photo: Kenta Yoshizawa

Fuminori Nakamura

The most exciting thriller and crime writer of his generation in Japan whose fast-paced narratives hypnotically blend psychological suspense with literary fiction.
“I’m bursting with story ideas. It’s not a talent, it’s more like a disease.”
It is not surprising that Fuminori Nakamura has been dubbed the wunderkind of Japanese literature. He burst onto the Japanese literary scene with his critically acclaimed debut novel Ju (The Gun) in 2002 and within three years had won three of Japan’s major literary awards (the Shincho, Noma, and Akutagawa Prizes). He has gone on to be nominated for and win many more prizes. The Ōe Kenzaburō Prize, named after the Nobel Prize winner, for instance, which led two years later to the publication of his first novel in English, The Thief, by Soho Crime.

He won his first international prize in 2014, the NoireCon’s David Goodis Award, named after the American crime fiction writer, who exemplified the noire fiction genre. Nakamura is known outside Japan mostly as a crime writer who pens broody, dark, existential thrillers. This reflects the narratives of his five novels that have been published in English, one, The Thief, was selected by The Wall Street Journal for its list of the 10 best books published in 2012.  He has published more than 13 novels in Japanese, three collections of short stories, and has also written serialized fiction for several leading Japanese newspapers.
“Nakamura, whose strategically withholding approach to filling in blanks invites conspiracy-minded readers to append whatever paranoid fantasies about government they happen to be dragging about on any given day,” The New York Times.
  • October 20, 2023
    Earlier this month Kodansha, one of Japan’s largest and most prestigious publishers, released The Line, Retsu, a provocative new novel by the award-winning Fuminori Nakamura… Read more »
  • March 4, 2022
    ‘From the first sentence—“Turn this page, and you may forfeit your entire life”—Nakamura plays tricks on the reader, the narrator, and even the notion of… Read more »
  • September 10, 2021
    The mysterious and magical effect of cats is widely celebrated. Cats entertain, evoke stress-reducing emotional responses, constantly and often counter-intuitively amuse, and cats – of… Read more »
  • June 3, 2021
    According to The Guinness Book of Records, Eiichiro Oda’s One Piece sold 320,866,000 units worldwide between its launch in 1997 and 2015 when it was first listed by Guinness as a record breaking series. One Piece, which is an on-going series that still tops the… Read more »
  • May 18, 2021
    Earlier this month Asahi Shimbun Shuppan, a Japanese publisher linked to one of Japan’s most prestigious national newspapers, launched a tanko-bon, hardback, edition of The Card Shark (Kaado-shi), by… Read more »
  • Fuminori Nakamura

Fuminori Nakamura was born in 1977 in Aichi, Japan’s fourth largest prefecture, whose capital city is Nagoya. Nakamura started reading seriously and widely at high school, as an escape from student life. When he read the classics written, for instance, by Fyodor Dostoyevsky (1821-1881), Franz Kafka (1883-1924), Osamu Dazai (1909-1948), Albert Camus (1913-1960), Kobo Abe (1924-1993), Yukio Mishima (1925-1970) and Kenzaburō Ōe, the only living and one of only two Japanese winners of the Nobel Prize in Literature. Nakamura wanted nothing more than to follow their example and become a writer.

So after graduating from Fukushima University, a well-regarded national university, in 2000, where he studied sociology, he moved to Tokyo to pursue his long held dream.

The Gun, published in English by Soho Crime, 2016.

He initially supported himself by doing various part-time jobs before making his publishing debut two years later with his critically acclaimed novella Ju (The Gun), which won the Shinchō Literary Prize for New Writers.

Two years later his second novel Shakō (Shield Me from the Light) won the Noma Literary Prize. In 2005, he won the Akutagawa Prize for his novella Tsuchi no naka no kodomo (Child in the Ground), which was his third piece of writing to be nominated for the prestigious prize. He soon picked up the moniker “the wunderkind” of Japanese literature, as he was just 27 when he won the prize.

In 2010, his novel Suri (The Thief) won the Kenzaburo Oe Prize, named after the Nobel Prize winner who personally selects the winning title. There is no cash prize for the winning author, but the winning title is translated into English, French and German.

The Thief thus became his first novel to be translated into English and was published by Soho Crime, based in New York, in 2012.

  • Nakamura gained international attention rapidly, winning his first literary prize outside Japan in 2014

International recognition came quickly. The Thief was a finalist for the Los Angeles Times Book Prize, and was and selected by the Wall Street Journal as one of the 10 best books published in 2012. Nakamura won his first non-Japanese literary award, two years later in 2014: the NoirCon’s David L. Goodis Award, named after the American crime fiction writer, who epitomized the noir fiction genre.

Soho Crime followed up on his successful first book in English by publishing; Evil And The Mask in 2013 (Aku to kamen no ruru), a tale of retribution targeting a boy raised to be “a cancer on the world” and Last Winter, We Parted (Kyonen no fuyu, kimi to wakare) in 2014, in which an aspiring writer interviews a convict on death row for murder and subsequently discovers a tangled group of individuals all connected through a craftsman of full-sized silicon sex dolls. The book follows a long Japanese tradition of using dolls as a narrative device to question our concept of reality and individuality.

Japanese film poster for Hee (Fire) released in 2016.

His novels, often described as edgy and innovative, have been published widely in translation including in French, German, Chinese, Spanish and English. His work has also been successfully adapted for film and television.

The short story Hee (Fire), for example, was adapted and released as a film in 2016. It was directed by and stared Kaori Momi, who has won more awards than any other Japanese actress. The film was previewed at the Berlin Film Festival.

Nakamura is known outside Japan mostly as a crime writer who pens edgy, dark, existential thrillers. This reflects the narratives of his five novels that have been published in English. He and his work, as is the case with many new writers, building a reputation rapidly, are in fact much harder to pigeonhole.

He is on record saying: “as for how I describe what I write about, my novels are about the depths of the human heart – specifically, its darker side”. He also says he doesn’t mind how his books are labeled or defined – they have been referred to as literary fiction, mystery and crime – if people are reading them he is happy no matter their definition.

His favorite author is Dostoyevsky, and he still has great respect for the authors he read as a high school student, when he was growing up in Aichi Prefecture. He has published more than 13 novels in Japanese, three collections of short stories, and written serialised fiction for several leading Japanese national newspapers.

  • Fuminori Nakamura

Fuminori Nakamura was born in 1977 in Aichi, Japan, whose capital city Nagoya is known for its medieval castle built between 1610-1619. Japan’s three best known samurai warlords Oda Nobunaga, Hideyoshi Toyotomi and Ieyasu Tokugawa, who collaborated and competed sometimes brutally in their epic struggle to unify Japan, were based there.

He has been an avid reader since he was at high school and before he went to Fukushima University, one of Japan’s prestigious national universities founded in 1946, where he studied sociology. He found life at high school hard and solitary.

His only escape was reading. One book that resonated, that he particularly enjoyed at the time, was No Longer Human (Ningen shikkaku), by Osamu Dazai (1909-1948), an author who seems to fascinate many of Japan’s successful contemporary writers. He found echoes of himself in the story of a reclusive young man who feels “disqualified from being human” but finds solace in literature. After graduating university he moved to Tokyo and took several part-time jobs to support himself until he made his highly successful literary debut in 2002.

  • Japanese Editions
  • Retsu (The Line), 2023
  • Jiyū taidan (Free Exchange), 2022
  • Ka-do shi (The Card Shark), 2021
  • Ka-do shi (The Card Shark), 2023[Bunko]
  • Toubousha (The Fugitive), 2020
  • Jiyū shikō (Freethinking), 2019
  • Sono saki no michini kieru (Vanishes On the Road Ahead), 2018
  • Sono saki no michini kieru (Vanishes On the Road Ahead), 2021[Bunko]
  • R teikoku (R Empire), 2017
  • R teikoku (R Empire), 2020[Bunko]
  • Watashi no shoumetsu (My Annihilation), 2016
    Prize-winningPrix des Deux Magots Bunkamura Prize
  • Watashi no shoumetsu (My Annihilation), 2019[Bunko]
  • Kyonen no fuyu, kimi to wakare (Last Winter, We Parted), 2013
    Adapted for Film/TV
  • Kyonen no fuyu, kimi to wakare (Last Winter, We Parted), 2016[Bunko]
  • Meikyu (The Labyrinth), 2012
  • Meikyu (The Labyrinth), 2015[Bunko]
  • Okoku (The Kingdom), 2011
  • Okoku (The Kingdom), 2015[Bunko]
  • Aku to kamen no ruuru (Evil and the Mask), 2010
    Adapted for Film/TV
  • Aku to kamen no ruuru (Evil and the Mask), 2013[Bunko]
  • Suri[suri] (The Thief), 2009
    Prize-winningŌoe Kenzaburō Prize
  • Suri[suri] (The Thief), 2013[Bunko]
  • Sekai no hate (The Edge of the World), 2009
  • Sekai no hate (The Edge of the World), 2013[Bunko]
  • Nani mo ka mo yuutsuna yoru ni (One Melancholy Night), 2009
  • Nani mo ka mo yuutsuna yoru ni (One Melancholy Night), 2012[Bunko]
  • Saigo no inochi (Final Life), 2007
    Adapted for Film/TV
  • Saigo no inochi (Final Life), 2010[Bunko]
  • Tsuchi no naka no kodomo (The Boy in the Earth), 2005
    Prize-winningAkutagawa Ryūnosuke Prize
  • Tsuchi no naka no kodomo (The Boy in the Earth), 2007[Bunko]
  • Akui no shuki (A Note of Malice), 2005
  • Akui no shuki (A Note of Malice), 2013[Bunko]
  • Shakou (Shield Me from the Light), 2004
    Prize-winningNoma Bungei Shinjin Prize
  • Shakou (Shield Me from the Light), 2010[Bunko]
  • Juu(The Gun), 2003
    Prize-winningShinchō Shinjin Prize
    Adapted for Film/TV
  • Juu(The Gun), 2006[Bunko]
  • Juu(The Gun), 2012[Bunko]
  • Anata ga kieta yoru ni (The Night You Disappeared), 2015
  • Anata ga kieta yoru ni (The Night You Disappeared), 2018[Bunko]
  • Kyoudan X (Cult X), 2014
  • Kyoudan X (Cult X), 2017[Bunko]
  • Ei (A), 2014
  • Madoi no mori: 50 sutooriizu (The Woods of a Delusion: 50 Stories), 2012
  • Madoi no mori (The Woods of a Delusion), 2018[Bunko]
  • Sakka no koufuku (A Writer’s Mouthful), 2011Multi-Author Title [Bunko]
  • Kitsuenshitsu (The Smoking Room), 2007Multi-Author Title
  • Dokusha toiu taiken (The Experience of Reading), 2007Multi-Author Title [Bunko]
  • Sora wo tobu koi (The Love in the Air), 2006Multi-Author Title [Bunko]
  • +
  • English Editions
  • The Rope ArtistThe Rope Artist, 2023
  • My AnnihilationMy Annihilation, 2022
  • Cult X, 2018
  • Cult X, 2019[Paperback]
  • The Thief (Deluxe Edition), 2022[Paperback]
  • The Thief, 2012
  • The Thief, 2013[Paperback]
  • The Boy in the Earth, 2017
  • The Boy in the Earth, 2018[Paperback]
  • The Gun, 2016
  • The Gun, 2017[Paperback]
  • The Kingdom, 2016
  • The Kingdom, 2017[Paperback]
  • Last Winter, We Parted, 2014
  • Last Winter, We Parted, 2015[Paperback]
  • Evil and the Mask, 2013
    Prize-nomineeBram Stoker Award nominee
  • Evil and the Mask, 2014[Paperback]
  • +
  • Other Editions
  • Der Revolver (The Gun), 2019German Edition
  • Die Maske (Evil and the Mask), 2018German Edition
  • Der Dieb (The Thief), 2015German Edition
  • Der Dieb (The Thief), 2017German Edition [Paperback]
  • Tokyo noir (The Thief), 2015Italian Edition [Paperback]
  • Pickpocket (The Thief), 2013French Edition [Paperback]
  • L'hiver dernier, je me suis séparé de toi (Last Winter, We Parted), 2017French Edition [Paperback]
  • Revolver (The Gun), 2015French Edition [Paperback]
  • En una noche de melancolía (One Melancholy Night), 2014Spanish Edition [Paperback]
  • El ladrón (The Thief), 2013Spanish Edition [Paperback]
  • Şeytan ve Maske (Evil and the Mask), 2019Turkish Edition [Paperback]
  • Hirsiz (The Thief), 2017Turkish Edition [Paperback]
  • Kieszonkowiec (The Thief), 2020Polish Edition [Paperback]
  • Dziecko z ziemi (The Boy in the Earth), 2018Polish Edition [Paperback]
  • Anata ga kieta yoru ni (The Night You Disappeared), 2019Chinese Edition [Paperback]
  • Kyoudan X (Cult X), 2016Taiwanese Edition [Paperback]
  • Okoku (The Kingdom), 2013Taiwanese Edition [Paperback]
  • Aku to kamen no ruuru (Evil and the Mask), 2013Taiwanese Edition
  • Juu (The Gun), 2012Taiwanese Edition [Paperback]
  • Suri (The Thief), 2011Taiwanese Edition [Paperback]
  • Tsuchi no naka no kodomo (The Boy in the Earth), 2006Taiwanese Edition
  • Suri (The Thief), 2015Thai Edition [Paperback]
  • Okoku (The Kingdom), 2020Thai Edition [Paperback]
  • Tsuchi no naka no kodomo (The Boy in the Earth), 2021Thai Edition [Paperback]
  • Kyonen no fuyu, kimi to wakare (Last Winter, We Parted), 2018Thai Edition [Paperback]
  • Suri (The Thief), 2017Vietnamese Edition [Paperback]
  • Suri (The Thief), 2017Armenian Edition [Paperback]
  • Suri (The Thief), 2010Korean Edition [Bunko]
  • Aku to kamen no ruuru (Evil and the Mask), 2011Korean Edition
  • Okoku (The Kingdom), 2013Korean Edition
  • Meikyu (The Labyrinth), 2015Korean Edition [Paperback]
  • Kyoudan X (Cult X), 2017Korean Edition
  • Nani mo ka mo yuutsuna yoru ni (One Melancholy Night), 2009Korean Edition [Bunko]
  • +
The titles above are a selection of Fuminori Nakamura's works. A full list of his publications can be downloaded here as a PDF file.
  • Prize-winningPrize-winning
  • Prize nomineePrize nominee
  • Adapted for Film/TVAdapted for Film/TV
  • In Japan there are two major book formats tanko-bon (Tanko) and bunko-bon (Bunko). See Factbook for explanation. The smaller images above are of the Bunko Editions, small-format paperbacks.
  • Readers:
Do you write with a specific reader in mind or do you write for yourself?

If I think about this deeply, it is not that I am writing with someone in mind. I write what I want to write. That is the first principle. Generally, this is based on the issues, questions and topics I am thinking about at any given time.

What is the most interesting question that you have been asked by one of your readers?

Once I was asked a question which had nothing to do with my work. I was asked what type of women I like. It was an odd question. A woman posed it and it is probably one of the most unusual questions I have been asked. At that time, I didn’t want to give a physical attribute, so as a joke, I just said someone who wears black stockings. Everyone laughed. I was in South Korea at the time. My reply was a joke, which was luckily very well received.

Do you ever look at comments on websites made by your Readers? And if so, is there any particular ones you recall?

I don’t read comments but sometimes my editor shares interesting comments with me. None in particular spring to mind, but if someone writes that they read it in ‘one-sitting’ or ‘one-go’, I am happy. I try to write so that the reader will become totally immersed in the story. And if they write that, it means that I have been successful.

  • Books:
Which of your books would you recommend reading first?

For international readers I would say that it is The Thief. In Japan I am best known for Cult X. If you look at the figures it is my bestselling title. It has sold more than half a million copies.
However, the truth is that the book I really want people to read most is my latest one. My latest work is always the one I like best. But the one that is probably the easiest to start with is, I think, The Thief.

How would you describe The Thief or Cult X to someone who has not read any of your novels?

The Thief is about a pickpocket. It is, I think, an unusual story as not many have been written about pickpockets. It is about life and whether fate is determined or not; and you can enjoy these themes as you read it. And also get a sense of the heightened-anxiety associated with committing a crime, the anxiety of a pickpocket.
Cult X is a much larger work and theme questioning the world we live in. And revolves around cults in Japan. It is about a Japanese Buddhism-based religious sex-cult. A Cult that blends all these aspects together. I think people will find it very interesting.

Have any of your books or works been adapted for TV or film?

Five of my books have been made into films. They have all turned out well and I am pleased with all of them. If I am concerned about how they might be adapted or turn out, I wouldn’t give the go ahead.

The five are: Final Life; Fire; Evil and the Mask; Last Winter, We Parted; and The Gun. In the order of their release. And there are others, which are under discussion, that I can’t talk about yet.

Do you have any favourite book covers?

I have been writing for 16 years now and am in the good position of being able to have money spent on the covers. It is something that I can now really enjoy. For a number of years I have been in the position to be able to ask for the people I want to work on my covers and I have chosen artists and illustrators, carefully.

For my latest one, Vanishes On the Road Ahead, I asked Hajime Kinoko, an internationally renowned Japanese rope-artist who is also a Kinbakushi (a Japanese bondage rope-master), to create an original image for the book’s cover. I was really pleased I could do this. He has won international prizes and people may have seen or be familiar with his work.

How do you come up with the titles for your works? Does the title or the narrative come first?

The theme comes first. The theme comes from within me, and the protagonists generally come from part of me. Based on the theme, I try to think about a suitable narrative that matches the theme.

With The Thief many aspects came together. Initially, I was interested in the association between anxiety and the act of committing a crime, and overcoming the fear to commit a criminal act, crossing this line. As I was writing, I thought about the pickpocket’s thieving fingers and how far they’d go before becoming overwhelmed by anxiety. I also thought about the relationship between god and man. It is not god, but man that can actually decide man’s fate. These were the concepts I was interested in, as well as the feeling of being on the margins of society, which is something I have personally felt in the past. It was the combination of these three things that led to that narrative.

How I decide on a title depends on each book. Sometimes it is clear right from the start and I know what the title is and sometimes I can’t decide until I have finished. With Cult X I decided very quickly.

The titles of my works are either short or long. One of these two extremes, never in-between. I think that is the case for my books that have been published in English translation as well.

How long did it take for you to get your debut title published?

I decided in my third year at university that I wanted to become a novelist. That is when I started writing. After graduating I spent two years doing part-time jobs. After two years I submitted what I had been working on to a competition (the Shincho Literary Prize for New Writers), which I won about one year later. This was my debut work The Gun.

  • Writing:
How much of what you write about in your novels is based on personal experience and real situations?

Yes, what I write is often close to my own experiences and personality. Sometimes what I write is exactly what I have experienced and other times I develop it or re-write it, but often what I write is close to things that have actually happened.

Where do you look for inspiration and how do you come up with plot ideas?

My ideas come suddenly. But they often come while I am writing something. The idea for the next novel often comes to me while I am writing a novel. It is almost like the baton in a relay race. While I am writing I get an idea but decide it is for another novel, and I write the idea down in a different notebook. It is like a relay.

Why do you write?

When you start writing novels it becomes an addiction. Once you have written one I don’t think you can stop. It is not that I can’t relax until I have completed something I am working on. It’s more that if I am not writing, I am not calm or settled. I am generally working on two pieces at the same time in parallel.

I am always working on something and it is not the case that once I have completed something I don’t have anything new to work on. I have lots of commissions and requests stacked-up for years ahead. And it has been like this for more than a decade and there hasn’t been a day when I could just think of nothing. It is not good for my health. Even when I am travelling overseas I have to work on serialisations that are in-progress and still running.

How long does it take you to write a novel or a short story?

A full-length novel takes me about a year to write. But a long work, like Cult X, takes about two and a half years. As for short stories they often take time as well, more than one might expect. It is probably not reflected in the number of pages.

Where do you write? How do you make yourself comfortable when you write and how long is a typical writing session?

When I write I am ‘canned’ in a hotel. That is where I write. I change hotels to change my mood. I stay in one hotel where I focus on a manuscript I am working on. I then go home. After which I head off to another hotel where I will work on a different manuscript. This is my general approach.

For me the most important thing, the best environment for me, is one where I can avoid noise. I need a quiet place to write. If it is noisy I can’t write.

Also if there is an orange coloured light, for some reason I can relax and write easily. I have an orange light at home but generally a hotel is quieter, which allows me to focus. When I am focused I concentrate so deeply that I have almost no memory of time or the place where I am writing. Without noticing, a few hours can go by and I will have written a significant amount. I then take a break and then start writing again. I write, go for a walk, and then start writing again.

When I am working on a novel I find it best to walk in a noisy crowded place. It can be stimulating and walking in a place like Ikebukuro works well for that. When I get stuck on a section and am not sure how to express what I want to write I think about it and go over it in my head as I walk. But that is not always the case. Sometimes I just walk and think about nothing.

How would you describe your style of writing?

What I write is jun-bungaku, pure literature or literary fiction. But within this genre of jun-bungaku I include aspects of crime fiction and mystery writing.
Sometimes I write immediately using my computer. But often I start writing in a notebook when I am in café. I write my ideas down and then later input them into my computer. That is what happens most often. I then print everything out, and re-read what I have written, annotate it, and then rework the text on the computer. This is a process that I repeat.

Have you ever studied or taken a course in creative writing?

No, I haven’t.

Do you prefer writing novels or short stories?

I like both.

Have you ever written a screenplay?

That is actually something I am working on right now. A spin-off from a film adaptation of one of my books.
But with the film adaption of The Gun, which has just been released, I was commissioned to write one scene specifically for the film. Now thinking back at it, the film is better for having this additional scene. I thought it was necessary for the film and that is why I wrote the dialogue for the scene.

What stops you from being able to write?

I haven’t experienced writer’s block. There haven’t really been any periods when I didn’t want to write. However, when I am overseas attending an event I try to soak-up the atmosphere and experience where I am and therefore try to avoid writing as far as possible.

  • Reading:
Do you still enjoy reading? And how often do you find time to read?

I still enjoy reading, of course. I do read for my work, but mostly I read books I want to read. I am currently re-reading Shusaku Endo’s novel Silence. The novel I am working on features ‘hidden-Christians’. I had already read the novel but wanted to read it again. I have also visited Nagasaki to research my latest book.

Which author and book have influenced you the most?

Dostoevsky. My favourite, is his book, The Brothers Karamazov.

Who is your favourite fictional hero? And what do you like about them?

Without thinking about it too much. The Brothers Karamazov is about four brothers. I like all of them. They all had different personalities.

When you were a child did you have a favourite book?

Until I was in high school I hardly ever read any books. However, when I was a high school student my favourite book was No Longer Human (Ningen shikkaku) by Osamu Dazai.

If you ran your own book club or belonged to a reading group what books would it be reading right now?

Can I recommend one of my own books? If so, it would be The Thief. It is short so probably good for a book club.

Do you have a favourite website?

Vice. It is an American news site. English is hard and it is often difficult for me to understand what is being said. I wish they would speak using easier to understand English. 

  • Japan:
Why do you think short format writing from Haiku to novella is common in Japan?

I am not sure why, but in Japan long form fiction sells better than short stories.

In many different fields including sports such as baseball, and football (soccer), technology and academic research, Japanese people are building international reputations. What do you think Japanese authors can learn from this?

I am not sure if anything can be learnt from this or it is a good reference point. But it is a form of encouragement.

Why do you think international interest is growing in Japan?

Perhaps, it is because Japan is an island nation. And island nations have their own unique cultures.

Who do you think is the most interesting historical Japanese figure and the most interesting contemporary one?

There are many different individuals. But like in Schindler’s List, there was Sugihara-san. He is someone I respect. In terms of a contemporary figure that is a hard one to answer. It has to be an author, and that would be Kenzaburo Oe.

Is the Japanese literary scene very close-knit and difficult to become part of?

I don’t think that is the case at all. It is open. 

  • Interests:
What are your favourite films and why?

The Fellini film, 8 ½. It is the atmosphere, craft and the world that is captured in the film that attracts me to it.

Have you ever been in a film and if not would you be interested in being in one?

I was asked to play a cameo role in one of the film adaptations of my books, but I declined. It isn’t something I am interested in or want to do.

What is your favourite type of music?

That is a hard one to answer. It has to be Shostakovich, classical music.

Do you like karaoke and, if so, which song do you sing most frequently?

I don’t go to karaoke. If I am forced to go I don’t sing.

Do you like Anime and Manga?

I am not that interested in anime, but I do like manga. Eiichiro Oda, A recent one I like of his is One Piece. It is extremely well put together.

If you could chose to be a character in a book or film, who would it be?

That is a hard one to answer. There isn’t anyone in particular.

Do you have a favourite or special place you like to visit? What is your favourite thing to do on holiday or a day-off?

My favourite place is Ikebukuro.

I would like to visit countries I haven’t visited before. I would like to see the pyramids.

If I had time off and it was possible I would like to make a watch. Apparently, there are short classes where you can learn to make mechanical watches and clocks. These classes are reportedly popular amongst dentists. Dentists like this kind of precise work and watchmaking is a popular hobby. I would like to have a go at it myself. It is just an aspiration, and I don’t have the time.

Who do you think is the most interesting historical international figure and the most interesting contemporary one?

Someone I respect is Mother Theresa. She is an amazing figure, but I am sure everyone thinks that and respects her. I can’t imagine anyone disliking her. She only just died so in a sense she is also a contemporary figure.

If you could choose anyone in the world (alive or dead) to discuss writing, creativity and storytelling with, who would you select?

Dostoevsky or perhaps Camus.

Are you a member of any clubs, organisations or associations?

I am member of The Japan P.E.N Club and the Bungeika Kyokai (the Japan Writers Association), which is a jun-bungaku, literary, association.

Which Olympic sport, do you, like best?


  • Life:
Is there one person who has had a huge influence on you?

That has to be authors. I learnt from books. There are many different authors that have influenced me.

What would be the hardest thing for you to give up in life?

One day I will give up smoking. Coffee is something I can’t give up. Writing books is also something that I will never be able to give up. Books and coffee!

What has been your happiest moment in your life so far?

It must be the moment when I became a professional author. Once it was agreed.

How do you cope and manage stress?

I walk.

What is the one thing you always carry with you or in your bag?

My wallet, but I guess everyone has a wallet with them. I always have a ballpen and a paperback book in my bag or with me. I don’t always carry a notebook, but I always have paper, which I use as a type of bookmark in the paperback. I use this for taking notes.

What is the minimum amount of cash you like to have in your wallet when you go out?

I don’t like using credit cards so I normally carry about 100,000 yen with me. I have to watch out for pickpockets, but that is what I usually carry as it is enough for most situations.
No, there is no link between this and my book The Thief. It is just that I prefer to have this amount and feel more comfortable if I have this amount with me when I go out.

  • Awards

2020 – The 73rd Chunichi Bunka Award

2016 – Prix des Deux Magots Bunkamura for My Annihilation (私の消滅/Watashi no shoumetsu)

2014 – David L. Goodis Award

2010 – Kenzaburo Oe Prize for The Thief (掏摸/Suri)

2005 – Akutagawa Prize for The Boy in the Earth (土の中の子/Tsuchi no naka no kodomo)

2004 – Noma Literary Prize for Shade (遮光/Shakou)

2002 – Shinchō Literary Prize for New Writers for The Gun (銃/Juu)

  • Testimonials

“One of the most interesting, Japanese crime novelists at work today,” US Today.

“In an era when deep layers of poverty, newly revealed, are raising great social concern, this author understands that fresh perspectives can and must be brought to bear,”Kenzaburō Ōe.

“Nakamura, whose strategically withholding approach to filling in blanks invites conspiracy-minded readers to append whatever paranoid fantasies about government they happen to be dragging about on any given day,”The New York Times.

“Fuminori Nakamura has delivered an edgy Crime Drama/Psychological Thriller filled with enough surprises to keep one guessing. The Pulp-Noir feel, coupled with the psychological extremes visited through the character’s flaws, offers an intense view into the lower depths of the human psyche,“ Reader Comment on about Last Winter We Parted.

“This is a very good, maybe incredible novel that somehow manages to stay compelling for 350 pages despite the fact that mostly the characters just sit in the dark and hate life,” Reader Comment on about Evil and the Mask.

  • News & Media
The Best New Mysteries, The Wall Street Journal, April 2017
Crime writer brings Tokyo noir to the worldThe Japan Times, June 2013
Fuminori Nakamura Posted by Richard Nathan