japanamerica

Off Assignment When Roland Kelts was commissioned by a travel magazine to write about Vietnam, he was drawn to the vestiges of its war with the United States. But he was seduced by a man on a motorbike. James Salter wrote that there were people we were born to talk to, and like so many of them in my memory, Hie was just there, short, squat and round-faced, a smooth-skinned twenty-something slowing down next to me as I walked. I answered his questions tersely, hoping he'd leave, but he stayed with me, turning the engine off and pushing his bike alongside: You live in Japan, ah. Oh, you're from New York. I want to go there. How can I go there? At the hotel I asked about Hie. Mr. Lai squinted through the lobby window. "He's okay," he said. For the next 13 days, Hie took me everywhere he thought I should go. He showed me how to slouch into the sunken nook of his vinyl bike seat and drape my arms across his belly and squeeze hard enough not to fall off, bu

After Disaster: Embracing a Living Past through “Ghosts of the Tsunami”  (Words Without Borders) I flew out of Tokyo two days before March 11. There was a mild tremor as I packed, causing the overhead lamp in my kitchen to sway. I crouched over my suitcase, arms extended in my usual high-alert stance, but the earth soon resettled and I went back to folding my socks. Mild side-to-side rocking and the occasional vertical jolt are standard stuff in Japan, the most earthquake prone country in the world. During the days of the disaster and its immediate aftermath, I was in Oregon and California, giving university lectures and an NPR interview about, of all things, Japan’s obsession with apocalypse in its art and popular culture. I would not have remembered that tremor on the ninth had it not been for what happened on the eleventh. Read More >>

Netflix is animated about anime Roland Kelts Taito Okiura Netflix’s director of anime, Taito Okiura, tells me he feels like a local baseball player who got drafted into the U.S. Major Leagues. Except, he doesn’t play the sport. A producer and entrepreneur with over a decade of experience in the industry, Okiura was offered the job twice by Netflix before joining last October. He was unavailable three years ago when first tapped by the company to help open its Japan branch. In 2016, he took a conference call with the talent acquisitions department from corporate headquarters in Los Angeles. “I told them I wasn’t sure how serious Netflix really is about anime. Then I hung up the phone,” he says. (© BONES / PROJECT A.I.C.O.; © KAZUTO NAKAZAWA / PRODUCTION I.G) But Netflix knew how passionate Okiura was about anime. In 2007, he was a key producer on the then-groundbreaking transcultural project, “Afro Samurai,” written and illustrated by Takashi Okazaki, a