Infamy: The Shocking Story of the Japanese American Internment in World War II

InfamyAuthor: Richard Reeves
Publisher: Henry Holt and Company
ISBN: 9780805094084
Released: April 2015

I was never taught as a part of my school curriculum about the incarceration of more than 120,000 Japanese and Japanese Americans on United States soil during World War II. I found out about it quite by accident while visiting an American history museum. I was astounded and continue to be astounded that so many U.S. citizens never learn about that particular part of the war, which is why I believe books like Richard Reeves’ Infamy: The Shocking Story of the Japanese American Internment in World War II are so important. Reeves is an award-winning journalist and best-selling author of more than a dozen long-form works on American politics and history. Infamy, published by Henry Holt and Company in 2015, is a book that he had wanted to write for years. I was very happy to have the opportunity to read an advance copy of the work.

In Infamy, Reeves explores the history of Japanese residents of the United States and Japanese American citizens during World War II. While a large focus of the book is on their evacuation from the West Coast and their internment within concentration camps, the work also devotes some time to the efforts made by the U.S. government to relocate and detain people of Japanese descent living in Latin America (which before reading Infamy I had not known about), as well as to the service of Japanese Americans in the military as translators, support personnel, and combatants. The narrative of Infamy is largely chronological, beginning with Japan’s attack on Pearl Harbor in December 1941 and the signing of Executive Order 9066 soon after in February 1942, which allowed for the establishment of the camps, and ending with V-J Day in August 1945, going on to examine some of the immediate and lasting impacts the internment had on individuals and on the country as a whole.

In writing Infamy, Reeves relies heavily on existing interviews, newspaper articles, and first-hand accounts as well as on official government and court documentation. Infamy is only one among hundreds of works about the Japanese American internment; its extensive notes and bibliography will aid in guiding readers who are interested in learning more to other sources. Stylistically, Infamy is intended for a broad, general audience. It’s approachable, engaging, and easy to read, requiring very little previous knowledge of the subject matter. However, readers looking for an academic or impartial approach will likely be disappointed—Reeves has very strong feelings about the people and events surrounding the internment. While Infamy is factual, Reeve’s personal opinions on the matter are readily clear in his writing; he is outraged and it shows. Initially I had worried the work would be sensationalistic—the subtitle isn’t just “the story of” but “the shocking story of”—but it’s more that Reeves is simply emphatic.

Many factors led to the Japanese American internment during World War II, but the two most prominent to be addressed in Infamy are racism—something that the United States continues to struggle with—and the additional fear and hysteria cause by the war itself. While some German and Italian American citizens and resident aliens were detained, those of Japanese descent were the only ones to be imprisoned or forced to relocate en masse and nearly all of them were innocent of any wrong-doing. In addition to racial tensions, generational conflict was also a significant component that complicated the mass imprisonment. The different generations of Japanese Americans experienced the war and the camps differently, but they were all betrayed by the country in which they lived. Reeves makes a point to address those differences in Infamy in addition to other aspects of the internment. Overall, Infamy is both a readable and informative examination of a part of American history that shouldn’t be forgotten but that is often overlooked.

Thank you to Henry Holt for providing a copy of Infamy for review.

Massive: Gay Erotic Manga and the Men Who Make It

Massive: Gay Erotic Manga and the Men Who Make ItEditor: Anne Ishii, Chip Kidd, and Graham Kolbeins
Publisher: Fantagraphics Books
ISBN: 9781606997857
Released: December 2014

The first major publication of gay manga to be printed in English was The Passion of Gengoroh Tagame: The Master of Gay Erotic Manga. Soon after its release a new project—a gay manga anthology called Massive—was announced by the same team that worked on Tagame’s debut English collection. Originally intended to be released by PictureBox, the anthology was temporarily orphaned when the publisher ceased releasing comics before the volume was completed. I was thrilled when Fantagraphics took on the project. Edited by Anne Ishii, Chip Kidd, and Graham Kolbeins, Massive: Gay Erotic Manga and the Men Who Make It became one of my most anticipated releases of 2014. Gay manga is an extremely underrepresented genre of manga in English. Massive, like The Passion of Gengoroh Tagame before it, is a groundbreaking work. Through manga, interviews, photography, and essays, the anthology introduces nine of the genre’s most influential, respected, and promising creators to an English-reading audience.

The volume’s table of contents is formed by a gallery of photographs paired with full-page color pin-ups illustrated by each of the contributors to Massive: Gengoroh Tagame, Inu Yoshi, Kumada Poohsuke, Takeshi Matsu, Jiraiya, Gai Mizuki, Fumi Miyabi, Seizoh Ebisubashi, and Kazuhide Ichikawa. This is followed by introductory essays written by each of the three editors. Kidd’s “It Feels Too Good” conveys the excitement over the fact that a volume like Massive even exists, while Ishii reveals some of the steps it took to publish the material in “Seeking English Translator.” Kolbeins essay “Glocalizing Gei Manga” is particularly enlightening, providing a greater context for Massive and a brief overview of the history of gay manga and how the volume fits into it. Also included is a timeline of male-male sexuality in Japanese culture, a list of recommended readings, and numerous photographs and illustrations. However, the real meat of the collection is the individual profiles of each of the creators introducing their work and personal histories and exploring their careers and the impacts they have made on the genre of gay erotic manga. The other major highlight of Massive is the inclusion of examples of their manga.

For most of the contributors, Massive marks their debut in English. Excluding Tagame, who has thus far had four collections published, Matsu is the only creator to have had a major release in English. And except for Jiraiya’s “Caveman Guu,” which was previously printed separately, all of the manga collected in Massive is being translated into English for the first time. Some are excerpts of longer works, like Tagame’s Do You Remember South Island P.O.W. Camp? and Poohsuke’s Dreams of the New Century Theatre, while others are shorter, standalone stories. There is humor and playfulness to be found in Yoshi’s “Kandagawa-Kun” and Matsu’s “Kannai’s Dilemma,” more dubious encounters in Mizuki’s “Fantasy and Jump Rope,” Ebisubashi’s “Mr. Tokugawa,” and Ichikawa’s “Yakuza Godfathers”, and even mythological inspiration in Miyabe’s “Tengudake.” The manga collected in Massive is most definitely erotic in nature. Some of the selections are simply suggestive, but many feature explicit, uncensored, and uninhibited sex between hypermasculine, muscular, and otherwise large-bodied men. It is called Massive for a reason, after all.

The profiles of the creators included in Massive are just as engaging as the manga that has been collected. The volume provides an incredibly valuable look into the creation of gay erotic manga and art. Interestingly enough, several of the contributors mention that they would like to create gay manga without as much erotic content, but to successfully do so would be difficult due to the demands of their audience and what is expected from the genre of gay manga as a whole. The artists address many of the same subjects in their interviews but they each bring their own perspective to the discussion. It’s fascinating to learn about how the manga industry has changed and continues to change, the impact and challenges presented by foreign scanlations of manga, the benefits of working within the manga industry or independently outside of it, the use and misappropriation of the term bara both in Japan and in the West, and the relationship between gay manga and boys’ love manga, among many other topics. Massive truly is a spectacular volume and highly recommended for anyone interested in gay manga, its history, and its creators; it’s a fantastic introduction to the genre.

Manga! Manga!: The World of Japanese Comics

Manga! Manga!: The World of Japanese ComicsAuthor: Frederik L. Schodt
Publisher: Kodansha
ISBN: 9781568364766
Released: January 2013
Original release: 1983
Awards: Japan Cartoonists Association Award

Initially released in 1983 and then again in 1986 in a slightly updated and revised edition, Frederik L. Schodt’s groundbreaking Manga! Manga!: The World of Japanese Comics was one of the first, and remains one of the best, surveys of the history of manga and the manga industry available in English. Written and published at a time when manga was virtually unknown to the average comics reader in the West and when only a very few examples of manga had been translated, Schodt was hoping to provide an introduction to the art form, garner interest in manga, and share his love and excitement for the medium. Manga! Manga! was received very well both in Japan where it earned special recognition from the Japan Cartoonists Association as well as in markets focused on English-reading audiences. Although Schodt would follow up Manga! Manga! with his work Dreamland Japan: Writings on Modern Manga in 1996, his initial foray is considered a classic in its subject area and is still well worth reading.

Manga! Manga! opens with a forward by Osamu Tezuka, who Schodt personally knew and worked with. From there Schodt takes over with the first chapter “A Thousand Million Manga,” providing an overview of manga and its readership in Japan. “A Thousand Years of Manga” addresses the history of manga, tracing its origins and development from 12th-century narrative art traditions through its more contemporary influences. “The Spirit of Japan” looks at the portrayal of the bushidō ethic in manga, ranging from historical fiction to the yakuza and sports genres, while “Flowers and Dreams” reveals the significance of comics created for and by girls and women. Other genres, such as salaryman, specialty career-oriented manga, and mahjong manga are explored in the chapter “The Economic Animal at Work and at Play.” Subjects like censorship, violence, and eroticism are the focus of “Regulations versus Fantasy.” Schodt closes his research with a chapters specifically devoted “The Comic Industry” and “The Future.” (Granted, that future is now in many cases the past, but the chapter is still illuminating.)

The editions of Manga! Manga! printed after 1997 also have a short introduction by Schodt but otherwise are nearly identical content-wise to those that were published earlier. In addition to Schodt’s main text, Manga! Manga! also includes an index divided by general subject, creators, and title as well as a bibliography of both English-language and Japanese-language resources. As is appropriate for a work about manga, Schodt incorporates artwork and photographs throughout the volume—rare is the page which isn’t accompanied by some sort of visual component. Particularly noteworthy is the inclusion of translated excerpts selected from four manga: Osamu Tezuka’s Phoenix, Reiji Matsumoto’s Ghost Warrior, Riyoko Ikeda’s The Rose of Versailles, and Keiji Nakazawa’s Barefoot Gen. These examples are among some of the earliest manga in translation readily available to a general English-language audience. Brief biographies of the four mangaka are provided as well.

Manga! Manga! is a fantastic work. Even decades after it was first published it remains an informative and valuable study. And, as I have come to expect, Schodt’s writing is very approachable and easy to read. Manga! Manga! explores the history of manga within the context of Japanese culture and history, ultimately showing that the two cannot be completely separated. Manga and its development reflect, is influenced by, and emphasizes the changing state of Japanese culture, politics, and social mores. It is an art form and a source of entertainment, but it can also be used for educational and informational purposes and even as propaganda. Schodt outlines the importance of manga in Manga! Manga!, both culturally and historically, and what it has to offer to Japan and to the world at large. Manga! Manga! is very highly recommended to anyone interested in learning more about manga, its history, its creators, or the manga industry as a whole.

The Pillow Book of Sei Shōnagon

The Pillow Book of Sei ShōnagonAuthor: Sei Shōnagon
Translator: Ivan Morris
U.S. publisher: Columbia University Press
ISBN: 9780231073370
Released: December 1991
Original release: 11th century

I’ve recently developed a particular interest in Heian-era Japan and literature. The Pillow Book of Sei Shōnagon is an important eleventh-century work that provides a glimpse into Heian society, especially that of the court and higher classes. Shōnagon was a lady-in-waiting to Empress Teishi as well as a contemporary and rival of Murasaki Shikibu, the author of The Tale of Genji and a lady-in-waiting who served Empress Shōshi. The Pillow Book of Sei Shōnagon has been translated into English, both in part and in its entirety, many times, the first translation appearing as early as 1889. Out of all of the English translations, I gravitated towards that of Ivan Morris’ whose works of nonfiction The World of the Shining Prince and The Nobility of Failure I thoroughly enjoyed. Excerpts of The Pillow Book of Sei Shōnagon were actually included in The World of the Shining Prince and I enjoyed his translation. Morris’ complete two-volume translation of The Pillow Book of Sei Shōnagon was published in 1967 by Columbia University Press. However, in 1971, an edited and abridged translation began to be released. It is this single-volume edition that is now more readily available and generally more approachable for the average reader, not to mention the version of The Pillow Book of Sei Shōnagon that I myself read.

The Pillow Book of Sei Shōnagon is a diary of sorts, a collection of thought and observances, lists and poetry. Most of the individual sections are short, some only a few paragraphs and the longest still being under fifteen pages. The volume isn’t arranged chronologically, some parts can’t even be definitely dated, but seeing as each section stands perfectly well on its own and there is no overarching “plot,” this isn’t particularly problematic. Shōnagon relates events and ceremonies that take place at court and at shrines, but she also details more personal affairs and gossip as well. The Pillow Book of Sei Shōnagon mostly deals with Heian-ea nobility and their lives, but the lower classes are occasionally mentioned, too, though usually with some disdain. While relatively little is known about Shōnagon outside of her own writings, it is clear she was a well-educated and intelligent women with a strong personality that brought her admirers as well as a those who could be considered her opponents.

While I haven’t read other translation of The Pillow Book of Sei Shōnagon and so am not able to offer comparisons, I was very pleased with Morris’ translation. I found it easy to understand, pleasant in its style, and overall very enjoyable. Morris’ translation presents an excellent balance between the literal and the literary. It reads well in English and yet retains a sense of poetic elegance. This particular edition of The Pillow Book of Sei Shōnagon also includes additional material for readers who are interested in the works’ specific historical context or in Heian-era Japan in general. Morris’ notes are copious and entire appendices are devoted to the calendar and time system, the government and its structure, places and their accompanying maps, an illustrated guide to clothing, households, carriages, instruments, and other daily objects, as well as several chronologies. A list of recommended reading is also given. In all, the supplementary material accounts for about a third of the volume’s total length.

I found The PIllow Book of Sei Shōnagon to be a very enjoyable and even charming read. However, it’s not a work to be read all at once or in a hurry. Instead, savoring a few sections here or there will generally provide a more pleasant reading experience. Shōnagon’s personality really comes through in her writings. She’s witty and sharp-minded, but also occasionally mean-spirited and a little self-important. Granted, as The Pillow Book of Sei Shōnagon serves at least in part as her diary, it’s not too surprising that she allows herself to express herself so freely within its pages. However, eventually she was quite aware that others were and would be reading the work as well. Even though centuries have passed since The Pillow Book of Sei Shōnagon was first written and compiled, it’s noteworthy how engaging and approachable the work can be for modern readers. Shōnagon was a keen observer of the people and society of her own time, but her humor and insights into human nature can still be appreciated even today.

Monkey Business: New Writing from Japan, Volume 4

Monkey Business: New Writing from Japan, Volume 4Editors: Motoyuki Shibata and Ted Goossen
Publisher: A Public Space
ISSN: 2159-7138
ISBN: 9780615962757
Released: March 2014

The original Monkey Business was a Japanese literary journal was published between 2008 and 2011. 2011 also saw the launch of Monkey Business: New Writing from Japan, the English-language, international edition of the journal. Edited by Motoyuki Shibata, who was also heavily involved with the original Monkey Business, and Ted Goossen, the English-language Monkey Business is released annually and collects a variety of fiction, poetry, nonfiction, essays, and manga. The selections found in the fourth volume of the journal, published in 2014, come from a range of sources, including but not limited to the original Monkey Business and its followup journal Monkey (launched in 2013). In addition to works that had previously been published, some of the contributions selected were specifically commissioned for the fourth issue. I’ve been reading and enjoying the international edition of Monkey Business since its beginning and always look forward to the newest volume.

The fourth issue of the international edition of Monkey Business collects twenty-three works, mostly short stories, contributed by creators from Japan, the United Kingdom, and the United States. The earliest work was originally published in 1845 while the most recent contributions were released for the first time in this particular volume. Quite a few of the artists and authors are returning to Monkey Business, including some of my personal favorites. I’m always glad to see more of Toh Enjoe’s work translated and I was not at all disappointed with his bizarre short story “A Record of My Grandmother.” I’ve also become rather fond of Keita Jin’s short stories and very much enjoyed “The Girl Behind the Register Blows Bubbles.” Some selections like Hiromi Kawakai’s “People from My Neighborhood” and Sachiko Kishimoto’s “The Forbidden Diary” are continuations from previous volumes of Monkey Business. I particularly look forward to reading those authors from one issue to the next. I also really enjoyed Masatsuga Ono’s short story, “The Man Who Turned Into a Buoy.” This actually surprised me a bit as I usually struggle with Ono’s work. Another favorite was Gen’ichirō Takahashi very strange story “Demon Beasts.”

Other returnees to Monkey Business include Stuart Dybek with the short story “Naked,” Hideo Furukawa with “The Bears of Mount Nametoko,” Yoko Hayasuke with “Eri’s Physics,” Mina Ishikawa with “The Lighthouse on the Desk” (which is a collection of tanka poems), Mieko Kawakami with the story “The Little Girl Blows Up Her Pee Anxiety, My Heart Races,” Taki Monma with “White Socks,” and Richard Powers with “The Global Distributed Self-Mirroring Subterranean Soul-Sharing Picture Show,” a fascinating essay about Haruki Murakami’s fiction and brain science. The two manga contributions included in the fourth volume of Monkey Business are also from artists who have been a part of the journal in the past. Brother and Sister Nishioka adapt Bruno Schulz’ story “Tailors’ Dummies” (it’s nice to see them branch out from works by Franz Kafka) and Fumiko Takano illustrates a highly abstract adaptation of “The Little Match-Girl” by Hans Christian Anderson. A translation of Anderson’s original story is also included, which is particularly helpful for those readers who are not familiar with it when trying to make narrative sense of Takano’s rendition.

While it’s wonderful to see so many returning creators to Monkey Business, I also greatly appreciate that the journal always includes someone or something new. “Everybody’s Got Something to Hide Except Me and My Monkey”, the fourth volume’s opening work by Craft Ebbing & Co., is probably the most unusual—a series of photographs of an art piece with accompanying narration. Of all the newcomers to this issue of Monkey Business, I particularly enjoyed Brian Evenson’s short story “The Punish” and the tangentially related “A Message to My Japanese Readers,” a collection of short essays by Evenson and three other authors (Laird Hunt, Denis Johnson, and Salvador Plascencia). Other short stories from authors new to the journal include Doppo Kunikida’s “Unforgettable People,” Kenji Miyazawa’s “The Restaurant of Many Orders” (previously I had only read examples of his poetry), David Peace’s “After Ryūnosuke, Before Ryūnosuke” and Hyakken Uchida’s “The Sarasate Disk.” Overall, I don’t feel that the fourth volume was quite as diverse as previous issues of Monkey Business. However, it’s still a solid collection. Many of the stories tend toward the slightly strange, bizarre, and absurd, but that’s a sort of fiction that I happen to enjoy.