Monday, November 16, 2015

Autumn in Kyoto

Otagi Nenbutsu-ji, Arashiyama, Kyoto. Nov. 2015.

Sunday, November 01, 2015

Wednesday, October 28, 2015

On to Singapore for The Singapore Writers Festival & NUS

Roland Kelts

Roland Kelts is featured in the following SWF event(s):

31 Oct, Sat 4:00 PM - 5:00 PM
TAH, Kumon Blue Room

1 Nov, Sun 2:30 PM - 3:30 PM
TAH, Chamber

1 Nov, Sun 7:00 PM - 8:30 PM
TAH, Kumon Blue Room

Arigato, Smith College

26 October 2015

Tuesday, October 27, 2015

Monkey & Murakami in Manila, in the Philippines Inquirer

Want to satisfy your Murakami and manga cravings? 
Check out Monkey Business
Japan Foundation, Manila hosts a forum on the new literary journal, with contributing editor Roland Kelts and artist Satoshi Kitamura talking about what makes Japanese literature and popular culture click

HARUKI Murakami and Banana Yoshimoto are familiar names in Japanese contemporary writing to Filipinos and the West, more familiar perhaps to the younger generations nowadays than, say, the modern writers such as Yukio Mishima, Jun’ichiro Tanizaki, Kobo Abe, Shohei Ooka, Shusaku Endo and the Nobel laureates Yasunari Kawabata and Kenzaburo Oe.

Older lovers and readers of Japanese fiction and literature may say Filipinos should read the modern writers more (Ooka, for one, wrote the celebrated “Fires on the Plain,” about Japanese soldiers in the Visayas during the Second World War; and Endo, who wrote the novel “Silence,” which no less than Martin Scorsese himself is adapting into a movie, tackled overtly Catholic themes).

But even if younger Filipino readers are enamored of Murakami and Yamamoto, they may also be missing out on other writers in the Japanese contemporary writing scene who are just as qualified to land a best seller on various lists in the West as much as Murakami and the latest hit manga writer and illustrator.

Sunday, October 25, 2015

On Japan's "ghost homes," first column for the New Statesman

Out with the old: the ghost homes of Japan

Japan’s shrinking population has produced a different kind of housing problem.


I recently visited Aizuwakamatsu, a ­rural rice-farming region in northern Japan. The scenery was storybook Asia: precipitous hills, dense with greenery, dipping into narrow-cut rice paddies hedged by brooks and streams. At the onset of dusk one evening, our ­minivan rounded a hillside overlooking the Tadami River. A cluster of homes emerged through the mist, pastel green, pink and pale blue roofs huddled on a patch of land jutting from the shore. With the mountains mirrored in the water surrounding it, the village looked as though it were floating.

One of the local guides told me that the coloured roofs were made of tin or aluminium, covering or entirely replacing the original thatchwork, an icon of traditional Japanese architecture. Upkeep had become too expensive, and the risk of fires or snow collapses too much for elderly inhabitants to bear. But what is really sad, she said, is that no one wants to live here any more. Rural Japan is dying.

Thursday, October 22, 2015

Thank you, Manila!

At Ayala Museum, Makati City, Manila, Philippines. 
(photos Japan Foundation, Manila)

Tuesday, October 20, 2015

On the death of Japan's game industry, for The Japan Times

Japan once ruled and defined the global gaming industry. In the arcade age, Japanese developers gave us “Pac-Man,” “Space Invaders” and “Donkey Kong.” In the era of physical consoles: “Metal Gear Solid,” “Snatcher,” “Final Fantasy” and “Silent Hill.” Japan’s creative use of technology, physical design and narrative whimsy once made it the only country in the world that consistently delivered interactive pleasures via buttons and joysticks.

But as veteran American translator, localizer and voice director Jeremy Blaustein reminds me, that was a very long time ago.

Since then, the Japanese gaming industry has grown increasingly marginal in the global market. Costs have soared, technologies advanced exponentially and the Americans overtook the business. Speaking at the Tokyo Game Show in 2009, game creator Keiji Inafune was unequivocal: “Japan is over,” he said. “We’re done. Our game industry is finished.”

Live in Manila this week for The Asia Pacific Writers & Translators Conference

Specs & Tix.

Friday, October 02, 2015

Reviving Japan by restoring its homes, for The Journal

Minka: a tale of friendship and renewal
[photos courtesy of Craig Mod and Yoshihiro Takishita]

By Roland Kelts

To residents of the seaside tourist town of Kamakura, Kanagawa Prefecture, it’s known as “the house on the hill”—an 18th century Japanese minka farmhouse perched atop Genjiyama, one of the town’s highest elevations.

Rumored through the years to be the villa of a former prime minister, the sanctuary of an ocean-worshipping religious cult, even the refuge of a disgraced foreign leader, it is in fact a nearly 300-year-old wooden edifice moved there in the 1960s from the rural Japanese prefecture of Gifu.

The farmhouse was painstakingly rebuilt, restored, and modernized by two men: the late American Associated Press journalist John Roderick and his adopted Japanese son, Yoshihiro Takishita. Today, it’s one of the most beautiful monuments to traditional Japan that is more than just a relic.

Thursday, September 17, 2015

On the newly legal 'hentai' erotic, pornographic manga/anime site, FAKKU, for The Japan Times


When Jacob Grady began pirating anime and manga online eight years ago, he was still in college. He took out student loans to pay the server bills, and figured that if he ever made enough money from the site to purchase a round-trip flight to Japan, the effort and expense would be worth it.

Like many Americans, he got hooked on Japanese pop culture as a kid through the Cartoon Network’s action-oriented programming block called “Toonami” (“cartoon tsunami”). He would race home from school to catch the latest episodes of “Dragonball Z” and “Gundam Wing.”

But Grady was not pirating anime adventure series or kids’ shows like “Pokemon.” The content on his site was what most non-Japanese call “hentai” (abnormal, perverted), and in Japan is still largely known as ero-manga, ero-anime, or just porno.

“At some point, going through puberty and exploring the Internet for the first time, I came across hentai,” he says. “I just never looked back.”

Japanamerica goes to SMITH COLLEGE next month

Tuesday, September 01, 2015

Thanks to Brooklyn, the Wythe Hotel & Waku Waku +NYC

At the Wythe Hotel with Christopher Macdonald. (photo, Susan McCormac Hamaker)

(photo, Lawrence Brenner)

Tuesday, August 25, 2015

Speaking & signing in Brooklyn this Sat. 8/29 for "Waku Waku +NYC"

Roland Kelts
Category: Anime

"Who is the Real Osamu Tezuka, 'God of Manga & Anime'?"
Panel #305
8.29.2015 3:30pm-4:30pm 60 mins
Location: Wythe Hotel Conference Room


Roland Kelts was born to an American father and a Japanese mother, and grew up in both America and Japan. Kelts is the author of Japanamerica: How Japanese Pop Culture has Invaded the US, as well as a visiting scholar at Keio University in Tokyo. As a journalist, essayist and columnist, he writes for many publications such as The New Yorker, The Guardian and The Japan Times, and he is an authority on Japan’s contemporary literary and popular cultures. He imparts his unique perspective on Japanese pop culture to the rest of the world as a public speaker and media commentator on CNN, NPR, NHK and the BBC. Most recently, Kelts delivered a TED Talk in Tokyo at TedxHaneda.

Tuesday, August 18, 2015

AKB48 goes American, for The Japan Times

AKB48 turns to an American studio

Director Keishi Otomo and AKB48
By Roland Kelts

AKB48’s commercial success in Japan is often derided as a sign of the culture’s patriarchal infantilization of women, and the girl group’s inability to appeal to Western audiences a sign of Japan’s increasingly isolated ideas about femininity, sexuality and pop music. Put simply: outside of Japan, AKB48 will never be Psy.

But inside Japan, it’s a reliable moneymaker. Its most recent single, “We Won’t Fight” (Bokutachi wa Tatakawanai), topped the Oricon charts in June. The idol group is the no. 2 bestselling music act in the entire history of Japanese pop music in terms of singles sold. And Japan is the second-largest pop music market in the world – just behind the United States.

Cuteness sells in Japan, especially if it’s well-marketed. Which is why AKB48’s latest music video is puzzling. The ironically titled 12-minute epic, “We Won’t Fight” [short v.], was released this summer. In it, the kawaii (cute) girls are more Ronda Rousey than Sailor Moon.

Cutters' Tokyo film editor, Aki Mizutani