Roland Kelts, writing for The Times Literary Supplement: At fifty-one, Hideo Furukawa is among the generation of Japanese writers I’ll call “A. M.,” for “After Murakami.” Haruki Murakami is Japan’s most internationally renowned living author. His work has been translated into over fifty languages, his books sell in the millions, and there is annual speculation about his winning the Nobel Prize. Over four decades, he has become one of the most famous living Japanese people on the planet. It’s impossible to overestimate the depth of his influence on contemporary Japanese literature and culture, but it is possible to characterize it. The American poet Louise Gluck once said that younger writers couldn’t appreciate the shadow cast over her generation by T. S. Eliot. Murakami in Japan is something like that. Yet unlike Eliot in English-speaking nations, Murakami in Japan has been a liberator, casting rays of light instead of a pall, breathing gusts of fresh air into Japan’s literary landscape. Now on the verge of seventy, he generates little of Harold Bloom’s “anxiety of influence” among his younger peers. For them he has opened three key doors: to licentious play with the Japanese language; to the binary worlds of life in today’s Japanese culture, a hybrid of East and West; and to a mode of personal behaviour — cool, disciplined, solitary — in stark contrast to the cliques and clubs of Japan’s past literati. Japan’s current literary and cultural scene takes in “light novels,” brisk narratives that lean heavily on sentimentality and romance and often feature visuals drawn from manga-style aesthetics, and dystopian post-apocalyptic stories of intimate violence, such as Natsuo Kirino’s suspense thrillers, Out and Grotesque. Post-Fukushima narratives in film and fiction explore a Japan whose tightly managed surfaces disfigure the animal spirits of its citizens; and many of the strongest voices and characters in this recent trend have been female.
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Source:: Slashdot