While I was growing up in Tokyo, there used to be a cherry blossom tree outside my apartment window, a ‘sakura’ tree. It bloomed, but just for one week during spring every year. The branches would fill with riotous pink blossoms, heaving in the breeze like big sticks of cotton candy. They would wave about gaily like they were saying hello to whoever was beneath them.
It was common to see people sitting and making merry under these blossoms. New loves being found, hearts being broken, friendships being forged and life decisions being taken. But within a few days, the gossamer pink petals would curl onto each other and gently fall to the ground. Their lives would be done, the sole purpose of their existence being to lend happiness to people and beauty to nature.
Harry Potter came into being more than two decades ago, in 1997, with ThePhilosopher’s Stone. The movie series started a little later in 2001, after JK Rowling had already published the fourth adventure of Harry Potter, The Goblet of Fire. The last in the series of Harry Potter books ended with The Deathly Hallows in 2007.
The popularity of young Harry Potter is such that Warner Brothers continue to create scripts of other adventures from the world of Harry Potter, namely Fantastic Beastsand Where to Find them and the latest, Fantastic Beasts: The Crimes of Grindewald. There are also reports every now and then of more such outcroppings with the next one predicted in 2020. Non-fiction books about the world of Harry Potter have come to light this year and some more are to follow. Read more
Taiwan sits on a piece of colourful and multi-splendoured island real estate, south of Japan and east of Hong Kong and China. As an independent, sovereign nation since 1945, it has produced its share of Asian literature since the beginning of the Japanese Colonial Period (1895-1945) to the present. In this brief essay, I want to introduce two Taiwanese writers; one a novelist with an international reputation, Wu Ming-yi, who writes in Chinese, and the other a short story writer based in Taipei, Jane Wu, who writes in English and has recently published a collection of nine stories about the martial law period of Taiwan history (1949 to 1987).
Nature writer and university professor Wu Ming-yi (吳明益) wrote a popular novel titled The Man with the Compound Eyes in 2011, with translations in English and French following in 2013 and 2014. Largely ignored at first for the novel that was published in Chinese, Wu’s eco-fantasy later attracted attention overseas in translated editions, thanks for the eagle eye and savvy marketing skills of Taipei-based literary agent Gray Tan, who took Wu under his wing and introduced the novel to agents and publishers in Europe and America. Read more
The first Africans came to Japan in 1546 in a Portuguese ship as slaves and shipmates. But that did not impact Japanese lore as much as the black samurai who came to Japan in 1579 in the service an Italian Jesuit missionary fromthe Indies, India in the case of this missionary. (The term Indies was inclusive of the South East Asian areas influenced by Indian culture.)
His story has captured much media attention this year with Chadwick Boseman of Black Panther (2018) fame cast as the black samurai for an MGM movie and with Netflix planning an animation on him.
When the young man arrived in Kyoto in 1579, he was not a samurai. He rose to be one after a powerful Japanesefeudal lord, Oda Nobunaga, in the Sengoku period (1467 to 1600) took a fancy to him. He became a famous samurai known as Yasuke . After the death of his master, he became a ronin, a samurai without a master. Read more
The sea with its moods, vibrancy and colours has been a source of fascination for countless poets, writers, photographers and artists.
Break, Break, Break,Alfred Tennyson’s elegy, written for his friend Arthur Hallum in 1835 and immortalised over centuries, uses the violence of waves to express the grief and the sense of helplessness caused by loss. Jules Verne’s Twenty Thousand Leagues Underthe Sea (1870) brought the ocean to our doorstep and subsequently on to the silver screen.
The Slave Ship by Turner
Around the same time, in 1867, Matthew Arnold , a British poet, published Dover Beach, which again plumbs into the darkness and the depth of the sea, some critics say to express “ a stand against a world of broken faith”. A little earlier than Mathew Arnold artist William Turner also expressed his fascination for the sea with his paintings The Slave Ship and Dawn after theWreck (1840). Read more
About: India’s explosive rise has driven inequality to new extremes, with millions trapped in slums as billionaires spend lavishly and dodge taxes. Controversial prime minister Narendra Modi promised ‘to break the grip’ of the Bollygarchs, but many tycoons continue to thrive amidst the scandals, exerting huge influence over business and politics. But who are these titans of politics and industry shaping India through this period of breakneck change? And what kind of superpower are they creating? A vivid portrait of a deeply divided nation, The Billionaire Raj makes clear that India’s destiny – prosperous democratic giant or corrupt authoritarian regime – is something that should concern us all.
About: Fifteen-year-old Aiko Cassidy, a bicultural girl with cerebral palsy, grew up in Michigan with her single mother. For as long as she could remember, it was just the two of them. When a new stepfather and a baby half sister enter her life, she finds herself on the margins. Having recently come into contact with her biological father, she is invited to spend the summer with his indigo-growing family in a small Japanese farming village. Aiko thinks she just might fit in better in Japan. If nothing else, she figures the trip will inspire her manga story, Gadget Girl.
However, Aiko’s stay in Japan is not quite the easygoing vacation that she expected. Her grandmother is openly hostile toward her, and she soon learns of painful family secrets that have been buried for years. Even so, she takes pleasure in meeting new friends. She is drawn to Taiga, the figure skater who shows her the power of persistence against self-doubt. Sora is a fellow manga enthusiast who introduces Aiko to a wide circle of like-minded artists. And then there is Kotaro, a refugee from the recent devastating earthquake in northeastern Japan.
As she gets to know her biological father and the story of his break with her mother, Aiko begins to rethink the meaning of family and her own place in the world. Read more
Losing Kei, a novel by Suzanne Kamata, an American expatriate living in Japan, highlights the story of a mother who abandons her child, torn by the clash of cultures. Kei is the child from a marriage sundered by the incompatibility of the parents. The American mother leaves the Japanese father and their six-year-old son. Set in Japan, the focus of the story is on the mother’s struggle and inability to adjust to her marriage with a Japanese man in his own country.
Jill Parker, the mother and the protagonist, states at the very beginning of the story, ‘I came to Japan because a man had broken my heart.’ The author uses the perspective of the protagonist to narrate the story in first person. Jill takes an art scholarship to Japan to get over her boyfriend, Philip. When she meets her well-to-do Japanese spouse, Yusuke, a businessman who owns an art gallery, she is down and out. She has no money to pay her rent and works in a bar in Tokushima City to support herself. Yusuke is the solution to her monetary hardships and heartbreak. Jill marries Yusuke, telling him that she is exploring the world like Blondelle Malone, a nineteenth- early twentieth century impressionist artist who never married. However, unlike Malone, Jill is willing to marry. Jill doesn’t speak of her earlier heartbreak to Yusuke. As she struggles to conform to her Japanese marriage, she grows increasingly resentful of parental interference. The last straw for her is when Yusuke’s father dies and her husband declares that they would have to continue looking after his mother and live in the same house. For Jill, Yusuke’s grief at his father’s death is unattractive as is his clean-shaven face, which makes him seem ‘like a stranger’.
As she leaves him and her young child, one is left gaping at the heartlessness and self-centeredness of an irresponsible mother who is unable to put a child’s needs above her own.
(From Publishing Perspectives. Link to the complete article given below)
Having opened on December 10, a concept bookstore in central Tokyo is getting novelty-press attention primarily for its admission fee.
It costs 1,500 yen (US$13.89) to enter the 460-meter Bunkitsu, which is set in a location known for bookselling, formerly the site of the Aoyama Book Center. The name reportedly translates roughly to an idea of consuming culture, and to that end the store features a firmly curated collection of some 30,000 books and magazines on topics “from humanities and natural sciences to design and art,” according to the company’s promotional messaging.
The entry area in the Roppongi Electric Building features regularly changing exhibitions and a focus on the 90 or so magazines featured as part of the offer. There also are areas designated as a library, a reading room, a “laboratory”—a kind of meeting room for group discussion—and a tea room.
Some of the services offered include personal curation: give the store three days’ notice and the staff will choose some books to match your interest and have them ready for your visit. When you arrive, there’s a locker for your things and free wi-fi and power. While the emphasis is on the curated collection in-store, the company accepts orders for books not on the shelves. if your book or magazine costs more than 10,000 yen (US$92.63), shipping is free.
Before K-pop or K-beauty, there was Korean literature. Before the vivid, strange writing in translation of contemporary South Korean writers (including Han Kang, Hwang Jungeun, and Bae Suah) and writers of the Korean-American diaspora (such as Min Jin Lee, Patty Park, and Alexander Chee), there was literature being produced in the the city of Keijō—or Gyeongseong—where Seoul now stands. Under the rule of Imperial Japan, Keijo/Gyeongseong developed into a capital. Urbanization and colonization shaped modern Korean writers until the end of the Second World War, when Japan retreated. Seoul’s painful history has been razed and the city does not readily divulge its previous incarnation.
With the outbreak of the Sino-Japanese War in 1894, Japan launched a policy of territorial expansion that claimed Taiwan and Korea, among other countries. This policy indelibly marked the Korean peninsula, which was under Japanese rule from 1910–45. During this period, a generation of writers established successful careers. As in Taiwan, these Koreans were educated, spoke and wrote in Japanese, and had little or no memory of precolonial life. Later generations caught in the tumult of twentieth-century politics would judge them mercilessly. Many of the young men attended university in Tokyo, an epicenter of the arts, and returned to Keijo/Gyeongseong to contribute to the budding literary scene. They wrote under increasingly fraught political circumstances, which came to a head in 1940 when the Imperial State cracked down, banning the use of Korean entirely and even rounding up and torturing the creators of a Korean-language dictionary.
Tara Books travels to Japan for an exhibition that celebrates the exhilarating work of the Chennai-based indie publisher.
In the summer of 2013, when Gita Wolf was invited to the Itabashi Museum in Tokyo to run atelier workshops for Japanese illustrators and designers, the publisher conceived a programme that would tie together the interest of the Japanese in paper art and the unique book-making journey of her Chennai-based independent publishing house, . The theme — forms of books — yielded a prodigious crop: three of the projects became published books, with one more underway, but it also spread the word about Tara’s exhilarating work in publishing. Over the course of the last two years, Kiyoko Matsuoka, one of the chief curators of the Itabashi Museum, and her team travelled to Chennai to meet up with Wolf and V Geetha, editorial director, to plan an exhibition on their work. On November 25, last year, “Beautiful Books Can Change the World: The Universe of Tara Books”, opened at the Itabashi museum, featuring over 300 original artwork created by tribal and folk artists for Tara’s diverse range of publications, short films on the making of noteworthy titles and first editions.
The second phase of the exhibition will open in April in the city of Nagoya and then travel to other parts of Japan later in the year. “(Matsuoka) conceived of this in the form of an exhibition that would trace our book-making journey, both our experiments with the handmade book and our publishing across genres, from children’s picture books to visual essays for adult readers, art activity books to books on contemporary social concerns that bother children,” says Geetha.
One of the stalwarts of indie publishing in India, Tara’s work in its 23 years-long journey has been remarkable for the way it combines India’s indigenous art forms to tell enduring stories to a young, primarily urban, readership. Titles such as Sita’s Ramayana by Samhita Arni and Patua artist Moyna Chitrakar, A Village is a Busy Place by V Geetha and Rohima Chitrakar, or The London Jungle Book by Gond artist Bhajju Shyam experiment as much with the form and art of the book as with the plurality of narrative voices. “Geetha and I were part of a feminist group in Chennai, Snehidi, and amongst other things, we tried to build a small feminist library. In the course of conversations, we would end up talking about what is available for children to read, and … I wondered if we could not have a different sort of children’s book, which spoke to our context, and with characters that Indian children could identify with. This is how the idea for [Tara Books] emerged…,” says Wolf.