“Self-help literature” was created in America, and its origin can be traced back to Benjamin Franklin. In 18th-century American society, where Puritan ethics held sway, Franklin was a rare sort of person, one who did not believe that personal ambition was a sin. Through his writings, in the form of Poor Richard’s Almanac (1732–1757) and The Way to Wealth (1757), Franklin demonstrated the know-how needed for worldly success, and he used himself as an example of the effectiveness of this knowledge. According to Franklin’s philosophy of success, anyone can achieve social success, regardless of their social position, if they only have the will to educate themselves. This was the beginning of the American dream of success, and themes appearing here for the first time became the basic themes of many self-help books that appeared later.
Franklin’s writings were composed in America during the latter half of the 18th century, a period when independence from England increased opportunities for upward social mobility. Similarly, the first self-help book to appear in Japan was published at the time of the Meiji Restoration in 1868, after the end of the Edo period. At this time, the traditional feudal class system was abandoned, and it became possible to succeed in life using one’s own resourcefulness and efforts. This book Gakumon no Susume (An Encouragement of Learning, 1872–1876) was written by the well-known author and educator Yukichi Fukuzawa (1835–1901). This book holds that to create a modern state it is necessary for its people to first free themselves of apathy and laziness and become independent through practical study. The work was published in seventeen volumes, and 3.4 million copies were sold under this title. Its foundation was the declaration that “All men are created equal.” It is clear that the inspiration for this writing was the American Declaration of Independence. Of all of the Founding Fathers, Franklin’s ideas had the greatest impact on Fukuzawa, and through his self-help book, the Japanese people came into indirect contact with Franklin’s philosophy of success. Additionally, The Autobiography of Benjamin Franklin (1771–1790) was widely read throughout the Meiji period. Thus, it is apparent that Franklin’s ideas about self-help had a great impact on Japan around the end of the 19th century.
However, British author Samuel Smiles’s book Self-Help (1859) had an even greater influence on Japan as it underwent modernization. This book, which was also popular in America, sold more than a million copies in the forty-year period after it was translated into Japanese in 1871 by the philosopher of the European Enlightenment Masanao Nakamura (1832–1891). Moreover, this book was used as an ethics textbook in elementary schools from 1872 until 1880, so it played a particularly large role in planting the spirit of self-improvement in the Japanese youth of the time.
The influence of Confucianism was a large part of the context in which these English and American self-help books were accepted in Japan during and after the Meiji period. Confucianism came to Japan from China at the beginning of the 6th century, and by the Edo period, in the 17th century, the religious aspects of Confucianism had faded. It had become a system of education in ethics that emphasized the five virtues of “compassion to others,” “not being caught up in greed,” “being courteous,” “striving to learn,” and “being sincere.” Learning these virtues became a condition for success in life, particularly for the warrior class. We notice that these five virtues are very similar to Franklin’s thirteen virtues; hence, it is easy to understand that familiarity with Confucianism made it easier for the Japanese to accept American and English self-help books. In other words, western European ideas about self-help were not completely novel values to the Japanese; these ideas were compatible with the Confucian ethical values that the Japanese held. Therefore, they were widely accepted very quickly.
Later, after the beginning of the 20th century, Japan would greedily adopt self-help ideas from America. For example, the mind-cure techniques of Christian Science were introduced to Japan during the 1910s. “Reiki,” which is a Japan-specific practice related to mind cure, was developed soon after. Yoga was also introduced to Japan around the same time through the writings of William Walker Atkinson (aka Yogi Ramacharaka). The Japanese religionist Masaharu Taniguchi (1893–1985) created his own religious group, known as Seicho no Ie (The House of Growth), in the 1930s. This group resonated with the religious movement known as New Thought, which gained popularity in the United States at the end of the 19th century, and Seicho no Ie is currently the world’s largest New Thought group, with more than seventy thousand believers in Japan.
The 1950s through the 1980s saw the popularity of American self-help books fall in Japan, partly because of World War II. At the beginning of the 1990s, the bubble economy in Japan burst; the “life-long employment system” and the “seniority wage system” that had supported Japan up to that point started to collapse. Thus, hiring fell, and an American-style competitive society was introduced in Japan in the form of models such as the “ability-based wage system.” In a similar fashion, there was a demand for knowledge of how to survive in this new competitive society. This led to a sudden resurgence in the popularity of American self-help books. For this reason, it is currently difficult to find books by major American self-help authors, such as Ralph Waldo Emerson, Prentice Mulford, Orison Swett Marden, Wallace D. Wattles, Charles F. Haanel, Ralph Waldo Trine, Dorothea Brande, Joseph Murphy, Norman Vincent Peale, Neville Goddard, Earl Nightingale, Spencer Johnson, Robert Kiyosaki, and Tony Robbins that have not been translated into Japanese. In particular, Stephen Covey’s The Seven Habits of Highly Effective People (1989) has been very popular in recent years, and there are even primary schools that use this book as class material. Moreover, because comic culture is highly developed in Japan, there are many American self-help books that have been made into comic books. Of course, Stephen Covey’s book has been made into a comic book, but there are several other authors whose books have a comic-book version in addition to the translation. Such works include Dale Carnegie’s How To Win Friends and Influence People (1936), Napoleon Hill’s Think and Grow Rich (1937), and works by the psychologist Alfred Adler and the management consultant Peter Ferdinand Drucker. These works are widely known as self-help books. Self-help literature has taken hold as a literary genre that has maintained a firmly rooted popularity in Japan, much like it has in America. It is frequently read by middle-class, white-collar, middle-aged men.
However, there has been a backlash against the incredibly numerous self-help books that have been put on the market: since 2010, in Japan, stronger criticisms of self-help books have begun to be made. According to these criticisms, the harmfulness of these books comes from the fact that all of the failures in a person’s life are attributed to the personal responsibility of the individual. For example, these critics say, these books state that people who belong to lower social classes are stuck in such positions because they have not been positive enough.
However, at present, these critical voices are being drowned out by the huge waves of numerous new self-help books being published in rapid succession. There is no reason to doubt that self-help books will continue to thrive in America and Japan, as long as the tradition of the “American dream of success” is alive in America and the virtues of the “desire for self-improvement” and “hard work” are part of the Japanese national character.
Although largely disregarded since the humanistic turn of ecocriticism at the beginning of the 21st century, nature writing has continued to play an important role in nurturing trans-Pacific, and transnational, literary environmentalism. Euro-American traditions dominate this literary genre, but it nevertheless involves cross-cultural traffic of ideas and thoughts. Its trans-Pacific presence, mostly through American influences on works in Japan, demonstrates in three ways how American nature writing has been cultivating Japanese literary soil and has in turn been nurtured by it, albeit less conspicuously. First, Henry David Thoreau’s influence on Japanese literary environmentalism, especially his philosophy of plain living and high thinking, helped engender a tradition of nature writing in Japan that began with Nozawa Hajime—often called the “Japanese Thoreau”—and has been developed by those who followed, including Ashizawa Kazuhiro and Takada Hiroshi. Second, interactions between pastoralism and a new mode of environmental awareness show that the seemingly American notion of “wild awareness” and the Japanese concept of aware have materialized as a new environmental sensitivity in Japan and in the United States, respectively, reflecting cross-cultural nurturing of environmental ideas, thoughts, and practices. Finally, there has been a subtle yet radical impact of American counterculture on Japanese nature writing, exemplified by Nashiki Kaho’s literary hybridity, based on her integration of the traditional with the radical.
Literature on Hiroshima and Nagasaki cannot be limited to works on the atomic bomb or fiction referring specifically to these locations. Rather, in the nuclear age, it must include a variety of literary works that are conscious of the destiny of the earth, given the danger of nuclear pollution, and engage with the terrible fantasy of the end of the world. As John W. Treat states in his influential critical work, Writing Ground Zero: Japanese Literature and the Atomic Bomb, “The concept of hibakusha now has to extend to everyone alive today in any region of the planet” (x–xi).
The range of nuclear-themed works that symbolically invoke Hiroshima or Nagasaki is enormous. Nuclear literature as a creation of survivors, or spiritual survivors, focuses on an awareness of the planetary catastrophe concerning Los Alamos, Trinity Site, the ground zeroes of Hiroshima and Nagasaki, and other global nuclear zones. The two nuclear sites in Japan (Hiroshima and Nagasaki) and in the United States (Los Alamos and Trinity Site) are historically connected. The authors and protagonists of nuclear literature have literal and affective transpacific and cross-cultural experiences that when considered together seek to overcome the tragic experience of the first nuclear bomb and bombing, including the Japanese acceptance of American nuclear fictions during the Cold War.
In the history of modern Japanese literature, the Taishō era (1912–1926) is retrospectively identified as a period characterized by a liberal arts ideology, individualism, a democratic spirit, aestheticism, and anti-naturalism. In the latter half of the Taishō era, the liberal arts ideology was gradually replaced by socialism. After the Great Earthquake of 1923, Japanese literature was enmeshed in a triangular contest between the old-fashioned “‘I’ novel” (or psychological novel), proletarian literature, and modernist literature (especially the neo-sensualists). This structure of the literary world, in parallel with the rise of popular literature, continued into the prewar Shōwa era (1926–1945).
During the Taishō era, Walt Whitman and Edgar Allan Poe were the most influential and respected American writers. Whitman’s writing offered Taishō writers, including Takeo Arishima and poets of the popular poetry school, a model of living that was free and natural and a colloquial-style free verse. But for the modern Japanese literati from the Taishō to the prewar Shōwa era, the most influential American writer was without a doubt Edgar Allan Poe. Poe’s works served as a creative inspiration to Taishō novelists such as Jun’ichirō Tanizaki, Haruo Satō, and Ryūosuke Akutagawa, many of whom shared a creative perspective that was based on a blend of anti-naturalism and aestheticism. Influenced by Poe, they attempted diverse variations on the themes of the fantastic and of doppelgängers and even experimented with detective stories. Needless to say, Poe helped to establish the detective story genre in Japan through Rampo Edogawa and others. For early Shōwa literati, Poe was a forerunner of modern critical theory.
Among Japanese readers, around 1920, American literature ceased to be read as a sub-branch of British literature and began to be read as American literature proper. From the Great Earthquake and up through the prewar Shōwa era, three distinctive periods can be discerned when American literature was energetically translated and introduced. The first period was from the end of Taishō to the start of Shōwa, when American “socialist” literature—in the broad sense of writers like Upton Sinclair—left a deep mark on Japanese proletarian literature. The second period was around 1930–1931, when contemporary modernist American novels were translated and published in various anthology forms. The third peak came around 1935–1938, when bestselling American historical romances or epics such as Pearl Buck’s The Good Earth and Margaret Mitchell’s Gone with the Wind were published and gained a large readership.
The several works of American literature set in Okinawa or about Okinawans include travel narratives, war diaries, memoirs, biography, fiction, and drama. Perhaps the earliest, Francis L. Hawks’s 1856 Narrative of the Expedition of an American Squadron to the China Seas and Japan, is an account of Commodore Matthew C. Perry’s gunboat diplomacy of 1853–1854 when he forced his demands on leaders of what was then the Ryukyu Kingdom, allowing Americans to land, travel, and trade there. Hawks also provides informative and colorful descriptions of the local residents, architecture, and natural environment.
A century later, Okinawa commanded all of America’s attention in the spring of 1945 during the last and worst battle of the Pacific War. Two Okinawan immigrants to the United States published autobiographical accounts in English of mid-20th-century Okinawa, including the battle and its aftermath. Masako Shinjo Robbins’s My Story: A Schoolgirl in the Battle of Okinawa (2014) describes life in prewar, wartime, and early postwar Okinawa from the perspective of a daughter in an impoverished family. Sold as a child by her father to a brothel in the 1930s, she barely survives the battle after being trapped in a cave collapsed by shelling. Jo Nobuko Martin’s novel A Princess Lily of the Ryukyus (1984) depicts the horrifying ordeal of the Princess Lily Student Corps of high school girls, the author among them, and their teachers, who were drafted as combat medics during the Battle of Okinawa. Writing from the American side of the battle, Pulitzer Prize–winning author Ernie Pyle accompanied U.S. forces as a war correspondent. His account in The Story of Ernie Pyle (1950) begins with American battleships’ shelling of Okinawa and ends the day he was killed by a Japanese sniper on the offshore island of Iejima.
Over more than 12,500 Americans died in the Battle of Okinawa which took the lives of approximately 94,000 Japanese soldiers and 160,000 Okinawan civilians, between one-quarter and one-third of the prefecture’s population at the time. The widespread devastation left most residents homeless, destitute, or both. During the months that followed, the American military placed thousands in refugee camps, sometimes for more than a year, supplying food, shelter (mostly tents), and medical treatment for the wounded and ill. U.S. occupation personnel supervised the distribution of relief aid and the construction of homes and public buildings, but they were also tasked with bringing “democracy” to Okinawa, which many Americans considered feudalistic. The contradiction between American espousals of democracy and policies imposed top-down under U.S. military rule soon became obvious to Okinawans, and to at least some American military personnel. One of them, Vern Sneider, published a satirical novel, The Teahouse of the August Moon, in 1951. Later adapted into two plays and a film, it is probably the best-known work of American literature set in Okinawa. Lucky Come Hawaii (1965) by Jon Shirota depicts the experience of Okinawans in Hawaii, focusing on the strained relations among resident ethnic groups following the Japanese attack on Pearl Harbor. It was the first novel by an Asian American writer to become a bestseller and one of several works portraying the lives of Okinawan immigrants including three plays by Shirota and an autobiography by Hana Yamagawa.
Victory in the Pacific War brought Okinawa under American military occupation for the next twenty-seven years, 1945–1972. Forcibly seizing private farmlands, the U.S. government constructed a vast complex of bases to support hot wars in Korea and Vietnam and the Cold War against the Soviet Union. Sarah Bird’s novel The Yokota Officers Club (2001) depicts the bases’ effects on Okinawans and Americans living in close proximity yet in separate worlds during the U.S. occupation. Today, more than four decades after Okinawa’s return to Japanese sovereignty, a grossly disproportionate 74 percent of the total U.S. military presence in Japan remains in this small island prefecture with 0.6 percent of the nation’s land area. Bird’s Above the East China Sea (2015) juxtaposes the ordeals of an American military dependent living on base in present-day Okinawa who contemplates suicide after her soldier sister dies in Afghanistan with a student medic in the 1945 battle ordered to kill herself to avoid capture by the Americans. Drawing on extensive research in Okinawan culture, Bird evokes Okinawan religious beliefs and observances relating to death and the afterlife to frame her narrative and inform her readers.
Since the country’s decisive defeat through the acceptance of the unconditional surrender in 1945, Japanese novelists have been working in the shadow of America. The American Occupation from 1945 to 1952 set the essential tone of the postwar Japanese chronotope, and authors have had to address their problems through it. Postwar Japanese novelists needed to familiarize themselves with the explicit meaning of the national and ethnic experience of the defeat in the total war. They had to come to terms with the inevitable outcome of being re-incorporated into the international world according to America’s scenario for achieving a new global hegemony. On one hand, this meant severance from the military past and rebirth as a pacifist and capitalist trading country; on the other, it meant disruption of the cultural continuity as a nation and rapid evaporation of the memories of the war crimes.
Postwar Japanese novelists have turned to American literature, not only for a usable index for understanding “America” as the most fundamentally decisive element of their postwar chronotope but also for something to stimulate their critical and creative imagination or synchronize with their aesthetic sensitivity during their search for an artistic expression under the shadow of “America.” Three influential Japanese postwar novelists have a specific American writer as his inspirational source: Mark Twain for Kenzaburo Oe (b. 1935–), William Faulkner for Kenji Nakagami (1946–1992), and Raymond Carver for Haruki Murakami (b. 1949–). Their relationships with their literary precursors vary relative to their own sensitivities, political stances, and cultural background including class and caste; however, each of these three Japanese novelists has maintained a wide influence in the postwar Japanese literary climate because each has established his own unique way of addressing the most critical problem of “America.” Each of these writers takes his influence from an American writer and learns his own lessons about how to cope with or navigate through a life under the shadow of “America.” During each decade of postwar Japanese history—Oe from the early 1960s to the late 1970s, Nakagami from the late 1970s to the late 1980s and Murakami from the early 1980s to the 1990s—the authors reflect a gradual change in the shadow of “America” because of a change in America’s policy toward Japan from the end of the occupation through the period of Japan’s astounding economic prosperity, to the end of the Cold War and a gradual attenuation of America’s power over Japan.
Commodore Matthew C. Perry’s gunboat diplomacy provided the Japanese with the first known opportunity to observe a major American performing art inspired by black culture: the minstrel show. The “Ethiopian entertainment,” held on the USS Powhatan, presented “Colored ‘Gemmen’ of the North” and “Plantation ‘Niggas’ of the South” to shogunate officials four times in 1854. While this performance initiated a binational cultural exchange, the 1878 tour of the Fisk Jubilee Singers was an epoch-making event; the group’s successful concerts, given in three cities, offered Japanese audiences their first opportunity to appreciate genuine African-American artistic pieces—spirituals, distinguished from blackface minstrelsy.
The Japanese attitude toward African Americans at this initial stage was a mixture of pity and wonder. A growing self-awareness of Japan’s inferior status vis‐à‐vis Western nations, however, gave rise to a strong interest in slavery and racial oppression. The popularity of studies focused on American race problems since 1905, including multiple versions of the biography of Booker T. Washington, attests to prewar intellectuals’ attempt to define the position of the Japanese people by both analogy and contrast with African Americans. In the meantime, a partial translation of Uncle Tom’s Cabin (1852), serialized from 1897 to 1898 in a liberal paper, the Kokumin, and a translation of Adventures of Huckleberry Finn (1884) in 1921 paved the way for Japan’s introduction to the New Negro literature, the first major body of black writings gaining in popularity in the American literary market in the 1920s. Successive publications of works by W. E. B. DuBois, Walter White, Jean Toomer, Claude McKay, and Langston Hughes in translation in the 1930s generated a distinctive artistic backdrop comparable to the American Jazz Age. Various authors of the era—from novelists to haiku poets—learned about literary motifs informed by blackness and began to elaborate their own racial representations to delineate the affectional substructure of modernity.
Even though World War II briefly disrupted the expansion of the Japanese literary imagination through the creative inspiration of African Americans, a translation of Richard Wright’s Native Son within the year of the original publication (1940) signifies the persistence of interest throughout the war period. Indeed, defeat in 1945, resentment over the subsequent U.S. occupation, coincident remorse for their country’s imperial aggression, and anger at its eventual rearmament following the Korean War, in conjunction, reoriented postwar authors toward the development of black characters in diverse works over the following four decades. In addition, the civil rights movement facilitated studies in African-American literature in universities from the 1960s onward. Today, African-American literature is one of the most popular areas in English departments in Japan; one can find virtually every subject from the slave narrative to rap music in undergraduate course syllabi.
Hiroshi Kitamura and Keiko Sasagawa
Since the 1890s, Japanese movie-goers have engaged American cinema in a wide consumer marketplace shaped by intense media competition. Early fandom grew around educated urban audiences, who avidly patronized action-packed serials and Universal’s freshly imported films in the 1910s. During the 1920s and 1930s, U.S. cinema continued to attract metropolitan consumers but struggled in the face of Japan’s soaring narrative output. In the years following World War II, movie-goers encountered American films in big cities as well as provincial communities through the Occupation-backed Central Motion Picture Exchange. After the Occupation, U.S. film consumption began to slow down in theaters because of Japanese cinematic competition, but the sites of reception extended into television. The momentum of American cinema revived on the big screen with the rise of the blockbuster, though the years after the 1970s witnessed an intense segmentation of consumer taste. While U.S. cinema culture has become widely available via television, amusement parks, consumer merchandise, and the Internet, the contemporary era has seen renewed challenges mounted by domestic productions and alternative sources of popular entertainment.
The reception of American literature in Japan was radically altered after the Second World War. Before the war, only a handful of works on American literature were published, and the status of American literature was secondary to that of British literature. Unlike in Germany, whose occupation at the end of the war was divided among the Allies, the military occupation of Japan was conducted unilaterally by the United States. Under the U.S. occupation, American literature was introduced as part of a cultural policy aimed at the reorientation and re-education of Japanese society under the umbrella concept of demilitarization and democratization of postwar Japan. Such cultural politics was the product of a 1930s U.S. State Department program carried out at first in South American countries and then through the Office of War Information in war-torn European countries.
American literature was introduced through the program of the Culture, Information and Education (CIE) section of General Headquarters, Supreme Commander for the Allied Powers (GHQ/SCAP). In accordance with the transformation of the U.S. literary canon as the cultural Cold War regime developed, the book selections of the CIE changed from reflecting the multicultural, New Deal ideal (including books under the Federal Writers Project) to incorporating the modernist canon. American books were distributed to CIE libraries established in major cities in Japan, and in 1948, the CIE launched a new program to promote translations into Japanese. Beside the official distribution, there was also a trade in American books—including Armed Services Editions, which were not meant for sale—on the Japanese used book market. What was really pivotal for instituting American literary studies and its modernist canon were the summer seminars sponsored by the Rockefeller Foundation and held at the University of Tokyo and Kyoto University. The Rockefeller report submitted to Secretary of State John Foster Dulles in 1951 was also instrumental in providing a blueprint for the continued cultural program after the peace treaty of 1951 and the end of military occupation the following year.
The introduction of American literature and its newly reformed canon tuned for modernism occurred within the continuum of the political, the military, and the economic. As such, the cultural program was enmeshed with refashioning Japanese subjectivity, and in this sense, American literature and American studies were part of a general cultural politics that was intertwined with the ways of government.
The Beat writers, especially Jack Kerouac (1922–1969), William Burroughs (1914–1997), Allen Ginsberg (1926–1997), and Gary Snyder (1930–), have been well known in Japan. Though Snyder’s differences from the other three, such as his West Coast background and a reformist and edifying stance, are obvious, here we choose not to be fussy about the application of a name, and simply follow his inclusion as in Ann Charter’s The Penguin Book of the Beats (1992). The Beat writers have been eagerly translated and read in Japan, though they are not a common focus of academic literary study. They exerted influence on writers and artists, in particular in terms of a rebellious attitude toward the conformist society and formalized artistic conventions prevailing in Japan. One conspicuous aspect of their impact is that it is part of the influx of American popular, mainly youth, culture since the 1950s, involving jazz, folk, and rock music, as well as numerous films depicting antiheroes on the road. Some Japanese poets, most notably Shiraishi Kazuko (1931–) and Yoshimasu Gōzō (1939–) were directly inspired by the Beats, and others unwittingly formed parallel developments. Assessing their specific achievements requires considering the historical context of modern Japanese poetry. The Beats, in turn, were attracted by Eastern cultures and religions, especially Buddhism; Snyder through his stay in Japan for the practice and study of Zen Buddhism had direct contact with Japanese poets, academics, and activists. Generally speaking, Japanese today, though they usually have some inkling of what Zen is, are not necessarily aware of the Buddhist heritage informing their basic worldview. Still, literary manifestations of what Alan Watts termed “Beat Zen,” in particular Kerouac’s, are not dissimilar to the religious attitude of many Japanese toward the world, which tends to seek to intuit a sense of enlightenment or salvation here and now, beyond humanly delimited distinctions and preconceptions.