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Gene Jacobsen was a nineteen-year-old Idaho ranch kid when he decided to join the Army Air Corps in September 1940. By December 1941 he was supply sergeant for the Twentieth Pursuit Squadron at Clark Field in the Philippines. Five months later he was a captive of the Imperial Japanese Army, enduring the Bataan death march and subsequent horrors in the Philippines and Japan. Of the 207 officers and men who made up Jacobsen’s squadron at the beginning of the war, sixty-five survived to return to the United States. We Refused to Die recounts Jacobsen’s struggle, against all odds, to remain one of those sixty-five men.

In engaging, direct prose, Jacobsen’s three-and-a-half year experience as a prisoner of war takes the reader on a brutal and harrowing march through hatred and forgiveness, fortitude and freedom. We Refused to Die is an honest memoir that shines light on one of history’s darkest moments.

Kurihara Sadako is one of the poetic giants of the nuclear age. Born in Hiroshima in 1913, she was in Hiroshima on August 6, 1945. From then till now she has addressed her poetry primarily to issues of nuclear destruction, nuclear weapons, and nuclear power. Herself a victim of the world’s first nuclear attack, she became the poetic conscience of the Hiroshima that was no more. But Kurihara turned her attention soon to more controversial issues, including Japan’s role as victimizer in World War II. Many of her poems attack the Japanese government and its policies then and now.

When We Say “Hiroshima” contains a selection of the poems Kurihara wrote between 1942 and 1989. They include meditations on death, on survival, on nuclear radiation, on Japanese politics, on American foreign policy, and on women’s issues.

Women and Public Life in Early Meiji Japan focuses on women’s activities in the new public spaces of Meiji Japan. With chapters on public, private, and missionary schools for girls, their students, and teachers, on social and political groups women created, on female employment, and on women’s participation in print media, this book offers a new perspective on nineteenth- and early twentieth-century Japanese history. Women’s founding of and participation in conflicting discourses over the value of women in Meiji public life demonstrate that during this period active and vocal women were everywhere, that they did not meekly submit to the dictates of the government and intellectuals over what women could or should do, and that they were fully integrated in the production of Meiji culture.

Mara Patessio shows that the study of women is fundamental not only in order to understand fully the transformations of the Meiji period, but also to understand how later generations of women could successfully move the battle forward. Women and Public Life in Early Meiji Japan is essential reading for all students and teachers of 19th- and early 20th-century Japanese history and is of interest to scholars of women’s history more generally.

Over the past few decades, many young Japanese women have emerged as Japan’s most enthusiastic “internationalists,” investing in study or work abroad, or in romance with Western men as opportunities to circumvent what they consider their country’s oppressive corporate and family structures. Drawing on a rich supply of autobiographical narratives, as well as literary and cultural texts, Karen Kelsky situates this phenomenon against a backdrop of profound social change in Japan andwithin an intricate network of larger global forces.

In exploring the promises, limitations, and contradictions of these “occidental longings,” Women on the Verge exposes the racial and erotic politics of transnational mobility. Kelsky shows how female cosmopolitanism recontextualizes the well-known Western male romance with the Orient: Japanese women are now the agents, narrating their own desires for the “modern” West in ways that seem to defy Japanese nationalism as well as long-standing relations of power not only between men and women but between Japan and the West. While transnational movement is not available to all Japanese women, Kelsky shows that the desire for the foreign permeates many Japanese women’s lives. She also reveals how this feminine allegiance to the West—and particularly to white men—can impose its own unanticipated hegemonies of race, sexuality, and capital.

Combining ethnography and literary analysis, and bridging anthropology and cultural studies, Women on the Verge will also appeal to students and scholars of Japan studies, feminism, and global culture.

 

 

 

Beer, ice cream, and socializing; thighs, abs, and pecs—Japanese fitness clubs combine entertainment and exercise, reflecting the Japanese concept of fitness as encompassing a zest for life as well as physical health. Through an engaging account of these clubs, Working Out in Japan reveals how beauty, bodies, health, and leisure are understood and experienced in Japan today. An aerobics instructor in two of Tokyo’s most popular fitness club chains from 1995 to 1997, Laura Spielvogel captures the diverse voices of club members, workers, and managers; women and men; young and old.
Fitness clubs have proliferated in Japanese cities over the past decade. Yet, despite the pervasive influence of a beauty industry that values thinness above all else, they have met with only mixed success . Exploring this paradox, Spielvogel focuses on the tensions and contradictions within the world of Japanese fitness clubs and on the significance of differences between Japanese and North American philosophies of mind and body. Working Out in Japan explores the ways spaces and bodies are organized and regulated within the clubs, the frustrations of female instructors who face various gender inequities, and the difficult demands that the ideal of slimness places on Japanese women. Spielvogel’s vivid investigation illuminates not only the fitness clubs themselves, but also broader cultural developments including the growth of the service industry and the changing character of work and leisure in Japan.

From Tokyo Story to Godzilla, You Only Live Twice to Enter the Void, World Film Locations: Tokyo presents a kaleidoscopic view of one of the world’s most exciting cities through the lens of cinema. Illustrated throughout with dynamic screen shots, this volume in Intellect’s World Film Locations series spotlights fifty key scenes from classic and contemporary films shot in Tokyo, accompanied by insightful essays that take us from the wooden streets of pre-nineteenth-century Edo to the sprawling “what-if” megalopolis of science fiction and fantasy anime. Important themes and players—among them Akira Kurosawa, Samuel Fuller, and Sofia Coppola—are individually considered. For the film scholar, or for all those who love Japanese cinema and want to learn more, World Film Locations: Tokyo will be an essential guide.

At its peak in the 1950s and 1960s, automobile manufacturing was the largest, most profitable industry in the United States and residents of industry hubs like Detroit and Flint, Michigan had some of the highest incomes in the country. Over the last half-century, the industry has declined, and American automakers now struggle to stay profitable. How did the most prosperous industry in the richest country in the world crash and burn? In Wrecked, sociologists Joshua Murray and Michael Schwartz offer an unprecedented historical-sociological analysis of the downfall of the auto industry. Through an in-depth examination of labor relations and the production processes of automakers in the U.S. and Japan both before and after World War II, they demonstrate that the decline of the American manufacturers was the unintended consequence of their attempts to weaken the bargaining power of their unions.
 
Today Japanese and many European automakers produce higher quality cars at lower cost than their American counterparts thanks to a flexible form of production characterized by long-term sole suppliers, assembly and supply plants located near each other, and just-in-time delivery of raw materials. While this style of production was, in fact, pioneered in the U.S. prior to World War II, in the years after the war, American automakers deliberately dismantled this system. As Murray and Schwartz show, flexible production accelerated innovation but also facilitated workers’ efforts to unionize plants and carry out work stoppages. To reduce the efficacy of strikes and combat the labor militancy that flourished between the Depression and the postwar period, the industry dispersed production across the nation, began maintaining large stockpiles of inventory, and eliminated single sourcing. While this restructuring of production did ultimately reduce workers’ leverage, it also decreased production efficiency and innovation. The U.S. auto industry has struggled ever since to compete with foreign automakers, and formerly thriving motor cities have suffered the consequences of mass deindustrialization.
 
Murray and Schwartz argue that new business models that reinstate flexible production and prioritize innovation rather than cheap labor could stem the outsourcing of jobs and help revive the auto industry. By clarifying the historical relationships between production processes, organized labor, and industrial innovation, Wrecked provides new insights into the inner workings and decline of the U.S. auto industry.
 

Despite its centuries-long tradition of literary and artistic depictions of love between men, around the fin de siècle Japanese culture began to portray same-sex desire as immoral. Writing the Love of Boys looks at the response to this mindset during the critical era of cultural ferment between the two world wars as a number of Japanese writers challenged the idea of love and desire between men as pathological.

Jeffrey Angles focuses on key writers, examining how they experimented with new language, genres, and ideas to find fresh ways to represent love and desire between men. He traces the personal and literary relationships between contemporaries such as the poet Murayama Kaita, the mystery writers Edogawa Ranpo and Hamao Shiro, the anthropologist Iwata Jun’ichi, and the avant-garde innovator Inagaki Taruho.

Writing the Love of Boys shows how these authors interjected the subject of male–male desire into discussions of modern art, aesthetics, and perversity. It also explores the impact of their efforts on contemporary Japanese culture, including the development of the tropes of male homoeroticism that recur so often in Japanese girls’ manga about bishonen love.