising alternatives to fossil
fuels. But the bloom is off the rose forseveral reasons. Most biofuel initiatives require a lot of land and fresh
water, resources that are increasingly
in short supply, potentially increasing
food security concerns. The development of biofuels is often expensive
when compared to the energy density of the fuel produced. This has
led some critics to consider biofuel
development a boondoggle, more of a
subsidy for farmers than a way to prevent climate change.
Biofuel made from organic waste (alsoknown as “biogas”) is generally considered a clean energy
source. And there is still hope that biofuels can become amore effective solution in the future; for instance, if they canbe derived from food waste, cellulose, or algae, which may
require fewer amounts of land and water, or if they can beturned into aviation fuel, for which there are few alternatives
at the moment. But as with all proposed solutions, journalists will need to investigate whether they turn out to be more
hype than help.

CARBON REMOVAL, CAPTURE, AND SEQUESTRATION

Increasing our capacity to store carbon is going to be a
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NOVEMBER 2019

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Illustration ANDREW POTHECARY. Images from DREAMSTIME.COM

BIOFUELS

But even those issues may pale compared to the potencrucial component of our effort to prevent climate change.
tial costs of the massive human migration we’re likely to
So far, this has mostly been done by trying to grow trees andsee. Only the wealthiest places will be able to pay to protect
protect forests—sometimes through offset programs likethemselves. The next best scenario for people living in harm’s
Reducing Emissions from Deforestation and Degradation
way will be “managed retreat.” But let’s face it, most of the(REDD+). Such projects can contribute significantly to forest
time it won’t be well-managed. It will be chaotic and probably
preservation and the regeneration of degraded landscapes.
bloody. Journalists will need to watch carefully who’s making
On the other hand, they sometimes conflict with the interests
what decisions regarding whose communities get saved.
of forest-dwelling people, and their links to carbon offsetting
efforts are not always clear, creating tensions that suggest
abundant potential for journalistic inquiries.
GEO-ENGINEERING
There are other initiatives aimed at removing carbon from
Climate change is actually an unplanned geo-engineering
emissions or from the atmosphere and then either storing orexperiment on a vast scale, and humans are carrying out sevre-using it. Many of these are supported or promoted by fossil
eral of them. The jury is out as to whether we’ll be good planefuel companies that are particularly keen on Carbon Capturetary engineers, but the evidence so far isn’t looking too good.
and Sequestration (CCS). This is a process that involves capIt’s quite possible some country, bloc, corporation, or otherturing the CO2 emitted during coal or other fossil fuel burnpowerful entity might one day decide to enact some purposeful geo-engineering, with the goal of protecting itself froming processes and storing it, typically by channeling it into
onslaught of climate change.
underground storage facilities to prevent its release into the
Our job as journalists is to explain the science, and invesatmosphere. Such promises have been key to the industries’
tigate the human responses all around the globe that haveclaims of producing “cleaner” energy.
made this the story of our time.
But despite all the promise, CCS has so far mostly been
Some of the schemes thatrelegated to dubious demonhave been most talked about
stration projects, basically
include distributing aerosols
because it needs to be carCLIMATE CHANGE IS ACTUALLY
into the atmosphere or solarried out on a huge scale and
AN UNPLANNED GEO-ENGINEERING
shades into space to slightly
remains a relatively expenreduce the sunlight falling onsive process. Other engineerEXPERIMENT ON A VAST SCALE,
the Earth. But there are coning efforts aimed at removing
AND HUMANS ARE CARRYING OUT
cerns that this could also end
carbon from the atmosphere
SEVERAL OF THEM
up reducing agricultural outseem to be mostly in the pilot
put, and it wouldn’t do anystage thus far. In effect, it
thing to prevent the acidifihas faced the same problem
cation of the oceans. Right now, we even lack opportunities
as renewable energy initiatives: figuring out who is goingto talk about the possibilities, as there are few governanceto pay for them when the price on carbon remains low ormechanisms for global decision-making on such matters.
non-existent.
If all this sounds outlandish, bear in mind that 20 years ago,
That said, we are probably going to have to eventually rely
it was virtually taboo in environmental circles to talk about
on carbon removal and storage to a certain extent. We haveadaptation, because it was seen as distracting the world fromalready wasted so much time trying to reduce the world’s carthe main goal of preventing climate change in the first place.
bon footprint that the world will probably overshoot the Paris
That is roughly the position of geo-engineering today. It istargets aimed at preventing catastrophic climate change,
considered a “moral hazard”—but who knows what desperate
which means we may well need the “negative emissions” thatmeasures countries may turn to if some of the most dire precarbon removal can generate. As with biofuels, journalists
dictions come to pass. Journalists should want to know, andwill need to watch this space.
would be well advised to keep an eye on any such initiatives,
which could in theory be developed in secret.
ADAPTATIONAs indicated by this long but far from exhaustive list of topHumanity has a vast task ahead adapting and responding to
ics for journalists to investigate, climate change and all its
climate change, and the scale can seem scary. A deep lookmanifestations is altering everything. It’s beginning to touch
into all the resilience, and the reporting, that is going to be
every part of our planet, from the bottom of the ocean to therequired could be as long as this piece. But there are a few
top of the atmosphere, as well as every aspect of humanity’s
key issues on which to keep a close eye. Much of the focus on
economy and society.
resilience will be about fresh water: its availability and theScientists, economists and people working close to naturelack thereof, and its role in floods, storms and drought. Precan help explain how we are changing the world around us.
paring for and recovering from more devastating weatherOur job as journalists is to explain the science, and investirelated disasters will also command a lot of attention.
gate the human responses—in many more places around the
Trillions of dollars are likely to be spent on adapting to
globe—that have made this the story of our time. ❶climate change—from building seawalls to restoring sandmarshes—and it seems unlikely all the money will be spent
responsibly and efficiently. Journalists will need to keep aJames Fahn is Executive Director of the Earth Journalism Network at
sharp eye on that, and on whether politicians and planners
Internews. He is also a lecturer at the Graduate School of Journalism atface choices as to whether to build “hard” defenses or “soft”
the University of California at Berkeley, where he teaches international
ones, and whether to plan for two feet of sea level rise or fiveenvironmental reporting. First published on the Global Investigative
Journalism Network website. Reprinted with permission.
or more, and so on.
FCCJNOVEMBER 201913

Club news

FCCJ EXHIBITION

JOIN THE FILM COMMITTEE. . .

J. C. CARBONNE

Kengo Kuma
The FCCJ is hosting an exhibitionof my work that will be somethingof a departure from normal. My
architecture is described as “worldarchitecture,” and I think this term
is very appropriate.
The early 20th century saw the
emergence of what was called“international architecture,” and in
the 1980s we started to hear the term
“global architecture.” But I prefer
the term “world architecture,” with
its connotations of world music. There are current projects
involving more than 20 countries that really give me a feelingof being part of a world movement. And this is the spirit that
I have tried to convey in my exhibition.
– Kengo Kuma

TAKUMI OTAROSS FRASER MCLEAN

The V&A, Scotland. . . on Tues., Nov. 12 at 6:45p.m. for a sneak preview ofthe provocative new work from acclaimed filmmakerTatsuya Mori, i: Documentary of the Journalist. Mori follows
press-freedom folk hero Isoko Mochizuki (the “i” of thetitle), a reporter for Tokyo’s largest regional paper, as shecrisscrosses the country, following leads and waging alonely battle for the truth, particularly at the Cabinet Office
briefings that have helped make her (in)famous. Refusing
to toe the government line, she has relentlessly peppered
officials with questions in her quest to get behind theirsmokescreens—flirting constantly with the risk of ejection
from her kisha club. Touching on nearly every news story
of note over the past year, the documentary also featuresa short but important scene with FCCJ’s Pio d’Emilia andDavid McNeill. (Japan, 2019; 120 minutes; in Japanese withEnglish subtitles)— Karen Severns

Yusuhara Wooden Bridge Museum, Japan
Kengo Kuma was born in 1954. He received his Master’s Degree in
Architecture from the University of Tokyo (where he is currently
a Professor of Architecture). After his time as a Visiting Scholar atColumbia University in New York, he established his office in Tokyo.
Since 1990, Kengo Kuma & Associates has designed architectural works
in over twenty countries and received prestigious awards. Kengo Kuma
& Associates aims to design architecture which naturally merges with its
cultural and environmental surroundings.
14

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Club news
At
the
Club

“THE MEDIA IS HUGELY IMPORTANT TO THE
IMPERIAL FAMILY. IT IS HOW THE IMPERIAL
HOUSE MEMBERS LEARN WHETHER THEIRPERFORMANCES ARE PLAYING OUT THE WAY
THAT THEY HOPE. THERE IS A SECTION IN THE
IMPERIAL HOUSEHOLD AGENCY DEVOTED
TO CLIPPING OUT ALL THE ARTICLES ABOUT
THEM AND FORWARDING THEM TO THE
PARTICULAR FAMILY MEMBER.”

NEW MEMBERS
REGULAR MEMBERS
Noburu Okabe is an editorial writer for the Sankei

Dr. Kenneth Ruoff,
Director of the Center
for Japanese Studies
at Portland State
University, Oct. 20

CLUB EVENTThe FCCJ
Autumn
Golf
Tournament

NEW IN THE LIBRARY

The tournament (alongwith breakfast, lunch
and after-party!) was
held at the Glissando
Golf Club in Chiba
Prefecture on Oct. 4.
A good game and time
was had by all – andnotably by Regular
Member and winner
Tomoo Ito. Keep youreyes open for future
tournaments!

CLUB EVENT

Club Quiz Night!
The Club’s inaugral Quiz Night saw 20+ attendees in five teams vie for a bottle of Born saké
as first prize for answering largely news-oriented questions. First prize turned out to be won
jointly by two teams – the “Misfits” and the “Number 1 Shimbun” team. A rematch is therefore
scheduled for Nov. 7. But any repeat or new teams can compete on the first Thursday of themonth, which is now set aside for the quizzingly competetive and enjoyable night. There wasalso a Happy Hour at the bar and pub-quiz-style pizzas from the kitchen.

Shimbun. He graduated from Rikkyo University in
1981, and has done postgraduate studies at Duke andColumbia universities. He was Moscow bureau chieffrom 1997 through 2000, reporting on the return
negotiations for the Northern Territories and thetransition of power from Yeltsin to Putin. Okabe wasalso London bureau chief from 2015 to April 2019.
His writing focuses on World War II intelligence gathering and post war
territorial disputes. In 2012, he published the award-winning non-fiction
book Kieta Yalta Mitsuyaku Kinkyuuden:Jouhou-Shikan Onodera Makoto no
kodokuna tatakai, for which he received the 22nd Yamamoto Shichihei Prizein 2013. His original work was then adapted into an NHK drama in August
2016. His published works also include God of Intelligence in 2015 and The UK
Failure in Brexit: The Risk of No-deal in 2019.

REINSTATEMENT
Bradley Martin, Asia Times, who first joined the
FCCJ in 1978, has resumed his Regular Membership. A
former Club secretary, vice president, and director atlarge, he’s the author of two books, including the novel,
Nuclear Blues.

Rumie Sakiyama, The University Of Tokyo
ASSOCIATE MEMBERS
Hiroki Tomita, Marubeni Corporation
David J. Semaya, Sumitomo Mitsui Trust
Yukako Uchinaga, J-Win (Japan Women’s
Asset Management Co., Ltd.
Innovative Network)
Katsuhiko Aoki, Mitsubishi UFJ Lease &Shinichi Yamashita, Akan Tourism
Finance Co., Ltd.
Association
Mari Hirata, Rinpei Inc.
Yasuyo Yamazaki, Kuni Umi Asset
Koichiro Ikeda, Japan Commercial RealManagement Co., Ltd.
Estate Inc.
Yasuhiro Kobayashi, Atlas Marine Co., Ltd.
Naoko Okada, Network Communications REINSTATEMENT (Associate Member)
Kazutoshi Kakuyama, Anderson Mori &Corp.
Tomotsune
Yasuhito Sarumaru, Cornes & Co., Ltd.

The Last
Train: A Tokyo
Mystery
Michael Pronko
Raked Gravel
Press
The Greater
East Asia
Co-Prosperity Sphere: When Total
Empire Met Total War
Jeremy A. Yellen
Cornell University Press
Gift from Bruce R. Bailey
Tokyo ensmeltedigel af
gammelt og nyt
Asger Røjle
Christensen
TurbineGift from
Asger Røjle
Christensen
New State,
ModernStatesman :Hashim Thaçi –A Biography
Roger Boyes; Suzy Jagger
Biteback Publishing
Gift from Hashim Thaçi

BOOK BREAK

Book Break: Insight into
the emperor’s views
The Book Break on Tues., Dec. 10, will featurea talk (in English) about a book by his Majesty,
the Emperor Naruhito, titled Suiunshi kara
Sekai no Mizu he, (“From the History of Water
Transportation to Global Water). The event will
begin with a video lecture the Emperor gave at the United
Nations, followed by a speech by Kenzo Hiroki, professor at
the National Graduate Institute for Policy Studies.
The book, published by NHK Publishing in April of thisyear, is a compilation of Emperor Naruhito’s selectedspeeches about water, and illustrates his activities over theyears. He wrote his post graduate thesis in 1984 at Oxford
16

The Fourth
String: A
Memoir ofSensei and Me
Janet
Pocorobba
Stone Bridge
Press

FCCJ

NOVEMBER 2019

University about navigation of the upper Thamesriver. He also held the position of honorarypresident of the UN Secretary-General’s Advisory
Board on Water and Sanitation from 2007 to 2015.
Professor Hiroki will share episodes ofinteractions with His Majesty that hint at thedirection he may take as the new symbol of Japan.
He will also share some views and perspectives ofthe emperor on such global issues such as climatechange, environment, gender equality, poverty eradication,
peace, and sustainable development.

The library committee has arranged a cocktail party to meet
the author starting at 6:15 pm, followed by a set dinner with
one drink at 6:40 pm. Reservations are required. Book Breakcharges are ¥3,100 for Members (¥4,100 for non-Members).
The member price is applicable to members’ guests.

17

Photographer members

Lens craft
After the typhoon
Rescue personnel walk a muddy
road during search and rescue
operations in the aftermathof Typhoon No. 19 (known as
Hagibis) in Hoyasu, Nagano
on Oct. 14. Rescue efforts forpeople stranded in flooded
areas were in full force after
the extremely powerful anddeadly typhoon unleashedheavy rainfall.
by Richard Atrero de Guzman/
Sipa USA

18

Winning smiles
Novak Djokovic takes
a photo with fans after
he defeated Japan’s Go
Soeda at the Rakuten
Japan Open tennis
championships in Tokyo,
Oct. 2. Djokovic went on
to be overall winner of thechampionshipby Yoshikazu Tsuno

The typhoon saw morethan 60 rivers overflow andcaused destruction acrossa widespread area of Japan.
More than 100km away from
Hoyasu (above left) in Sano,
Tochigi (right) a woman
carries her daughter through aflooded area on Oct. 13.
by Tomohiro Ohsumi
NOVEMBER 2019

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