Factbook

A Dynamic Compendium of Interesting Japanese Literary and Publishing Facts
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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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    In the 1960s a member of the Japanese Imperial Family started moonlighting as a science fiction author[UPDATED: 3-4-2019]

    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 great 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

    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

    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: 3-5-2018]

    Miyuki Miyabe’s short story Warera no rinjin was 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

    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
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    • Women Writers

    Banana Yoshimoto chose the pen name banana as it was gender neutral[UPDATED: 2-22-2018]

    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 and thought the name was memorable, “cute”, and  “purposefully androgynous.” 

    She comes from a very creative family. Her father Taaki Yoshimoto (1924-2012) was a well-known poet and literary critic and her sister 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

    Japan’s first western-style fashion magazine was launched in 1936 by a controversial female novelist[UPDATED: 2-21-2018]

    Chiyo Uno (1897-1996), a novelist whose breakthrough work was Iro-zange, Confessions of Love, launched Japan’s first western-style fashion magazine, Sutairu, Style, in 1936. 

    Uno’s most highly regarded literary work is her novella Ohan (1957) published in English as Ohan in the collection of short-stories: The Old Woman, the Wife, and the Archer, translated by Donald Keane and published by Viking Press in 1961. 

    Uno, like many of the individuals in Japan who were publishing pioneers and launched magazines, was a high profile and charismatic individual so much so that The New York Times published an obituary on her shortly after her death in 1996 with the title: Chiyo Uno, 98, Writer Whose Loves Shook Japan.
    Japan’s first western-style fashion magazine was launched in 1936 by a controversial female novelist Posted by Richard Nathan
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    • Women Writers

    Japan’s oldest novel and perhaps even the world’s oldest is The Tale of Genji[UPDATED: 2-12-2018]

    The Tale of Genji written by Murasaki Shikibu, in 1010, during Japan’s Heian Period (794-1185) is said to be Japan’s oldest novel and perhaps even the world’s oldest novel, if a novel is defined as prose narrative of significant length.

    However, there were also many poets and writers during this period and earlier including many notable women who wrote autobiographical narratives in diaries, memoirs and poetic writings and essays such as the Pillow Book by Sei Shonagon.

    Fragments from the original scroll The Tale of Genji was written on have survived and are preserved at two Japanese museums.
    Japan’s oldest novel and perhaps even the world’s oldest is The Tale of Genji Posted by Richard Nathan