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On the sixtieth anniversary of the Pearl Harbor attack, Silence to Light illuminates the tumultuous period, and the aftermath, of World War II and the war in Asia. Through fiction, memoirs, letters, testimonials, film scripts, poetry, photographs, and manga (Japanese cartoons), the volume brings to light the personal and communal memories that have disappeared into silence. Readers get a new and vivid perspective on such events as the Manchurian Incident, the Rape of Nanking, the Battle of Okinawa, Japanese American internment, and the bombing of Hiroshima and Nagasaki. Leza Lowitz, an award-winning translator and writer and the coeditor and cotranslator of two anthologies of contemporary Japanese womens poetry, is guest editor. The art work includes stills from Ogata Keiichi's film Hiroshima through Light; panels from Keiji Nakazawa's manga novel Barefoot Gen; World War IIera photographs from the collections of Shuzo Uemoto and Francis Haar; and a portrait of Uemoto by Paul Kodama.
See
the 30 September 2001 review |
SILENCE
to LIGHT
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Eighth of December. Early this morning, as I lay in bed thinking about all the things I had to do today and nursing Sonoko (our daughter, who was born in June of this year), I clearly heard the words coming from one of the neighbors radios. The
Imperial Headquarters of the Army and Navy have announced that as of shortly
before dawn this morning, 8 December, the Imperial Army and Navy have
entered a state of war with British and American forces in the western
Pacific. The words seeped through the slats in the rain shutters and into the darkness of my room with all the strength and vividness of sunlight. In the same crisp, clear voice, the announcement was repeated. As I lay there quietly listening to it, my entire life changed. It was as if I were bathed in a powerful beam of light that left my body transparent. Or as if the Holy Spirit had breathed through me, leaving a single, cold flower petal lodged in my heart. Nippon, too, has changed. From this morning on, its not the same Nippon. from Dazai Osamu, December 8 In
1945, my fourteen-year-old brother, Ishii Kohei, was a student at the
First Xinjing Middle School in Manchuria, an area of China that had been
occupied by Japan for nearly fifteen years. In order to help with the
Japanese war effortwhich was going badly by thenmy brother
and 120 of his classmates were sent to do manual labor on a National Service
Farm in Dongning, near the then-Soviet border. There, on 9 August, my
brother was caught up in the massive Soviet effort to drive the Japanese
out of Manchuria. from
Ishii Shinpei, "The Canary That Forgot |
Stills
from Ogata Keiichis film
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| A
scientific explanation of an atomic-bomb explosion by Jonathan Schell from
The Fate of the Earth
Whereas most conventional bombs produce only one destructive effectthe shock wavenuclear weapons produce many destructive effects. At the moment of the explosion, when the temperature of the weapon material, instantly gasified, is at the superstellar level, the pressure is millions of times the normal atmospheric pressure. Immediately, radiation, consisting mainly of gamma rays, which are a very high-energy form of electromagnetic radiation, begins to stream outward into the environment. This is called the "initial nuclear radiation," and is the first of the destructive effects of a nuclear explosion. In an air burst of a one-megaton bomba bomb with the explosive yield of a million tons of TNT, which is a medium-sized weapon in present-day nuclear arsenalsthe initial nuclear radiation can kill unprotected human beings in an area of some six square miles. Virtually simultaneously with the initial nuclear radiation, in a second destructive effect of the explosion, an electromagnetic pulse is generated by the intense gamma radiation acting on the air. In a high-altitude detonation, the pulse can knock out electrical equipment over a wide area by inducing a powerful surge of voltage through various conductors, such as antennas, overhead power lines, pipes, and railroad tracks.... When the fusion and fission reactions have blown themselves out, a fireball takes shape. As it expands, energy is absorbed in the form of X rays by the surrounding air, and then the air re-radiates a portion of that energy into the environment in the form of the thermal pulsea wave of blinding light and intense heatwhich is the third of the destructive effects of a nuclear explosion. The thermal pulse of a one-megaton bomb lasts for about ten seconds and can cause second-degree burns in exposed human beings at a distance of nine and a half miles, or in an area of more than two hundred and eighty square miles.... As the fireball expands, it also sends out a blast wave in all directions, and this is the fourth destructive effect of the explosion. The blast wave of an air-burst one-megaton bomb can flatten or severely damage all but the strongest buildings within a radius of four and a half miles.... As the fireball burns, it rises, condensing water from the surrounding atmosphere to form the characteristic mushroom cloud. If the bomb has been set off on the ground or close enough to it so that the fireball touches the surface, a so-called ground burst, a crater will be formed, and tons of dust and debris will be fused with the intensely radioactive fission products and sucked up into the mushroom cloud. This mixture will return to earth as radioactive fallout, most of it in the form of fine ash, in the fifth destructive effect of the explosion. Depending upon the composition of the surface, from 40 to 70 percent of this falloutoften called the "early" or "local" falloutdescends to earth within about a day of the explosion, in the vicinity of the blast and downwind from it, exposing human beings to radiation disease, an illness that is fatal when exposure is intense. |
Panels
from Keiji Nakazawas
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| About the guest editor: Leza Lowitz lived from 1990 to 1994 in Tokyo, where she worked as a freelance journalist for Japan Times and Asahi Evening News. Her books of translation include a long rainy season and other side river, both anthologies of contemporary Japanese women's poetry edited and cotranslated with Miyuki Aoyama. Her own books of poetry include Yoga Poems: Lines to Unfold By. Among her awards are a PEN Syndicated Fiction Award, a National Endowment for the Arts fellowship, and the Tokyo Journal Fiction Translation Prize. | |