Pavilion has survived unscathed - starts feeling the urge to destroy it. Gradually - especially after the war has been lost and the Golden Has been so obsessed with the beauty of the Golden Pavilion (possiblyĪs a symbol for the whole of Japanese traditional culture) that he Mizoguchi is a young man afflicted with a stutter, who from his youth on The actual arson of a famous Kyoto temple by a Zen acolyte. ("The Temple of the Golden Pavilion"), a psychological novel based on (1) Mishima Yukio writes his greatest novel, Kinkakuji Japan becomes a member of the United Nations. The 1956 White Paper on the Economy declares an “end to the postwar period.” (humorous stories about salarymen), and Hoshi Shinichi and Komatsu Sakyo Historical fiction), Shiba Ryotaro (historical fiction), Genji Keita Dominant writers were: Matsumoto Seicho (detective and "Popular" literature or genre literature also flourished. Sleeping Beauties and The Old Capital by Kawabata Yasunari and Black Rain, the seminal novel about the aftermath of the atomic bomb, by Such as The Key and Diary of a Mad Old Man by Tanizaki Junichiro (who would die in 1965) The House of The doyens of Japanese literature also continued writing strong works, Tile of Tempyo and Tun-huang Endo Shusaku The Sea and Poison and Volcano. Golden Pavilion and After the Banquet Inoue Yasushi The Roof Years were now at their best: Abe Kobo wrote The Woman in the Dunes, Theįace of Another and The Ruined Map Mishima Yukio published The Temple of the
The writers from the "three generations" that started in the postwar The 1960s was the beginning of an era when woman writers became increasingly important. Woman writers coming to prominence included Enchi Fumiko, Ariyoshi Sawako, Setouchi Harumi, Kurahashi Yumiko and Kono Taeko. After the "Third Postwar Generation," in the second half of the 1950s appeared various important new writers as Oe Kenzaburo, Kaiko Takeshi and Miura Tetsuo. Much of that was good, or even necessary, but was it enough, and hadn't much been lost as well?Īs regards literature, this was a fecund time. The prewar identity had been replaced by the consumer society, new economic patterns, rise in the status of women, advance of the conjugal family, new education, unionization, pursuit of personal happiness and new religious freedom. Still, the trauma from militarism and the loss of the war festered on and the question of identity remained an important one.
The second half of the fifties also saw the beginning of rebellious youth culture in Japan ("Taiyo-zoku"), as all over the world.Īs a result of high growth, by the middle of the sixties most Japanese would consider themselves as "middle class " the postwar poverty was for good a thing of the past. would have to be renewed or not (the answer, in 1960, was "yes," but the protests against the renewal became the largest anti-government demonstration in postwar Japan) - but the first half of the sixties were the politically calmer years of the birth of the "economic miracle," of the start of the rather unthinking pursuit of economic gains. The late fifties were still a period of labor conflicts and political strife - about whether the security treaty with the U.S. In other words, economically the Japanese were finally back where they had been two decades earlier.
In 1956, the White Paper on the Economy declared an “end to the postwar period.” This meant that Japan had finally recovered from war devastation and regained the level of overall national wealth it had around 1935. Modern Japanese Fiction by Year (8): 1956-1960 - The Years of Recovery
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