Factbook

A Dynamic Compendium of Interesting Japanese Literary and Publishing Facts
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    • Women Writers

    In the 1960s a member of the Japanese Imperial Family started moonlighting as a science fiction author[UPDATED: 8-22-2023]

    Princess Fukuko Asaka (1941-2009) started publishing science fiction and fantasy stories in Japanese magazines in the late 1950s under the pen name Bien Fu, and had stories regularly published throughout the 1960s. 

    One of the Princess’s stories was published in the first issue of Uchujin (1957-2009), an important pioneering science fiction magazine of the period. 

    The Princess was the Emperor’s second cousin and the granddaughter of the Meiji Emperor (1852-1912), who ushered in the Meiji Era (1868-1912), opening up Japan to the West after more than 250 years of self-imposed isolation. This was a period in which Japan and the Imperial family changed beyond all recognition. In fact, all aspects of Japanese society from the way people dressed and wore their hair, to the types of books that were read and written, as well as the food eaten, were to change dramatically. 

    In 1969, while in her late 20s, the Princess invited a group of schoolchildren to a former imperial palace to discuss writing and science fiction. One of those students, Takayuki Tatsumi, went on to become a professor of American Literature at Keio University, a prestigious private university in Tokyo. She was the first science fiction writer Tatsumi had met and by all accounts made a lasting impression. 

    Princess Fukuko Asaka, who lost her official title in 1947 during the post-war occupation of Japan by Allied Forces, published numerous fantasy and science fiction stories throughout the late 1960s and also produced comic strips. 

    Her work features cyborgs and immortal imperial consorts, and she reportedly empathised with Native Americans, whose position in their country, like her own in Japan, had changed after the arrival of people from afar. She was a vocal champion of their rights and the rights of  others threatened with extinction. 

    According to literary critics and academics, this disinherited noblewoman was a pioneer of both Postmodernism and Science Fiction in Japan, and managed to reinvented herself as an author while also helping to lay the ground for others, especially women writers, and writers of new genres like Japanese Cyberpunk that has subsequently flourished in Japan.

    In the 1960s a member of the Japanese Imperial Family started moonlighting as a science fiction author Posted by Richard Nathan
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    • Women Writers

    In the late 1880s a series of articles appeared in the Japanese media about ‘Dangerous Books’ for women[UPDATED: 3-1-2023]

    In the late 1880s much was changing in Japan. It was Meiji era (1868-1912) Japan, when the nation was experiencing a period of rapid modernisation and opening up to the West. Foreign visitors to Japan were increasing in number, foreign books and ideas were arriving in Japan and Japan’s first modern novel, The Drifting Cloud by Futabatei Shimei (1864-1909) had been penned.

    Perhaps it is not surprising given this climate and the growing concern that some had about the new direction Japan was heading that articles started appearing about the dangers of fiction and especially novels read by Japanese women.

    A series of articles appeared, mostly written by men, in the press between 1889 and 1890 about the problems of women reading novels and the danger that novels posed for women and the health of the nation.

    The concerns raised were not just about books, but also about the new literary freedom that women were experiencing, about the choice of their reading matter, and also their new ability to publish and write for new publications such as Jogaku Zassshi, the Women’s Education Journal, a magazine launched in 1885 by Yoshiharu Iwamoto (1863-1942) a famous Meiji era advocate for women’s education.

    Books and often ones imported from the West were also starting to become the ultimate ‘must-clutch’ fashion accessories for young women and schoolgirls in a visible outward public expression of these new freedoms.

    There were concerns not just about new and imported publications, but also about the classics, even The Tale of Genji, which had been required reading for over a thousand years for Japanese aristocratic women. Commentators were worried about the temperaments of the female characters and the lusty content.

    Examples of titles of the type of articles that appeared include: Advantages and Disadvantages of Young Women Reading Novels, Young Women And Novels, Problems of Girls Education by Novels, and Behaviour and Morality.

    Some of the concerns raised were: that if girls wasted their lives and energy reading novels they would not be able to live a normal married life; that novels portrayed unreasonable expectations and misguided hopes; that reading would increase divorce rates as fictional men and real husbands differed.

    In a general sense many of the concerns voiced in the 1880s are similar to the ones raised today about the danger of social media, the Internet, and video games. Perhaps they were the click bait of their era designed to help sell magazines and newspapers with their growing female readerships. Even today, the Japanese media enjoy covering scandals and scare stories about the shocking behaviour of high school and university age girls.

    These concerns were, however, also being raised at a similar time to when Western travellers to Japan, such as the British travel writer Isabella L. Bird (1831-1904), were writing about their observations of Japan, with its dangerous corrupting and popular crime fiction, and lack of religious books, as well as their thoughts about the role of women in Japanese society.

    These early Japan commentators often looked back at moral codes, such as the Japanese Code of Morals for Women first published in Japan during the Tokugawa period (1603-1868), as well as reading matter and attitudes, that were rapidly becoming outdated. It is no easy task, but these early Japan watchers and commentators were probably less well attuned to the new real currents within a changing Japanese society, and the complex nuances of a large island nation, than they knew or would perhaps interest their readers who were reading about Japan for the first time.

    However, there was no stopping these trendsetting Japanese women, and the momentum they generated for women reading and writing has not ceased since. This was actually in fact nothing new as aristocratic women had been reading and writing highly creatively for a very long time in Japan.

    That said, in 1903, twenty years after these articles started appearing in the press worrying about whether Japanese women would remain ryosai kenbo, good wife wise mother, as per the popular term coined in the Meiji era about what was expected of women, the first Western-style magazine specifically targeting women was launched. 36 years after the first Western-style magazine was launched in Japan.

    This launch of a commercial magazine targeting Japanese women was followed by another groundbreaking launch by five pioneering feminists of a magazine called Seito, Blue Stocking in 1911 that shocked the nation and had issues banned on occasion as they apparently posed a danger to the nation. It covered topics such as prostitution, abortion, women’ suffrage (something they got, universally, approved in 1945) and poverty.

    In the late 1880s a series of articles appeared in the Japanese media about ‘Dangerous Books’ for women Posted by Richard Nathan
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    • Women Writers

    Winning the 1987 Japan Mystery Writers Association Prize put Miyuki Miyabe on the literary map triggering a boom in female crime writing in Japan[UPDATED: 9-20-2021]

    Miyuki Miyabe’s short story Warera no rinjin wa hannin (Our Neighbour is a Criminal) won the 1987 Japan Mystery Writers Association Prize, announcing her arrival as a writer in Japan. 

    Her success, especially her 1992 novel Kasha (All She Was Worth) about loan sharks, debt and the risks of a cashless society, as well as the success of similar books written by non-Japanese female authors published in translation in Japan encouraged a new generation of Japanese women to try their hand at the genre. 

    Some went on to enjoy major success and something of a publishing boom developed in Miyabe’s wake. Such authors as Natsuo Karino and Kaoru Takamura whose profiles are now growing outside Japan. 

    Karino’s prize-winning 1997 novel Out (アウト) has been described as a “dark, feminist, horror and probably not like anything you’ve read”. The book is about a group of women working together at a factory who find themselves coming together to cover up a murder, but not everyone “handles the guilt well”. Other notable and successful Japanese female crime fiction authors include: Asa Nonami and Yoshiki Shibata. 

    Interestingly, crime fiction written in the 90s by women in the US and the UK also saw a similar surge in popularity. 

    Though there have always been female writers of whodunits finding success in translation; Agatha Christie (1890-1976) being perhaps the best known, Japanese media has tended to play up the authors’ gender to promote the books by using titles like the crime fiction “Queen”, or “Princess”, or some such moniker. 

    As the trend evolved and gained momentum, names of strong female characters started appearing in the narratives themselves and not just on the covers of the books. Books like Out would feature female detectives and criminals, as well as dark, grisly stories whose narratives included violence done by and to women. 

    As their writing careers have progressed some of these Japanese authors have followed Miyabe’s example by branching out into other genres including science fiction and historical fiction. 

    The phenomena, like other Japanese popular culture trends, has even created an opportunity for academic study with the publication of such papers as Woman uncovered: pornography and power in the detective fiction of Kirino Natsuo; and monographs such as Bodies of Evidence: Women Society, and Detective Fiction in 1990s Japan.
    Winning the 1987 Japan Mystery Writers Association Prize put Miyuki Miyabe on the literary map triggering a boom in female crime writing in Japan Posted by Richard Nathan
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    • Women Writers

    Banana Yoshimoto chose the pen name banana as it was gender neutral[UPDATED: 8-20-2021]

    Banana Yoshimoto, one of the most internationally recognised contemporary female Japanese writers established her career in 1988 with her debut novel Kitchen, which was nominated for various prizes, instantly putting her on Japan’s literary map. She wrote the novel while working as a waitress in a golf club. 

    She chose her pen name while at college before graduation choosing banana to replace her given name Mahoko as she liked banana flowers, which flourish deep within the stems of banana plants, and because she thought the name was memorable, “cute”, and  “purposefully androgynous.” 

    She comes from a very creative family. Her father Takaaki Yoshimoto (1924-2012) was a well-known poet and literary critic, her mother Kazuko (1927-2012) a haiku poet and her sister, Yoiko Haruno, is a well-known cartoonist.
    Banana Yoshimoto chose the pen name banana as it was gender neutral Posted by Richard Nathan
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    • Women Writers

    In 1964, the year of the first Tokyo Olympics, three important Japanese novels were published, one of which helped lead to a Nobel Prize, and a very exciting new author was born[UPDATED: 8-9-2021]

    In 1964, Yasunari Kawabata (1899-1972), Japan’s first winner of the Nobel Prize in Literature (he won in 1968), published Beauty and Sadness and four years later went on to win the Nobel Prize in Literature.

    Beauty and Sadness is an elegiac and provocative novel that cleverly blends tradition and modernity, as well as age and youth, in its subtle narrative.

    The same year, Japan’s first Olympic year, Kenzaburo Oe published A Personal Matter, which was cited by the Nobel prize committee in 1994 when he became the second Japanese author to win the Nobel Prize in Literature.

    In 1964, four Japanese authors were amongst the 76 candidates nominated for the Nobel Prize in Literature; Junichiro Tanizaki (1886-1965), Kawabata, Yukio Mishima (1925-1970) and Junzaburo Nishiwaki (1894-1982).

    None of them won. But in the media frenzy leading up to the official announcement by the Nobel Committee the French news agency L’Agence-France-Presse (AFP) announced in error that Junichiro Tanizaki had won.

    Jean-Paul Sartre (1905-1980) was the actual winner and sadly Tanizaki died the following year in July, a few months before the 1965 prize-winner was announced.

    Other notable publishing highlights in 1964, a year with many, included the publication of a third important Japanese novel, The Face of Another, by Kobo Abe (1924-1993), which quickly became a classic.

    The Face of Another describes modern Japan and the danger of unregulated technology, but is mostly a narrative about identity and relationships.

    The novel is about a plastics scientist who loses his face in an accident and makes a new one for himself. This act besides changing his own perspective, also affects his relationships with others – including his wife, who he manages to seduce. 

    Banana Yoshimoto, who is probably now Japan’s best-known female writer internationally was born in 1964, making Japan’s first Olympic year a rather special milestone year for Japanese creative writing, literature and publishing; not to mention sport.

    Yoshimoto’s first book, Kitchen, also considered a modern classic, was published 24 years after the Tokyo Olympics in 1988. It is a mesmerizing and elegantly written novel about an orphan who is taken in by her friend and her transgender mother. 

    Kitchen is now sometimes cited as a pioneering example of LGBT related publishing in Japan.

    In 1964, the year of the first Tokyo Olympics, three important Japanese novels were published, one of which helped lead to a Nobel Prize, and a very exciting new author was born Posted by Richard Nathan
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    • Women Writers

    Only one author, Yoriko Shono, has won Japan’s Triple Crown of literary prizes to date[UPDATED: 4-17-2019]

    The so-called Triple Crown of Japanese literary prizes for new authors consists of the Akutagawa Prize, the Yukio Mishima Prize and the Noma Prize.

    Yoriko Shono, author of Time Slip Kombinat, who describes her style of writing as ‘avant-pop’, is the only author to-date to have achieved the Triple Crown by being awarded all three prizes. 

    A common theme of her work is ‘cyborg-identity’ a narrative that alongside more traditional robot fiction has a long history in Japan and has been used in cyborg feminists novels, and subversive fiction to, for example, ridicule and question society.
    Only one author, Yoriko Shono, has won Japan’s Triple Crown of literary prizes to date Posted by Richard Nathan
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    • Women Writers

    Three books written by English speaking non-Japanese female writers have had a massive impact on creative writing in Japan[UPDATED: 3-11-2018]

    According to industry experts and academics, the three most important books in Japanese publishing history written by non-Japanese women are: Wuthering Heights, by Emily Bronte; Anne of Green Gables, by LM Montgomery and JK Rowling’s Harry Potter series. 

    After a false start in Japan’s Meiji Period (1868-1912), the Brontes’ complete works including Jane Eyre, by Emily’s sister Charlotte, and Wuthering Heights were published in translation in the 1930s in Japan. Anne of Green Gables, was published in Japanese, as Anne of Red Hair, after the Second World War. 

    Anne’s literary ambitions, strong willed personality, and optimism struck a chord; as did the fact that, like many in post-war Japan, she was an orphan. 

    These books have led to Japanese spin-offs and adaptations, including manga and anime. And as has been the case outside Japan, have inspired new generations of authors and creative writers. For example, Takeo Kono (1926-2015), who won almost all of Japan’s major literature prizes; and Yuko Tsushima (1947-2016), author of Pregnant with a Fox, were both influenced by Emily and her sisters. 

    The Canadian novelist Margaret Atwood is a fan of Anne of Green Gables and wrote on the hundredth anniversary of its publication about the importance of the book, its impact on Japan and how the bestselling manga Sailor Moon is its descendant. 

    It is, however, still far too early to known how JK Rowling and Hermione Granger and her friends will inspire the next generation of creative writers in Japan, following the amazing success of the Harry Potter books and films in Japan.
    Three books written by English speaking non-Japanese female writers have had a massive impact on creative writing in Japan Posted by Richard Nathan
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    • Women Writers

    The Long Winter, the sixth book in the Little House series, was the first book approved for translation and publication in Japan after World War II[UPDATED: 3-5-2018]

    During the American occupation of Japan, after the Second World War (1945-1952), all publications were reviewed by General Douglas MacArthur’s team at GHQ (General Headquarters). MacArthur, the Supreme Commander for the Allied Powers (SCAP), recommended The Long Winter, the sixth book in Laura Ingalls Wilder’s series for publication. It was published in 1949, under the title Nagai Fuyu by Kosumoporitan-sha (Cosmopolitan Publishing) translated by Aya Ishida. 

    Nagai Fuyu is generally cited as the first translated book to be granted permission for publication by SCAP. During the war the publication, distribution and reading of books in English were prohibited in Japan and more than a thousand books were banned or censored. 

    The Long Winter is about the Ingalls family in the Little House series surviving being snowed in with limited food supplies during a long eight-month winter. The Long Winter was apparently chosen to aid “democratization” and to “buoy the morale of a defeated and starving people”. 

    One of the stated strategic goals of the occupation was “to build a future for the people of Japan based upon considerations of realism and justice” and “to infuse into the hearts and minds of the Japanese people principles of liberty and right heretofore unknown to them.” 

    Learning about American values and America was part of this. GHQ actively encouraged the book’s distribution to public, and school libraries across Japan. German translations were published in a similar effort. 

    Laura Ingalls Wilder wrote a special message, dated 8 July 1948, to the children of Japan, which appeared in the book. It ran as follows: “things of real value do not change with the passing of years nor in going from one country to another.  These I am sure you have.  It is always best to be honest and truthful, to make the most of what we have, to be happy with simple pleasures, to be cheerful in adversity and have courage in danger”. The book was very popular. 

    In 1975, a Japanese anime version of the series was launched under the title: Sogen no sojo Laura (Laura the Prairie Girl). And like many other countries around the world the television series Little House on the Prairie, based on the third book in the series, was broadcast in Japan from 1975-1982. The books were originally written during the Great Depression with the first in the series published in 1932.
    The Long Winter, the sixth book in the Little House series, was the first book approved for translation and publication in Japan after World War II Posted by Richard Nathan