I began formally researching Japanese occupied northeast China in the late nineties in graduate school at Harvard University. Manchuria always fascinated me as a confluence of cultures: even prior to the 19th century, Chinese, Japanese, Koreans, Russians, Eastern Europeans, Mongols, and indigenous peoples circulated within the region in China's periphery. In the 1930s until 1945, Japanese propaganda portrayed the area as a "utopia" under Confucian principles, but in the mid-1990s, the horrors of the occupation for colonized peoples as well as imperial Japan's biological weapons experimentation during the Asia-Pacific War came to light in Japan and elsewhere as former Japanese settlers as well as researchers began to tell their stories.
In this edited volume with contributions from scholars from China, Japan, Korea, and North America, we investigate the intellectual climate of Manchukuo and interrogate how writers found both opportunity and peril in this new state under Japanese control. This study approaches Manchukuo literature from a transnational perspective, and most importantly, not all of the scholars in our collection agree with each other! We contest the "collaboration-resistance" binary that had been so persistent in much scholarship related to China under Japanese occupation by illuminating the complex choices made by cultural producers during their careers. One of our chapters features an essay by one of Manchukuo's last living writers.
This groundbreaking volume critically examines how writers in Japanese-occupied northeast China negotiated political and artistic freedom while engaging their craft amidst an increasing atmosphere of violent conflict and foreign control. The allegedly multiethnic utopian new state of Manchukuo (1932–1945) created by supporters of imperial Japan was intended to corral the creative energies of Chinese, Japanese, Koreans, Russians, and Mongols. Yet, the twin poles of utopian promise and resistance to a contested state pulled these intellectuals into competing loyalties, selective engagement, or even exile and death―surpassing neat paradigms of collaboration or resistance. In a semicolony wrapped in the utopian vision of…
Jeremy A. Yellen is a historian at the Chinese University of Hong Kong. His research focuses on modern Japan’s international, diplomatic, and political history. He maintains a strong interest in the history of international relations and international order.
When people ask for book recommendations on Japan’s empire, Louise Young's Japan’s Total Empire usually tops my list. Young focuses on the empire in Manchuria from 1931 to 1945, and highlights Manchuria as more than a Japanese military conquest—it was also a vast cultural project that mobilized the nation behind state intervention at home and imperial expansion abroad. To tell this story, Young focuses on much more than the army and civilian bureaucracy—she also shows how an ideal Manchukuo was imagined by multiple actors, from the mass media and business groups to intellectuals, settlers, and grassroots associations. Empire in Manchuria mobilized the Japanese state and society to an unprecedented degree, and transformed it in enduring and irrevocable ways.
In this first social and cultural history of Japan's construction of Manchuria, Louise Young offers an incisive examination of the nature of Japanese imperialism. Focusing on the domestic impact of Japan's activities in Northeast China between 1931 and 1945, Young considers "metropolitan effects" of empire building: how people at home imagined and experienced the empire they called Manchukuo. Contrary to the conventional assumption that a few army officers and bureaucrats were responsible for Japan's overseas expansion, Young finds that a variety of organizations helped to mobilize popular support for Manchukuo--the mass media, the academy, chambers of commerce, women's organizations, youth…
I began formally researching Japanese occupied northeast China in the late nineties in graduate school at Harvard University. Manchuria always fascinated me as a confluence of cultures: even prior to the 19th century, Chinese, Japanese, Koreans, Russians, Eastern Europeans, Mongols, and indigenous peoples circulated within the region in China's periphery. In the 1930s until 1945, Japanese propaganda portrayed the area as a "utopia" under Confucian principles, but in the mid-1990s, the horrors of the occupation for colonized peoples as well as imperial Japan's biological weapons experimentation during the Asia-Pacific War came to light in Japan and elsewhere as former Japanese settlers as well as researchers began to tell their stories.
In tandem with the "Manshû bûmu" [Manchuria Boom] in Japan from the late nineties until early aughts, numerous memoirs have appeared on the market by former Japanese settlers of Manchukuo. One of the more chilling and nuanced accounts is that of Takarabe Toriko, a celebrated Japanese poet, who was a child and preteen during the 1930s and 1940s in a family where her father served as a Kantô Army officer near Jiamusi in Japanese-occupied northeast China. She herself experienced and witnessed life under Japanese occupation, as well as the brutal revenge exacted upon Japan's overlords after defeat, where both Chinese and Russians wreaked violence upon their oppressors as the Japanese attempted to flee. As a young girl, Takarabe recounts personal memories of a horror that, ironically, had been experienced by the colonized only a short time before. This engaging memoir expertly translated by Phyllis Birnbaum is both fascinating and a…
Takarabe Toriko's autobiographical novel Heaven and Hell is a beautiful, chilling account of her childhood in Manchukuo, the puppet state established by the Japanese in northeast China in 1932. As seen through the eyes of a precocious young girl named Masuko, the frontier town of Jiamusi and its inhabitants are by turns enchanting, bemusing, and horrifying. Takarabe skillfully captures Masuko's voice with language that savors Manchukuo's lush forests and vast terrain, but violence and murder are ever present, as much a part of the scenery as the grand Sungari River.
Masuko recounts the "Heaven" of her early life in Jiamusi,…
