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Every year, nearly one hundred thousand Japanese vanish without a trace. Known as the johatsu, or the “evaporated,” they are often driven by shame and hopelessness, leaving behind lost jobs, disappointed families, and mounting debts. In The Vanished, journalist Léna Mauger and photographer Stéphane Remael uncover the human faces behind the phenomenon through reportage, photographs, and interviews with those who left, those who stayed behind, and those who help orchestrate the disappearances. Their quest to learn the stories of the johatsu weaves its way through: A Tokyo neighborhood so notorious for its petty criminal activities that it was literally erased from the maps Reprogramming camps for subpar bureaucrats and businessmen to become “better” employees The charmless citadel of Toyota City, with its iron grip on its employees The “suicide” cliffs of Tojinbo, patrolled by a man fighting to save the desperate The desolation of Fukushima in the aftermath of the tsunami And yet, as exotic and foreign as their stories might appear to an outsider’s eyes, the human experience shared by the interviewees remains powerfully universal.
A VIBRANT, MEDITATIVE WALK IN SEARCH OF THE SOUL OF JAPAN Traveling by foot through mountains and villages, Alan Booth found a Japan far removed from the stereotypes familiar to Westerners. Whether retracing the footsteps of ancient warriors or detailing the encroachments of suburban sprawl, he unerringly finds the telling detail, the unexpected transformation, the everyday drama that brings this remote world to life on the page. Looking for the Lost is full of personalities, from friendly gangsters to mischievous children to the author himself, an expatriate who found in Japan both his true home and dogged exile. Wry, witty, sometimes angry, always eloquent, Booth is a uniquely perceptive guide. Looking for the Lost is a technicolor journey into the heart of a nation. Perhaps even more significant, it is the self-portrait of one man, Alan Booth, exquisitely painted in the twilight of his own life.
This classic text of Japanese culture contains a wealth of information about traditional Japan and Japanese customs. Pawnshops and handmade paper, shoe shiners and Shinto jugglers, money rakes and mosquito netting--all these were once a familiar part of daily life in Japan. Many elements of that daily life, like the Obon dances and oreiboko apprenticeships, have no counterpart in any other culture: they are purely unique to Japan. But with the tremendous changes of the modern age, most traces of traditional life in Japan are fast disappearing, soon to be gone forever. Still, there are a few holdouts, especially in Japan's shitamachi, or working-class neighborhoods, where many of the survivors of Japanese crafts, art forms, and festivals are making their last stand. Vanishing Japan is a must-read for tourists, historians, architects, or artists who are interested in Japanese culture.
Japan today is haunted by the ghosts its spectacular modernity has generated. Deep anxieties about the potential loss of national identity and continuity disturb many in Japan, despite widespread insistence that it has remained culturally intact. In this provocative conjoining of ethnography, history, and cultural criticism, Marilyn Ivy discloses these anxieties—and the attempts to contain them—as she tracks what she calls the vanishing: marginalized events, sites, and cultural practices suspended at moments of impending disappearance. Ivy shows how a fascination with cultural margins accompanied the emergence of Japan as a modern nation-state. This fascination culminated in the early twentieth-century establishment of Japanese folklore studies and its attempts to record the spectral, sometimes violent, narratives of those margins. She then traces the obsession with the vanishing through a range of contemporary reconfigurations: efforts by remote communities to promote themselves as nostalgic sites of authenticity, storytelling practices as signs of premodern presence, mass travel campaigns, recallings of the dead by blind mediums, and itinerant, kabuki-inspired populist theater.
Startlingly restless and immaculately compact, Manazuru paints the portrait of a woman on the brink of her own memories and future. Twelve years have passed since Kei’s husband, Rei, disappeared and she was left alone with her three–year–old daughter. Her new relationship with a married man—the antithesis of Rei—has brought her life to a numbing stasis, and her relationships with her mother and daughter have spilled into routine, day after day. Kei begins making repeated trips to the seaside town of Manazuru, a place that jogs her memory to a moment in time she can never quite locate. Her time there by the water encompasses years of unsteady footing and a developing urgency to find something. Through a poetic style embracing the surreal and grotesque, a quiet tenderness emerges from these dark moments. Manazuru is a meditation on memory—a profound, precisely delineated exploration of the relationships between lovers and family members.
History -- Yukata-cotton robes -- Nagajuban-undergarments -- Women's kimono -- Tomesode-kimono for formal occasions -- The obi and accessories -- Women's haori-short silk jackets -- Michiyuki-overcoats -- Men's apparel -- Uchikake and furisode -- Children's kimono -- Furoshiki & fukusa-ceremonial cloths -- Religious & ceremonial wear -- Fragments into finery-Japanese textiles renewed
In the tales that make up The Elephant Vanishes, the imaginative genius that has made Haruki Murakami an international superstar is on full display. In these stories, a man sees his favorite elephant vanish into thin air; a newlywed couple suffers attacks of hunger that drive them to hold up a McDonald’s in the middle of the night; and a young woman discovers that she has become irresistible to a little green monster who burrows up through her backyard. By turns haunting and hilarious, in The Elephant Vanishes Murakami crosses the border between separate realities—and comes back bearing remarkable treasures. Includes the story "Barn Burning," which is the basis for the major motion picture Burning.
This is a 3-volume set of oversize books that span the continent of Asia. Ancient and beautiful traditions in Asia that are rapidly disappearing are recorded here in 9,000 images on 1,000 pages. The author has visited 35 countries in Asia and has travelled to the end of the road in its most remote places to capture the costumes, architecture, festivals, and lifestyles that are vanishing. The diverse cultures range from Turkey in the west to Japan in the east, from Siberia in the north to Indonesia in the south, and everything in between. Volume 1 covers West Asia, Volume 2 Central Asia, and Volume 3 East Asia. Every one of its 1,000 pages is uniquely designed, and every one of its 9,000 images is captioned. This is an ambitious and extreme passion project that the author/photographer has worked on for 49 years. Many of the scenes depicted in the book are now gone from the world, and others are becoming rarer by the day. There is no other book like it.
Yoshiharu Tsuge leaves early genre trappings behind, taking a light, humorous approach in these stories based on his own travels. Red Flowers ranges from deep character studies to personal reflections to ensemble comedies set in the hotels and bathhouses of rural Japan. There are irascible old men, drunken gangsters, reflective psychiatric-hospital escapees, and mysterious dogs. Tsuge’s stories are mischievous and tender even as they explore complex relationships and heartache. It’s a world of extreme poverty, tradition, secret fishing holes, and top-dollar koi farming. The title story highlights the nuance and empathy that made Tsuge’s work stand out from that of his peers. A nameless traveler comes across a young girl running an inn. While showing the traveler where the best fishing hole is, a bratty schoolmate reveals the girl must run the business because her alcoholic father is incapable. At the story’s end, the traveler witnesses an unusual act of kindness from the boy as the girl suffers her first menstrual cramps — and a simple travelogue takes on unexpected depth. Red Flowers affirms why Tsuge went on to become one of the most important cartoonists in Japan. These vital comics inspired a wealth of fictionalized memoir from his peers and a desire within the postwar generation to document and understand the diversity of their country’s culture.