Their words echo the refrain that the ravages of war live on in the body and soul, in victim and victor.

    None, however, have more acutely understood or perceptively critiqued the consequences of nuclear war than Japanese writers. In this first complete study of the nuclear theme in Japanese intellectual and artistic life, John Whittier Treat shows how much we have to learn from Japanese writers and artists about the substance and meaning of the nuclear age.Treat recounts the controversial history of Japanese public discourse around Hiroshima and Nagasaki—a discourse alternatively celebrated and censored—from August 6, 1945, to the present day. He includes works from the earliest survivor writers, including Hara Tamiki and Ota Yoko, to such important Japanese intellectuals today as Oe Kenzaburo and Oda Makoto. Treat argues that the insights of Japanese writers into the lessons of modern atrocity share much in common with those of Holocaust writers in Europe and the practitioners of recent poststructuralist nuclear criticism in America. In chapters that take up writers as diverse as Hiroshima poets, Tokyo critics, and Nagasaki women novelists, he explores the implications of these works for critical, literary, and cultural theory.Treat summarizes the Japanese contribution to such ongoing international debates as the crisis of modern ethics, the relationship of experience to memory, and the possibility of writing history. This Japanese perspective, Treat shows, both confirms and amends many of the assertions made in the West on the shift that the death camps and nuclear weapons have jointly signaled for the modern world and for the future.Writing Ground Zero will be read not only by students of Japan, but by all readers concerned with the fate of culture after the fact of nuclear war in our time.

    A companion to A Long Rainy Season: Haiku and Tanka.

    Asian Studies. Translated from the Japanese by Janine Beichman. "One of Ooka's virtues was that he was not an intellectual, someone who has forgotten that human beings are more important than ideas, that human beings take priorityover everything. This poet knows, in the deepest sense, that human relationships rest on the relation of human beings to nature and to the universe. It is not difficult to see traces of the surrealist influence that colores Ooka's youth. But in contrast to many other Japanese poets, Ooka was never a blind worshipper of anything imported. Ooka is convinced that only when you approach actuality from two mutually opposing sides can you get a glimpse of its entirety. Rather than pantheism, the undercurrent of Ooka's poetry is paneroticism and it is that which saves him from indulging in conceptualization." From the preface by Tanikawa Shuntaro.

    Celebrated for his crisp, fast-paced style and incisive analysis, Kajiyama's popularity may be attributed to his finely tuned sense of what many Japanese felt but could not articulate: the feeling of irreplaceable loss that lay beneath post-World War II Japan's highly successful economic recovery. The son of a civil engineer, Kajiyama was born in Seoul in 1930 and remained there until his family was repatriated to Japan at the end of the war. The Clan Records: Five Stories of Korea not only offers a sampling of Kajiyama's work in English for the first time but also represents the first English translations from the Japanese that deal with Korea under Japan's harsh military rule, which lasted from 1910 to 1945. Kajiyama intended these tales to be one of the components of his "lifework," a trilogy that remained unfinished at the time of his death in 1975. Kajiyama had outlined a tour de force that was to have focused on three interlocking landscapes - Korea, the place of his birth and childhood; Hawaii, his mother's birthplace and the setting for the Japanese immigration experience; and Hiroshima, his father's birthplace and the site of the atomic bombing. The Clan Records includes five of Kajiyama's Korea tales, among them the title story "Richo zan'ei," winner of the prestigious Naoki Prize and the basis of a highly acclaimed movie made in Korea in 1967. Laced with local expressions and accurate descriptions of Korean culture, Kajiyama's narratives infuse his Korean protagonists with dignity and courage. They depict sensitive subjects in an unusually subtle and emphatic manner without being patronizing. In these stories, too, Kajiyama avoided the temptation to soften the often brutal consequences of the inhumanity of the Japanese occupation.