Factbook

A Dynamic Compendium of Interesting Japanese Literary and Publishing Facts
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    A series of publications in 1912 introduced psychoanalysis to Japan[UPDATED: 5-29-2020]

    Seventeen years after Sigmund Freud (1856-1939) first used the term psychoanalysis to describe his new method, the concept was introduced to Japan in 1912, according to Perversion and Modern Japan: Psychoanalysis, Literature and Culture, in a series of articles.

    Nonetheless, the actual first official use of the word psychoanalysis in Japanese or English, which many argue was a term coined by Freud, is unclear. Freud is reported to have used the word initially in a letter in 1896 and subsequently in his book The Interpretation of Dreams, which was published in German in 1899 with an initial print run of 600 copies; and subsequently in English translation in 1913.

    The concept of psychoanalysis was, however, by 1913 fully introduced and used in Japan, just as the first English translation of The Interpretation of Dreams was being published by Macmillan in the United Kingdom. This introduction was made by Morooka Son, an academic at Kyushu Imperial University, in a series of papers in the Japanese literary journal Eniguma, the first of which was published in 1912.

    Son published a Japanese translation of Dream of an unmarried woman with notes and commentary; and wrote a Freudian analysis of a European novel as well as a local one, The Tale of Genji, thought to be the world’s oldest novel, in three separate papers, according to Perversion and Modern Japan: Psychoanalysis, Literature and Culture edited by Keith Vincent, Nina Cornyetz. 

    The links between psychoanalysis, folklore, classical literature, narrative texts and mythology are well known and documented since at least 1899 when Freud drew on Greek myths using the term Oedipus Complex in his book The Interpretation of Dreams to analyse a particular dynamic of the relationship between a child and a parent of the opposite-sex. 

    Even before the arrival of Freud and psychoanalysis in Japan, during the nation’s modernising Meiji era (1868-1912), Japanese intellectuals including the Buddhist philosopher Inoue Enryo (1858-1919) were already analysing Japanese literature, especially narratives that depicted the weird, magical or supernatural; to help explain Japanese society and to debunk long held superstitions while highlighting the need for Japan to change.

    Enryo, applied rational analysis to Japan’s literature of the extraordinary, creating taxonomies of ghosts and monsters, as metaphors for psychological disorders, and attributing their appearance to symptoms of ‘nerves’.

    Despite the relatively early arrival of the concept of psychoanalysis in Japan, different folklore and mythologies, as well as the Japanese language itself and local religious beliefs, led some early highly prominent psychoanalysts outside Japan, such as the influential French psychoanalyst and psychiatrist Jacque Lacan (1901-1981), to conclude that: the Japanese were unanalysable; probably didn’t require psychoanalysis; or that psychoanalysis and Japan were a poor match.

    This in turn has allowed others to continue to argue the case of the uniqueness of Japan, the Japanese, and Japanese culture – even though psychoanalysis has continued to evolve as a discipline in Japan. 

    It may have also helped reinforce the view held by some outside Japan and some within, that Japan is at times unfathomably perverse, and generally impossible to understand.  

    These perceptions have created a field day for journalists who frequently extol Japan’s unique weirdness or unfathomable perversions; not to mention cultural theorists looking to attain research grants to deconstruct Japan’s ‘unique’ foibles.

    In various and often delightfully unpredictable ways this has inspired authors and many others in the Japanese creative arts, including Japan’s talented animators and video game makers, to adapt or modernise ancient tales of the extraordinary or to blend them with the influences of European gothic fiction, as well as advances in technology, to create new creative products and works.

    Some contemporary Japanese authors, such as the Akutagawa prize-nominated Kanji Hanawa, have specialised in exploring human psychology and complex relationships with the aim of exposing the pressures and challenges of life in modern day Japan.

    A good example of this is Hanawa’s work Backlight, which frames the abandonment of a seven-year-old boy in the woods of Hokkaido, and his relationship with his family, through the lens of psychology while also exploring folklore, identity and cultural analysis, at times with scorn and subtle indignation.

    Another interesting example is the animator Hayao Miyazaki, famous for the folklore inspired Spirited Away and many other films, who often explores humanities relationship with nature, an important theme in early Japanese literature, in his work.

    Miyazaki’s animations have been praised for how they depict the unconscious anxiety of children and have even been deconstructed from the perspective of psychoanalysis in academic papers such as Fantasy and reality in Miyazaki’s animated world. 

    This psychoanalysis inspired creativity, despite Japan still being considered unanalysable by some, has helped generate new forms of Japanese surrealism and suggestive storytelling that are at times both compelling and highly imaginative, while also being accessible, entertaining and uncanny.

    A series of publications in 1912 introduced psychoanalysis to Japan Posted by Richard Nathan
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    An Italian who came to Japan to design the nation’s first modern banknotes helped found one of the country’s most important printers[UPDATED: 11-21-2019]

    Edoardo Chiossone (1833-1898) an Italian painter, engraver and lithographer arrived in Japan in 1875 at the height of Japan’s period of rapid modernisation, known as the Meiji Era (1868-1912), to help design and create the country’s first modern banknotes. 

    He designed banknotes including: a 5-Yen banknote; the 1878 1-Yen banknote, the first modern Japanese banknote to include an image of an individual the legendary Empress Jingu (170-269); and a banknote with the image of Sugawara no Michizane (845-903) an important Heian Period (794-1185) poet and politician, for example.

    The image Chiossone created for the 1-Yen banknote depicts a somewhat European-looking Empress Jingu, wearing heavy ornate necklaces in an oval on the righthand side of the banknote.

    In total Chiossone created 500 plates that were used to print bonds, stamps, securities, as well as banknotes for use in Japan. Initially, many were printed outside Japan.

    Chiossone, who stayed for 23 years and died in Japan, had a major influence on the world of printing, publishing and even on how the world saw Japan and its Emperor at the time, the Meiji Emperor (1852-1912).

    He is also credited with helping found the printing company Toppan Insatsu by training its two founders, as well as training many individuals who went on to transform Japanese printing and publishing.

    He worked very closely with Enkichi Kimura (1853-1911), for example, and others helping them to subsequently found Toppan, which has now become a global printing company and runs the Printing Museum, Tokyo. Among other things, the museum proudly displays the world’s smallest printed book, printed by Toppan in 2013. 

    Modern printing may have taken off much more slowly in Japan had it not been for Chiossone’s important contribution. He lived in Japan during a period when many new newspapers and magazines were launched and printing, like the Internet today, was a transformational technology. 

    Chiossone is also remembered for his famous 1888 widely circulated portrait of the Meiji Emperor, and his impressive personal collection of Japanese art, which is now housed at the Museum of Japanese Art ‘Edoardo Chiossone’ in Genova.

    An Italian who came to Japan to design the nation’s first modern banknotes helped found one of the country’s most important printers Posted by Richard Nathan
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    Japan’s first rugby book published in 1909 criticised baseball, arguing that rugby was the superior sport[UPDATED: 9-11-2019]

    Japan’s first book on rugby, Ragubi Shiki Futoboru (Rugby-Style Football), was published in 1909, a digital copy of which can be accessed online at Japan’s National Diet Library. 

    The book not only introduced the game and its rules to Japanese readers for the first time, but it also critiqued baseball, insisting that rugby was superior in terms of its sportsmanship.

    ‘Let’s play rugby, not baseball!’ its foreword states, which then also goes on to quote a famous Japanese baseball player of the era Shin Hashido (1879-1936), who apparently held similar views, saying that, ‘In the future, I will play rugby instead of baseball’.

    Baseball, despite its popularity, was controversial and considered harmful by some sections of the Japanese press and society, which argued that playing the sport would turn students into ‘non-achievers’ and ‘delinquents’, and not the disciplined loyal heroes Japan wanted to develop. Baseball arrived in Japan in advance of rugby in 1872 while rugby only arrived on Japanese shores in the 1890s.

    Japanese books of this period mostly focused on introducing new sports and their rules to readers, and not on tactics and game-winning strategies or inspiring narratives associated with the sport. 

    Since the publication of Japan’s first book on the sport, rugby and sports literature in general have grown considerably in Japan to the extent that one can now find inspiring narratives, heroic tales of winning teams and individuals, as well as multiple formats and styles including anime, mangaas well as books.

    Japan’s first rugby book published in 1909 criticised baseball, arguing that rugby was the superior sport Posted by Richard Nathan
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    Japan’s oldest surviving cookbook was published in 1643[UPDATED: 8-26-2019]

    According to historians, Japan’s first modern cookbook Ryori Monogatari, Accounts of Cooking, was published just as the first Tokugawa Shogun, Ieyasu Tokugawa (1543-1616), came to power in 1603, and Japan’s Edo Period began (1603-1863). 

    Tokugawa was a supporter of publishing and in particular books that provided practical guidance. The oldest surviving example of Accounts of Cooking, was printed in 1643.  The author of the book, which has 20 different sections organised in two parts, is unknown.

    A copy is now part of The Tokyo National Museum’s collection and another copy of an edition, published by Fukuda Bunko, can be found in the National Diet Library.

    The 1643 edition is an unusual cookbook as it includes recipes for game at a time when eating meat was viewed by most as a taboo. Some, however, considered game as medicinal.

    Interestingly, Japan is currently experiencing a mini-boom in restaurants serving deer and wild boar following a relaxation of regulations and the extension of the Japanese hunting season.

    The 1643 book includes recipes for grilling venison, wild-hare, wild boar, and even raccoon dog and dog.  As well as recipes for shark, whale and more typical dishes such as sashimi, sushi, udon and yakitori that are now popular dishes eaten around the world.

    That said, a hand copied edition of a 13thcentury document about cooking, Chuji-ruiki, Kitchenry Enyclopedia, is believed to be the oldest Japanese document describing practical cooking techniques, according to The History and Culture of Japanese Food by Naomichi Ishige. The document from the Kamakura Period (1185-1333) is sometimes described by academics as an ancient cookbook.

    Other books including the Nihon Shoki, The Chronicles of Japan, one of Japan’s oldest books, refer to hunting, food and the dishes preferred by emperors, but the 1643 edition of Ryori Monogatari, Accounts of Cooking, is believed to be the oldest surviving Japanese cookbook.

     

    Japan’s oldest surviving cookbook was published in 1643 Posted by Richard Nathan
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    Long before Europe, papermaking know-how arrived in Japan[UPDATED: 7-5-2019]

    Papermaking arrived in Japan via Korea from China in 610 when Japan was ruled by Shotoku Taishi (574-622), an important historical figure in Japan and still admired today as one of Japan’s early pioneers and modernisers.

    The so-called Prince of Holy Virtue, a regent and author, is credited with many things including developing Japan’s first set of laws, establishing Japan’s first national library, authoring Japan’s oldest book, the Hokekyo gisho, as well as helping create Japan’s book loving culture. 

    He did many things, but his encouragement of the development of papermaking, through which he aimed to promulgate Buddhism in Japan, acted as facilitator for much of what he achieved and importantly led to the lasting records of his achievements surviving until today. 

    Paper was required for copying Buddhist texts. Initially, according to Kiyofusa Narita (1884-1979) Director of the Paper Museum in Tokyo and a former executive of Oji Paper Company Limited, the paper made using the newly imported methods was too brittle for this use and new approaches to papermaking were required using the bark of Kozo (paper mulberry) trees.

    The term Kozo is a loose one that can in fact be used to describe at least three different plants whose inner bark are used in traditional Japanese papermaking.

    This innovative enhancement is sometimes credited to the Prince himself who also encouraged the cultivation of Kozo trees in Japan.

    These and new subsequent innovations and enhancements led to the development of Washi, Japanese paper, which is now famous around the world, and is said in some of its forms to last over a thousand years. 

    It is held in high regard by artist and artisans, Rembrandt (1606-1669) is even said to have created works using Japanese paper.

    Some of the Buddhist charms, that were mass produced and printed under the Prince’s guidance and placed in pagodas and temples in Japan to bring peace to the nation, are regarded by experts to be some of the oldest, if not the oldest, printed matter extant in the world.

    UNESCO, in 2014, included Japanese handmade paper, Washi, to its list of the intangible cultural heritage of humanity. This recognition would be something hard for Shotoku Taishi to fathom, but if it were explained to him, he would no doubt be delighted by the recognition.

     

    Long before Europe, papermaking know-how arrived in Japan Posted by Richard Nathan
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    For over a thousand years many of Japan’s emperors have played an active role in publishing: writing poems, books and even scientific papers[UPDATED: 5-2-2019]

    Since Japan’s first book on the nation’s history was commissioned by Emperor Temmu, Japan’s 40th emperor, and published in 712 after his death, Japanese emperors have been intimately involved in many important publishing milestones in Japan.

    The nation’s first book to be produced using moveable type was, for example, chosen by another emperor for printing in 1593.

    The Japanese Imperial Family has had a very long association with the literary arts, especially poetry.

    Japanese emperors have not only encouraged and patronised the poetic arts and Japanese verse known as waka and tanka in particular, but have also written thousands of poems themselves.

    The Meiji Emperor (1852-1912) who ruled over a period in history when Japan opened up to the West, after more than 250 years of self-imposed isolation, wrote over 100,000 waka and tanka poems and was known as ‘the sage of poetry’.

    The Meiji Emperor learnt the art of writing poetry from his father Emperor Komei (1831-1867). His era was an age of transformation and a crisis of modernisation.

    To s    ome that must have seemed mind-boggling at the time, with the arrival of railways for instance, that transformed Japanese society. Writing poetry appears to have helped him process these changes.

    He wrote many different types of poems, describing his reaction to the arrival of these new technologies in Japan including photography, trains and telescopes. Some experts also believe that his writing indicates that he wished to avoid war and had a pacifist streak.

    The following poem by the Meiji Emperor was published in English translation by Harold Wright in the Kyoto Journal:

     

    Being all alone

    And consoling our own heart

    for this one day,

    The time was spent quietly

    in the writing of poems

     

    Emperor Hirohito (1901-1989) also penned many poems and new rare caches of his creative outputs are still coming to light decades after his death.

    New waka poems, including poems that show Japan’s role in World War II, occupied his thoughts as he aged, and have made their way into the public domain as recently as 2019. 

    Emperor Akihito, his son now known as Emperor Emeritus, and his wife Michiko have also written and published books and poetry, including a collection of more than 300 poems titled Tomoshibi Light , which was published in English in 1991. The collection was originally published in Japanese in 1986 when Akihito was still Crown Prince.

    Many anticipate that the new Emperor, Naruhito, who took up the position on 1 May 2019, will continue this long tradition, but most doubt he will write multiple poems on a daily basis like his predecessor, the Meiji Emperor.

    That said, a book written by him about his experience as a student at Oxford University has been published in English, translated by Sir Hugh Cortazzi (1924-2018), a former British Ambassador to Japan, The Thames and I: A Memoir of Two Years at Oxford. 

    In addition to writing books and poetry, some emperors are known to have had much broader interests that have led to them subscribing to international magazines and publications long before this was possible for most in Japan. 

    In 1875, Emperor Komei, for example, was listed amongst the names of the subscribers to the Illustrated London News (1842-1971), the world’s first illustrated weekly news magazine. Two recent emperors, Akihito and Hirohito, have subscribed to international magazines including another British publication, Nature, the weekly science journal.  

    In fact, Emperor Akihito, who has a species of goby fished named after him, has done much more than just write poems and read about the latest scientific research trends alongside fulfilling his role as a constitutional monarch. He has published 38 peer-reviewed papers in scientific journals including the world’s most prestigious ones, Nature and Science and has even been seen at one or two scientific conferences in Japan. 

    At times, Japan’s Imperial Literature and creative writing has even stretched into science fiction with one member of the Emperor’s family penning books that helped develop the genre now known as ‘cyberpunk’ using the pen name Bien Fu in the 1960s.

    Literary and publishing genes continue to flourish in the family. And in 2017, an essay by the Emperor’s daughter Princess Aiko, titled Praying for Peace in the World, was widely praised for its literary style and content. The Princess wrote the essay for the yearbook commemorating her graduation from Gakushuin Girls’ Junior High School.

     

    For over a thousand years many of Japan’s emperors have played an active role in publishing: writing poems, books and even scientific papers Posted by Richard Nathan
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    50 years before the first Michelin Guide, Tokyo already had a popular guidebook for its foodies[UPDATED: 4-14-2019]

    It has been widely reported that for more than a decade Tokyo has had more Michelin-starred restaurants than any other city in the world. But what isn’t generally known is that Tokyo, or Edo as it was previously called, had its own guidebooks for Japanese gourmets long before the two French industrialists behind the famous Michelin Guidebook were even born.

    These included Edo Shuhan Tebikikusa, The Pocket Guide to Eating and Drinking in Edo, a copy of which resides at the British Museum library in London.

    Some of these Japanese guidebooks mimicked the approach taken at the time to rank Sumo wrestlers of varying stature grading eating and drinking establishments with similar terminology, as opposed to awarding stars as the Michelin Guidebooks currently do. 

    The Pocket Guide to Eating and Drinking in Edo, published in 1848, lists the names and addresses of 594 restaurants, as well as specialist sushi, soba and eel restaurants in Edo. The guide, like its modern counterparts, was selective – only including, for example, 90 eel specialists from a possible pool of around one thousand or more.

    Japan and Edo may have been isolated from the rest of the world at the time of the publication of The Pocket Guide, but Edo was one of the world’s largest and most literate cities with a strong publishing culture and a very vibrant nightlife.

    The first Michelin Guide was published 52 years later in 1900. At this time there were only a few thousand cars in France, so in order to encourage the French to buy cars and drive across France, two brothers launched the Michelin Guide, which initially focused exclusively on France. The first issue was distributed free to encourage people to buy cars and tyres made by the brothers’ company, Michelin, which they had set up a decade earlier in 1889.

    In the 2018 Guide, Tokyo has the most Michelin-starred restaurants with 234 – ahead of Osaka with 96 and Paris with 92. These are the three leading cities among the 28 countries that the guide currently covers.

    Given all this, it is perhaps not surprising that in 2013 Japanese cuisine, Washoku, was added by the United Nations’ organization UNESCO to The Representative List of The Intangible Cultural Heritage of Humanity. Other Japanese items included on this UNESCO’s list are Kabuki, Noh and ritual rice planting.

    50 years before the first Michelin Guide, Tokyo already had a popular guidebook for its foodies Posted by Richard Nathan
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    Japan’s first commercial publishing emerged in Kyoto in the early 17th century[UPDATED: 4-14-2019]

    Following the arrival from Korea of movable type technology and the printing of the first book using the technology in 1593, after Japan’s invasion of Korea, a new industry emerged in Japan – commercial publishing. 

    According to academics, such as Donald Keene, professor of Japanese at Columbia University, “printing soon developed into the hobby or extravagance of the rich, and many examples of Japanese literature began to appear in small editions,” with commercial publishing only arriving about a decade later in 1609, in Kyoto, at the start of Japan’s Edo Period (1603-1868). 

    According to The History of the Book in East Asia, by Cynthia Brokaw and Peter Kornicki, the Kyoto-based publishers mostly didn’t use movable type, even though the technology helped trigger the birth of the industry 

    Three publishing hubs in Kyoto, Osaka and Edo (later known as Tokyo) developed over time, with Edo initially being a market for books, as opposed to an originator of them. 

    There was only a limited amount of publishing conducted by the Shogunate authorities (the government) during this period. Some of their publishing needs, such as the printing of calendars, maps and directories, were outsourced to commercial publishers. Commercial publishers dominated the industry, commissioning the engraving of print blocks and selling titles.
    Japan’s first commercial publishing emerged in Kyoto in the early 17th century Posted by Richard Nathan