The effects of the Tohoku earthquake on aftershocks in two new novels by Kimora Yusuke

On March 11, 2011, Japan was struck by three consecutive disasters: the magnitude 9 earthquake, the ensuing tsunami, and the collapse of three reactors at the Fukushima Daiichi Nuclear Power Plant. In his novel, Sacred Cesium Ground and Isa Deluge, Kimura Yusuke explores the complexity of survivors’ emotions in the aftermath.

Reading translator Doug Slimeker’s closing word first helps in reading novels. Slaymaker’s biographical information puts it in context and makes the point that “Kimura’s stories here are not about disaster, but are driven by a desire to express life and present it in its aftermath.” Both novels take their time to create an important exhibition that may be unknown to some readers.

Cesium Sacred Ground depends on actual places and people. There is a surreal tone despite the presentation of such facts. Sly Maker notes: “Japanese readers will know the real, natural result of this farm, Kibo no Bokuju (Farm of Hope), where Yoshizawa Masami, the charismatic cattle farmer, set up a community in defiance of government orders.” The novel is the most successful of the two, as it follows the plot line of a Tokyo woman, frustrated with her husband and lack of job opportunities, to aid in Castle of Hope. As Nishino interacts with cows, the central farmer, and other volunteers, Kimura demonstrates subtle emotions that lead to complex and contradictory viewpoints. Once, the hero was stunned when she met Mr. Sendo, the “living legend”. Other fleeting feelings include the moment when the farm cat crawls into Nishino’s lap and remembers what she learned from another volunteer: “… keep them. [the cows] Alive. Because they live. ”The other thing is the simple pleasure of saying one has done well.

Structurally, the story is linear, as the reader follows the routine duties that Nishino does physically over the course of three days: removing sediment and manure and filling tubs with crushed soybeans to feed the cows. But along the way, other workers offer insights and contradictions. Mikado Nishino asks, “What do you think about these things,” then goes on to explain, “It is [the food] They were irradiated … don’t you wonder what will happen to them? There are calves here too. ”Mikado continues,“ I’m not sure if we are keeping them alive, or are we slowly killing them … ”

In an important speech, Sendo explains to Nichino: “The fact that our town has disappeared. The fact that so many living things have died of starvation – like everything wiped out, wiped clean, the end… Even if we could move things from here, nobody would buy them. … these people will never be able to raise livestock. ” When Nishino runs her Geiger counter on the farm, she makes a grumpy sound. Although the farms and volunteers are doing their best to keep the herd of cows alive, this is not enough. They lack medicine, face food shortages, and cannot protect animals from radiation. Even for Sendo, his stance against the ministry’s rhetoric of irradiated cattle as “live debris” is a one-way street: “Once I said I entered, it was too late to back off. Nothing but continuing to advance.”

While Sacred Cesium Ground is driven by interviews and research, Isa’s Deluge is a more inner journey for the main character, Shoji, who has returned to his hometown Hachinohe for a middle school reunion. Despite living and educating in Tokyo, Shoji found no purpose in his job as an editor at a publishing company, and he left it. What interests Shoji are the stories about his violent, alcoholic uncle – a squid fisherman, a moneylender, and a criminal jailed for destroying the family home and threatening them with a knife.

While visiting his cousin, uncle, and even his father, Shoji learns from their oral stories and their dialogue. During this time period, Shoji also gets to know a classmate named Sawada, who has rescued nearly 30 people in danger of being drawn by the tsunami. Sawada later says, “This is what you have to do.” Although fading from the main focus of everyday life, the effects of these disasters are always there.

All the time, Shoji drinks and smokes. Shrink to himself when he’s around other people. They are only stories of Jesus teaching his cousin to eat birds or dogs, or smashing the coffin of a dead brother with a stone that shakes Shoji from his depression. There is negativity inherent in Shoji and his hometown inhabitants. Instead of depriving Isa of his inheritance, his brothers and sisters have not pressed charges against him saying, “So sad, so sad.”

Similar to Sacred Cesium Ground, it is an introduction to other characters that deepens the reader’s understanding. Shoji’s uncle, Kakujiro. He should explain about survival and recovery: “We have all been beaten… everyone has been driven from their homes. Then the damage is caused by malicious rumors and outrageous news stories… But the thing is, the land and the sea are really polluted now … We can be more explicit in discussing our pain and suffering … But being human from Tohoku, it is just something we cannot do. “

This theme of repression is strongest in Shoji’s inner dreams, as “he was trying to block the cave by throwing all the episodes related to his uncle there, and that and everything else, including things related to the recent earthquake. And the tsunami in his hometown.”

While the theme of disaster is the theme of the hour in these two narratives, Kimura weaves a wonderful and surprising mosaic of feelings surrounding the abandoned and forgotten.

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