Posts featuring Fuminori Nakamura

Our Crisis in Democracy: A View from Japan

October 1, 2022  |  in Essays  |  by Fuminori Nakamura

It’s frightening to think of history repeating itself.

An ultranationalist religious cult infiltrating the highest levels of the Japanese state—the story of the Unification Church is, as Fuminori Nakamura writes, “straight out of a manga”. Yet the shooting of Shinzo Abe in July, by a man who lost his family to the cult-like practices of the Unification Church, has shone a light on the worrying ease with which fringe religion can infiltrate mainstream politics—and not only in Japan, Nakamura argues, but in embattled democracies across the world. With Abe’s state funeral held earlier this week, his essay, the first in a new series of translated opinion pieces we are hosting in our Saturday column, sounds the alarm at an important time.

The relationship between politics and religion in Japan is deeply rooted.  When considering the current iteration of the Unification Church’s connections with Japanese politics, it brings to mind the era in the 1930s when Japan was progressively listing toward war with the United States.  Before getting into that, however, first allow for a brief review of the attack on Japan’s former prime minister, Shinzo Abe.

On July 8, 2022, Mr. Abe was shot and killed while giving an endorsement speech ahead of the national election. The suspect who fired the gun is a forty-one-year-old man, Tetsuya Yamagami. His family was destroyed by cumulative donations his mother had made as a member of the Unification Church. Allegedly his intention had been to target the current leader of the church, Hak Ja Han Moon, the widow of the founder of the Unification movement, but he targeted Mr. Abe instead because he was, to use Yamagami’s own words, “the most influential person who was sympathetic to the Unification Church.” (Author’s note:  Though in Japan it is still referred to as “the former Unification Church,” the church changed its name to the Family Federation for World Peace and Unification, but to avoid confusion I will use its previous designation.)

Since the incident, the depth of the Unification Church’s relationship with, in particular, the ruling Liberal Democratic Party (LDP) is increasingly clear. In Japan, the Unification Church is considered a cult: among their practices, the church tells followers that their ancestors are suffering in the next world and compel them to buy exorbitantly priced jars called “tsubo” (for several million yen) and scriptures called “seihon” (for ¥30,000,000, which is about 50,000 times the cost of a paperback edition of one of my novels in Japan). They also conduct mass weddings where members marry someone chosen for them by the church. Ostensibly, they advocate rather strongly for conservative and right-wing causes. In their desire to rewrite Japan’s pacifist constitution that includes a renunciation of war in order to empower the military as well as their refusal to acknowledge the rights of LGBTQ people, the church bears a strong affinity with the LDP. This has enabled a cult to infiltrate the center of Japan’s politics. Reports about the church’s ties with high-ranking officials within Japan’s National Police Agency as well as the chairman of the Public Safety Commission depict a world straight out of a manga. READ MORE…

Weekly Dispatches from the Front Lines of World Literature

December 3, 2021  |  in Dispatches, News, Weekly Roundup  |  by Carol Khoury, Laurel Taylor, and Mary Hillis

Workshops, festivals, and plenty of new publications and announcements to celebrate in this week's round of literary news.

The “great moon of December” leads us into the final starts of 2021, though the literary world shows no signs of winding down. Let our editors introduce you to classical poetry reawakened, Arab literature awards, star-studded literary events in Tokyo, the latest from the European Literature Festival, and much more!

Carol Khoury, Editor-at-Large, reporting from Palestine

Once upon a time, the so-called ‘women’s magazines’ of today had a completely different form (though they were never truly intended for women per se). Back in the tenth century, there was a celebrated Shiʻite Muslim Arab court poet, master chef, and polymath called Kushājim; originally from Ramla in Palestine—near contemporary Tel Aviv—Kushājim lived during the turbulent war-ridden period of the Middle and Late Abbasid Caliphates, which led him to move between Jerusalem, Damascus, Baghdad, and Cairo before finally settling in Aleppo. During his lifetime, Kushājim was considered the epitome of excellence in literature, and was highly commended by the literary critics of his time, both for his poetic works and intellectual faculties. His canon “vividly chronicles culinary, social, and intellectual aspects of court life [. . .], detailing numerous native and exotic foodstuffs and recipes; the social etiquettes of sharing wine and food; the various musical instruments used at the time to entertain the caliphs and their guests; the harem with its cross-dressing male and female dancers, concubines, and odalisques; the wide variety of plants and geometric designs found in courtly gardens; indoor pastimes and outdoor sports; the art of gift-giving; and the traits of coveted courtiers and boon companions.” What does this resemble but the contemporary women’s magazine?

Ancient Exchanges, an online journal at the University of Iowa devoted to literary translations of ancient texts, has recently published four gastronomic poems by Kushājim—on asparagus, mushabbak, khushkanaj (both desserts), and pomegranates. Translated from classical Arabic by Salma Harland, the four poems are run bilingually, accompanied with art by ArabLit Quarterly art director Hassân Al Mohtasib.

In her translator’s note (which includes a teaching guide), Harland explains that “although the original poems were written in accordance with the fixed feet and rhyme schemes often used in classical Arabic poetry, I have chosen to prioritize aesthetic grace and readability over meter without completely eliminating musicality.”

One is invited to take a seat at Kushājim’s table, set by Harland, and to take in a feast by a master who “not only details the preparation methods and ingredients needed for certain dishes but also the impact that their elegant presentation has on the banquet guests. Mouths water and eager hands cannot keep their distance”; even “[a] sedulous ascetic would break his fast / and yield before such a repast.” READ MORE…