Kenji Miyazawa

In this Japanese name, the family name is Miyazawa. Takuboku Ishikawa.*[3] After graduating from middle school, he helped out in his father's pawnshop.*[9] By 宮沢賢治 宮澤賢治 1918, he was writing in the genre, and had already Kenji Miyazawa ( or Miyazawa * Kenji, 27 August 1896 – 21 September 1933) was a composed two tales for children. [3] At high school he converted to the Hokke sect after reading the Lotus Su- Japanese poet and author of children's literature from Hanamaki, Iwate in the late Taishō and early Shōwa tra, a move which was to bring him into conflict with his *[3] In 1918, he graduated from Morioka Agricul- periods. He was also known as an agricultural sci- father. 盛岡⾼等農林学校 ence teacher, a vegetarian, cellist, devout Buddhist, and ture and Forestry College ( Morioka utopian social activist.*[1] Kōtō Nōrin Gakkō, now the Faculty of Agriculture at Iwate University).*[10] He embraced vegetarianism in Some of his major works include Night on the Galac- the same year.*[3] A bright student, he was then given a tic Railroad, Kaze no Matasaburo, Gauche the Cellist, position as a special research student in geology, develop- and The Night of Taneyamagahara. Kenji converted to ing an interest in soil science and in fertilizers.*[3] Later Buddhism after reading the , and in 1918, he and his mother went to to look af- joined the Kokuchūkai, a Nichiren Buddhist organiza- ter his younger sister Toshi (宮澤トシ Miyazawa Toshi), tion. His religious and social beliefs created a rift between who had fallen ill while studying in Women's Uni- him and his wealthy family, especially his father, though versity*[5]*[7] He returned home after his sister had re- after his death his family eventually followed him in con- covered early the following year.*[3]*[11] verting to . Kenji founded the Rasu Farmers Association to improve the lives of peasants in As a result of differences with his father over religion . He was also a speaker of Esperanto and and his repugnance for commerce generally and the fam- translated some of his poems into that language. ily pawnshop business in particular (he yielded his in- heritance to his younger brother Seiroku),*[3] he left He died of pneumonia in 1933. Almost totally unknown Hanamaki for Tokyo in January 1921.*[3]*[4] There, he as a poet in his lifetime, Kenji's work gained its reputation joined Tanaka Chigaku's Kokuchūkai, and spent several posthumously,*[2] and enjoyed a boom by the mid-1990s months in dire poverty preaching Nichiren Buddhism in on his centenary.*[3] A museum dedicated to his life and the streets.*[3] After eight months in Tokyo, he took works was opened in 1982 in his hometown. Many of his once more to writing children's stories, this time pro- children's stories have been adapted as , most no- lifically, under the influence of another Nichiren priest, tably Night on the Galactic Railroad. Many of his tanka Takachiyo Chiyō, who dissuaded him from the priesthood and free verse poetry, translated into multiple languages, by convincing him that Nichiren believers best served is still popular today. their faith by striving to embody it in their profession.*[3] He returned to Hanamaki due to the renewed illness of his beloved younger sister.*[4]*[12] At this time he became a teacher at the Agricultural School in Hana- 1 Biography maki.*[12] On November 27, 1922, Toshi finally suc- cumbed to her illness and died at age 24.*[5] This was Kenji was born in the town of Hanamaki,*[4] Iwate, the a traumatic shock for Kenji, from which he never recov- eldest son*[5] of a wealthy pawnbroking couple, Masajirō ered.*[12] He composed three poems on the day of her and his wife Ichi.*[4]*[6]*[7] The family were also pi- death, collectively entitled“Voiceless Lament”(無声慟 ous followers of the Pure Land Sect, as were generally 哭 Musei Dōkoku).*[3]*[13]*[lower-alpha 1] * the farmers in that district. [8] His father, from 1898 on- He found employment as a teacher in agricultural sci- wards, organized regular meetings in the district where ence at Hanamaki Agricultural High School (花巻農学 monks and Buddhist thinkers gave lectures and Kenji, to- 校).*[3] He managed to put out a collection of poetry, gether with his younger sister, took part in these meet- Haru to Shura (春と修羅, “Spring and the Demon”) * ings from an early age. [6] The area was an impover- in April 1924, thanks to some borrowings and a major ished rice-growing region, and he grew to be troubled subvention from a producer of nattō).*[14] His collec- by his family's interest in money-making and social sta- tion of children's stories and fairy tales, Chūmon no Ōi * tus. [3] Kenji was a keen student of natural history from Ryōriten (注⽂の多い料理店, The Restaurant of Many an early age, and also developed an interest as a teenager Orders), also self-published, came out in December of in poetry, coming under the influence of a local poet,

1 2 2 EARLY WRITINGS

the same year.*[3]*[4] Although neither were commer- death. ̶ ̶ cial successes they were largely ignored his work did He demonstrated little interest in romantic love or sex, come to the attention of the poets Kōtarō Takamura and both in his private life and in his literary work.*[19] Shinpei Kusano, who admired his writing greatly and in- 関登久也 * Kenji's close friend Tokuya Seki ( Seki Tokuya) troduced it to the literary world. [4] wrote that he died a virgin.*[20] As a teacher, his students viewed him as passionate but rather eccentric, as he insisted that learning came through actual, firsthand experience of things. He often took his 1.1 Illness and death students out of the classroom, not only for training, but just for enjoyable walks in the hills and fields. He also Kenji fell ill in summer 1928, and by the end of that * had them put on plays they wrote themselves. year this had developed into acute pneumonia. [21] His strict vegetarianism disallowed the more nutritious diet Kenji resigned his post as a teacher in 1926 in order to be- demanded by the deterioration of his health.*[3]*[22] He come a farmer and help improve the lot of the other farm- once wept on learning that he had been tricked into eat- ers in the impoverished north-eastern region of Japan ing carp liver.*[23] He struggled with pleurisy for many by sharing his theoretical knowledge of agricultural sci- * * years and was often incapacitated for months at a time. ence, [4] [15] by imparting to them improved, modern His health improved nonetheless sufficiently for him to techniques of cultivation. He also taught his fellow farm- take on consultancy work with a rock-crushing company ers more general topic of cultural value, such as mu- in 1931.*[3] The respite was brief: by September of that sic, poetry, and whatever else he thought might improve * * year, on a visit to Tokyo, he caught pneumonia and had to their lives. [4] [15] He introduced them to classical mu- return to his hometown.*[3] In the autumn of 1933, his sic by playing to audiences compositions from Beethoven, * health seemed to have improved enough for him to watch Schubert, Wagner and Debussy on his gramophone. [8] a local procession from his doorway; a group of 羅 In August 1926 he established the Rasuchijin Society ( local farmers approached him and engaged him in con- 須地⼈協会 “ Rasuchijin Kyōkai, also called the Rasu versation about fertilizer for about an hour.*[24] He died ” * “ Farmers Association ). [3] When asked what Rasuchi- the following day, having been exhausted by the length ” jin meant, he said it meant nothing in particular, but he of his discussion with the farmers.*[24] On his deathbed 地 “ ” ⼈ was probably thinking of chi ( , earth ) and jin ( , he asked his father to print 1,000 copies of the Lotus Su- “man”).*[15] He introduced new agricultural techniques * tra for distribution.His family initially had him buried in and more resistant strains of rice. [16] At the detached the family temple Anjōji (安浄寺), but when they con- house of his family, where he was staying at the time, he verted to Nichiren Buddhism in 1951, he was moved to gathered a group of youths from nearby farming families the Nichiren temple Shinshōji (⾝照寺).*[25] After his and lectured on agronomy. The Rasuchijin Society also death, he became known in his district as Kenji-bosatsu engaged in literary readings, plays, music and other cul- (賢治菩薩).*[3] tural activities.*[3] It was disbanded after two years as Japan was being swept up by a militarist turn, in 1928, * * when the authorities closed it down. [3] [15] 2 Early writings Not all of the local farmers were grateful for his ef- forts, with some sneering at the city-slicker playing the Kenji started writing poetry as a schoolboy, and com- farmer, and others expressing disappointed that the fer- posed over a thousand tanka*[7] beginning at roughly age tilizers Kenji introduced were not having the desired ef- 15,*[5] in January 1911, a few weeks after the publication fects.*[17] He advocated natural fertilizers, while many of Takuboku's“A Handful of Sand”.*[26] He favoured preferred a Western chemical 'fix', which, when it failed, this form until the age of 24. Keene said of these early did not stop many from blaming Kenji.*[8] It may also poems that they “were crude in execution, [but] they al- have mattered that reservations persisted about him be- ready prefigure the fantasy and intensity of emotion that cause he hadn't broken wholly with his economic depen- would later be revealed in his mature work”.*[7] dence on his father, to whom farmers were often indebted when their crops failed, while his defection to the Lotus Kenji was removed physically from the poetry circles of Sect soured their view, since farmers in his area were, his day.*[27] He was an avid reader of modern Japanese like his own father, adherents of the Pure Land Sect.*[8] poets such as Hakushū Kitahara and Sakutarō Hagiwara, Kenji in turn did not hold an ideal view of the farmers; and their influence can be traced on his poetry, but his life in one of his poems he describes how a farmer bluntly among farmers has been said to have influenced his po- tells him that all his efforts have done no good for any- etry more than these literary interests.*[28] When he first one.*[18] started writing modern poetry, he was influenced by Kita- hara, as well as his fellow Iwatean Takuboku Ishikawa*[7] In 1926 he learned Esperanto and tried to translate some of his Japanese poems into the Esperanto language; the Kenji's works were influenced by contemporary trends of translated pieces were published in 1953, long after his and the proletarian literature movement. His readings in Buddhist literature, particularly the Lotus Su- 3

tra, to which he became devoted, also came to have a derives from synesthesia involving music becoming color, strong influence on his writings. especially after the period 1921 and 1926 when he started * In 1919, his sister prepared a collection of 662 of his listening to music of Debussy, Wagner and Strauss. [4] tanka for publication.*[12] Kenji edited a volume of ex- He was associated with the poetry magazine Rekitei (歴 tracts from Nichirenʼs writings, the year before he join 程).*[34]*[35] * the Kokuchūkai (see below). [12] Only the first part in four of Haru to Shura was published He largely abandoned tanka by 1921, and turned his during Kenji's lifetime.*[24] It appeared in an edition of hand instead to the composition of free verse, involv- one thousand copies, but only one hundred sold.*[24] For ing an extension of the conventions governing tanka verse most of his literary career his poems saw publication only forms.*[29] He is said also to have written three thousand in local papers and magazines, but by the time of his pages a month worth of children's stories during this pe- death major literary publications had been made aware riod,*[12] thanks to the advice of a priest in the Nichiren of him; he passed away just as his fame was beginning to order, Takachiyo Chiyō.*[3] At the end of the year he spread.*[24] managed to sell one of these stories for five yen, which With the exception of a few poems in was the only payment he received for his writings during * written near the end of his life, virtually all his mod- his own lifetime. [12] ern poetry was in colloquial Japanese, occasionally even in dialect.*[7] The poems included in Haru to Shura in- clude a liberal sprinkling of scientific vocabulary, San- 3 Later poetry skrit phrases, Sino-Japanese compounds and even some Esperanto words.*[4] After starting out with traditional The “charms of Kenji's poetry, critic Makota Ueda tanka, he developed a preference for long, free verse, but writes, include “his high idealism, his intensely ethical continued to occasionally compose tanka even as late as life, his unique cosmic vision, his agrarianism, his reli- 1921.*[7] ” gious faith, and his rich and colorful vocabulary. Ulti- Kenji wrote his most famous poem, "Ame ni mo makezu" “ mately, Ueda writes, they are all based in a dedicated in his notebook on November 3, 1931.*[22] Keene was effort to unify the heterogeneous elements of modern life dismissive of the poetic value of the poem, stating that ”* into a single, coherent whole. [30] it is “by no means one of Miyazawa's best poems”and It was in 1922 that Kenji began composing the poetry that that it is “ironic that [it] should be the one poem for would make up his first collection, Haru to Shura.*[12] which he is universally known”, but that the image of The day his sister died, November 27, 1922, he com- a sickly and dying Kenji writing such a poem of resolute posed three long poems commemorating her, which self-encouragement is striking.*[22] Keene states to be among the best of his work.*[12] Keene also remarks that the speed at which Kenji com- posed these poems was characteristic of the poet, as a 4 Later fiction few months prior he had composed three long poems, one more than 900 lines long, in three days.*[31] The first of * these poems on the death of his sister was Eiketsu no Asa Kenji wrote rapidly and tirelessly. [4] He wrote a massive (永訣の朝,“The Morning of Eternal Parting”), which number of children's stories, and many of his children's * was the longest.*[32] Keene calls it the most affecting of stories were intended to assist in moral education. [4] the three.*[32] It is written in the form of a “dialogue” His best-known stories include Night on the Galactic Rail- between Kenji and Toshi (or Toshiko, as he often calls road (銀河鉄道の夜 Ginga Tetsudō no Yoru), The Life of her*[32]). Several lines uttered by his sister are written in Guskō Budori (グスコーブドリの伝記 Gusukō Budori a regional dialect so unlike Standard Japanese that Kenji no Denki), Matasaburo of the Wind (⾵の⼜三郎 Kaze provided translations at the end of the poem.*[33] The no Matasaburō, Japanese Wikipedia), Gauche the Cellist poem lacks any kind of regular meter, but draws its ap- (セロ弾きのゴーシュ Sero Hiki no Gōshu), The Night peal from the raw emotion it expresses; Keene suggests of Taneyamagahara (種⼭ヶ原の夜 Taneyamagahara that Kenji learned this poetic technique from Sakutarō no Yoru), Vegetarian Great Festival (ビジテリアン⼤祭 Hagiwara.*[33] Bijiterian Taisai), and The Dragon and the Poet (⿓と詩 Kenji could write a huge volume of poetry in a short time, ⼈ Ryū to Shijin) based mostly on impulse, seemingly with no preconceived plan of how long the poem would be and without consid- ering future revisions.*[31] 5 Other writings has speculated that his love of music af- fected the poetry he was writing in 1922, as this was when In 1919, Kenji edited a volume of extracts from the writ- he started collecting records of western music, particu- ings of Nichiren,*[12] and in December 1925*[36] a so- larly Bach and Beethoven.*[12] Much of his poetic tone licitation to build a Nichiren temple (法華堂建⽴勧進 4 7 RECEPTION

⽂ Hokke-dō konryū kanjin-bun) in the Iwate Nippo under the twentieth century.*[7] Keene also contrasted Kenji's a pseudonym.*[36] piety to the “relative indifference to Buddhism”on the * He was also a frequent letter-writer. part of most modern Japanese poets. [7]

6 Religious beliefs 7 Reception

Kenji's poetry managed to attract some attention during Kenji was born into a family of Pure Land Buddhists, his lifetime. According to Hiroaki Sato, Haru to Shura, but in 1915 converted to Nichiren Buddhism upon read- “ * which appeared in April 1924, electrified several of ing the Lotus Sutra and being captivated by it. [7] His the poets who read it.”These included the first reviewer, conversion created a rift with his relatives, but he nev- Dadaist Tsuji Jun, who wrote that he chose the book ertheless became active in trying to spread the faith of for his summer reading in the Japan Alps, and anarchist the Lotus Sutra, walking the streets crying Namu Myōhō 草野⼼平 * Shinpei Kusano ( Kusano Shinpei), who called Renge Kyō. [12] In January 1921 he made several unsuc- the book shocking and inspirational, and Satō Sōnosuke, cessful attempts to convert his family to Nichiren Bud- “ * who wrote in a review for a poetry magazine that it as- dhism. [12] tonished [him] the most”out of all the books of poems he From January to September 1921, he lived in Tokyo had received.*[44] However, such occasional murmurs of working as a street proselytizer for the Kokuchūkai, a interest were a far cry from the later chorus of praise later Buddhist-nationalist organization*[37] that had initially directed toward his poetry. * turned down his service. [12] The general consensus In February 1934, some time after his memorial service, among modern Kenji scholars is that he became es- his literary friends held an event where they organized his tranged from the group and rejected their nationalist * unpublished manuscripts. These were slowly published agenda, [38] but a few scholars such as Akira Ueda, over the following decade, and his fame increased rapidly Gerald Iguchi and Jon Holt argue otherwise.*[39] The in the postwar period. Kokuchūkai's official website continues to claim him as a member, also claiming that the influence of The poet is credited as introducing Kenji's (the group's religio-political philosophy) can be seen in poetry to English readers.“In the 1960s, Snyder, then liv- Kenji's later works such as Ame ni mo Makezu, while ing in Kyoto and pursuing Buddhism, was offered a grant acknowledging that others have expressed the view that to translate . He sought Burton Wat- Kenji became estranged from the group after returning sonʼs opinion, and Watson, a scholar of Chinese classics to Hanamaki.*[40] trained at the University of Kyoto, recommended Kenji.” Some years earlier Jane Imamura at the Buddhist Study Kenji remained a devotee of the Lotus Sutra until his Center in Berkeley had shown him a Kenji translation death, and continued attempting to convert those around which had impressed him.*[45] Snyder's translations of him. He made a deathbed request to his father to print eighteen poems by Kenji appeared in his collection, The one thousand copies of the sutra in Japanese translation Back Country (1967).*[46] and distribute them to friends and associates.*[7]*[24] The Miyazawa Kenji Museum was opened in 1982 in his Kenji incorporated a relatively large amount of Buddhist * native Hanamaki, in commemoration of the 50th anniver- vocabulary in his poems and children's stories. [7] He sary of his death. It displays the few manuscripts and ar- drew inspiration from mystic visions in which he saw tifacts from Kenji's life that escaped the destruction of the Kannon, the Buddha himself and fierce Hanamaki by American bombers in World War II. demons.*[4] He loved his native province, and the mythical landscape In 1925 Kenji pseudonymously published a solicitation to of his fiction, known by the generic neologism, coined 法華堂建⽴勧進⽂ build a Nichiren temple ( Hokke-dō in a poem in 1923, as Īhatōbu is often thought to al- konryū kanjin-bun) in Hanamaki,*[25]*[36]*[41] which * lude to Iwate (Ihate in the older spelling). Several the- led to the construction of the present Shinshōji, [25] but ories exist as to the possible derivations of this fantas- on his death his family, who were followers of Pure tic toponym: one theory breaks it down into a compos- Land Buddhism, had him interred at a Pure Land tem- * ite of I for 'Iwate'; hāto (English 'heart') and obu (En- ple. [41] His family converted to Nichiren Buddhism in glish 'of'), yielding 'the heart or core of Iwate'. Others 1951*[25]*[41] and moved his grave to Shinshōji,*[41] * * * * cite Esperanto and German forms as keys to the word's where it is located today. [25] [41] [42] [43] structure, and derive meanings varying from 'I don't know Donald Keene suggests that while explicitly Buddhist where' to 'Paradise'.*[47] Among the variation of names, themes are rare in his writings, he incorporated a rela- there is Ihatovo, and the addition of final o is supposed tively large amount of Buddhist vocabulary in his poems to be the noun ending of Esperanto, whose idea of com- and children's stories, and has been noted as taking a far mon international language interested him. This interest greater interest in Buddhism than other Japanese poets of is paid tribute to in the 1985 anime adaptation of Ginga 5 tetsudō no yoru (Night on the Galactic Railroad), in which [9] Ueda p.217 all signs in Giovanni and Campanella's world are written in Esperanto, as well as the written language of the“cats” [10] Katsumi Fujii (March 23, 2009). Heisei Nijū-nendo Koku- ritsu Daigaku Hōjin Iwate Daigaku Sotsugyōshiki Shikiji . (Presidentʼs Address at the Graduation Ceremony of Iwate In 1996, to mark the 100th anniversary of Kenji's birth, University, School Year 2008) (Speech). Morioka. Re- the anime Īhatōbu Gensō: Kenji no Haru (Ihatov Fan- trieved April 30, 2015. １９１８年三⽉、本学農学部 tasy: Kenji's Spring; North American title: Spring and の前⾝である盛岡⾼等農林学校を卒業した賢治は、 Chaos) was released as a depiction of Kenji's life. As in 農業実践の指導を先ず教育の現場に求め、３年後 に稗貫農学校（現在の花巻農業⾼校）の教員とな the Night on the Galactic Railroad anime, the main char- ります。その後、詩に童話に旺盛な⽂芸活動を展 acters are depicted as cats. The Iwate Ginga Line and 開しましたが、病を得てさらに１２年後、わずか the JR SL Ginga Tetsudou (ＳＬ銀河 Esueru Ginga) are ３７歳で帰らぬ⼈となったことは、ご承知の通り both named in his honor. です。 The Japanese culture and lifestyle television show Begin [11] Keene 1999, pp. 284-285. Japanology aired on NHK World featured a full episode on Miyazawa Kenji in 2008. [12] Keene 1999, p. 285.

[13] Miyakubo and Matsukawa 2013, p. 169. 8 See also [14] Hoyt Long ,On Uneven Ground: Miyazawa Kenji and the Making of Place in Modern Japan, Stanford University Press, 2011 p.369 n.5 • Scenic areas of Ihatov [15] Keene 1999, p. 288. 9 Notes [16] Mitsutani p.67. [17] Keene 1999, p. 289. “ ”永訣 [1] The individual poems are entitled Eiketsu no Asa ( [18] Keene 1999, p. 289, citing (note 197, p. 379) Miyazawa の朝 “ ”松の針 “ ” ), Matsu no Hari ( ) and Musei Dōkoku Kenji 1968, p. 311-314. (無声慟哭).*[13] [19] Pulvers 2007, pp. 9-28. “Kenji, it must be remembered, was a man who displayed no particular interest in roman- tic love or sex.”Keene, though, states “he sometimes 10 Reference list wandered all night in the wood in order in order to sub- due the waves of sexual desire [he sensed within himself]" [1] Curley, Melissa Anne-Marie,ʻFruit, Fossils, Footprints: (Keene 1999, p. 288). Cathecting Utopia in the Work of Miyazawa Kenji,' in Daniel Boscaljon (ed.), Hope and the Longing for Utopia: [20] Keene 1999, p. 288, citing (note 193, p. 379) Seki 1971, Futures and Illusions in Theology and Narrative, James pp. 130-132. Clarke & Co./ /Lutterworth Press 2015.pp,96-118, p.96. [21] Keene 1999, pp. 289-290. [2] Makoto Ueda, Modern Japanese Poets and the Nature of [22] Keene 1999, p. 290. Literature, Stanford University Press, 1983 pp.184-320, p.184 [23] Keene 1999, p. 290, citing (note 198, p. 379) Kushida, “Shijin to Shōzō" in Miyazawa Kenji 1968, p. 393. [3] Kilpatrick 2014, pp. 11-25. [24] Keene 1999, p. 291. [4] Kodansha Encyclopedia of Japan article “Miyazawa Kenji”(p. 222-223). 1983. Tokyo : Kodansha. [25] “Marugoto Jiten: Shinshōji”. Ihatovo Hanamaki. Hana- maki Tourism & Convention Bureau. 2011. Retrieved [5] “Ryakenpu, Omona Dekigoto”. Miyazawa Kenji Memo- March 1, 2015. rial Society website. Miyazawa Kenji Memorial Society. Retrieved May 1, 2015.. [26] Ueda Makoto p.217.

[6] Massimo Cimarelli (ed.tr.), Miyazawa Kenji:Il drago e il [27] Keene 1999, p. 283. poeta, Volume Edizioni srl, 2014 p.3 [28] Keene 1999, pp. 283-284. [7] Keene 1999, p. 284. [29] Ueda pp.218-219 [8] Margaret Mitsutani, 'The Regional as the Center: The Po- [30] Ueda 184 etry of Miyazawa Kenji,' in Klaus Martens,Paul Duncan Morris,Arlette Warken (eds.) A World of Local Voices: [31] Keene 1999, pp. 285-286. Poetry in English Today, Königshausen & Neumann, 2003 pp.66-72 p.67. [32] Keene 1999, p. 286. 6 11 BIBLIOGRAPHY

[33] Keene 1999, p. 287. • Miyazawa Kenji. Winds from Afar. Kodansha (1992).ISBN 087011171X [34] Keene 1999, p. 356 (also note 347, p. 384). • Miyazawa Kenji. The Dragon and the Poet. [35] Endō, Tomoyuki (October 10, 2012). “Nomura Kiwao- translated by Massimo Cimarelli, Volume Edizioni sensei ga“Fujimura Kinen Rekitei Shō" o jushō!". Wako (2013), ebook. ISBN 9788897747161 University Blog. Wako University. Retrieved May 1, 2015. • Miyazawa Kenji. The Dragon and the Poet - illus- [36] Nabeshima (ed.) 2005, p. 34. trated version. Translated by Massimo Cimarelli. Illustrated by Francesca Eleuteri. Volume Edizioni [37] Stone 2003, pp. 197-198. (2013), ebook. ISBN 9788897747185

[38] Stone 2003, p. 198. • Miyazawa Kenji. Once and Forever: The Tales of Kenji Miyazawa. Translated by John Bester. Ko- [39] Holt, 2014 : 312-314. dansha International (1994). ISBN 4-7700-1780-4 “ [40] Tanaka Chigaku-sensei no Eikyō o Uketa Hito- • Snyder, Gary. The Back Country. New York: New bito: Miyazawa Kenji”. Kokuchūkai official website. Directions, 1967. Kokuchūkai. Retrieved March 1, 2015.

[41] Rasu Chijin Kyōkai. “Hanamaki o aruku”. Chuo Uni- versity faculty website. Chuo University. Retrieved May 11.2 Adaptations 1, 2015. 賢治は熱⼼な法華経信者でこの寺の建⽴ のため「法華堂建⽴勧進⽂」まで書いているが、宮 • Night on the Galactic Railroad (銀 河 鉄 道 の 夜 澤家が真宗だったため、死後真宗の寺に葬られて Ginga Tetsudō no Yoru) いた。昭和⼆⼗六年、賢治の遺志を請けて、宮澤家 が改宗し、⽇蓮宗のこの寺に葬られることになっ • The Life of Guskō Budori (グスコーブドリの伝 た。宮澤家の⾻堂の左側にあるのが賢治供養塔で 記 Gusukō Budori no Denki) ある。 • Matasaburo of the Wind (⾵ の ⼜ 三 郎 Kaze no [42] “Minobu-betsuin Shinshōji”. Tōhoku Jiin no Sōgō Jōhō Matasaburō, Japanese Wikipedia) Saito: E-Tera. Coyo Photo Office Corporation. 2010. Retrieved March 1, 2015. • Gauche the Cellist (セロ弾きのゴーシュ Sero Hiki no Gōshu) [43] “Miyazawa Kenji: Yukari no Chi o Tazunete”. Iwate Hanamaki Travel Agency website. Iwate Hanamaki Travel • The Night of Taneyamagahara (種 ⼭ヶ 原 の 夜 Agency. Retrieved March 1, 2015. Taneyamagahara no Yoru)

[44] Sato (2007), 2.

[45] Sato (2007), 1. 11.3 Critical studies

[46] Snyder 1967, pp. 115-28. • Cimarelli, Massimo. Miyazawa Kenji - A Short Bi- ography, Volume Edizioni (2013), ebook. ASIN [47] Kilpatrick p.192 n.77 B00E0TE83W.

• Colligan-Taylor, Karen, The Emergence of Environ- 11 Bibliography mental Literature in Japan Environment--Problems and Solutions, Garland 1990 pp. 34ff. 11.1 Works in English translation • Curley, Melissa Anne-MarieʻFruit, Fossils, Foot- prints: Cathecting Utopia in the Work of Miyazawa • Miyazawa, Kenji. The Milky Way Railroad. Trans- Kenji,' in Daniel Boscaljon (ed.), Hope and the lated by Joseph Sigrist and D. M. Stroud. Stone Longing for Utopia: Futures and Illusions in The- Bridge Press (1996). ISBN 1-880656-26-4 ology and Narrative, James Clarke & Co./ /Lutter- worth Press, 2015. 96-118. • Miyazawa Kenji. Night of the Milky Way Railroad. M.E. Sharpe (1991). ISBN 0-87332-820-5 • Hara Shirō. Miyazawa Kenji Goi Jiten = Glossar- ial Dictionary of Miyazawa Kenji. Tokyo: Tokyo • Miyazawa Kenji. The Restaurant of Many Orders. Shoseki, 1989. RIC Publications (2006). ISBN 1-74126-019-1 • Holt, Jon. 2014. “Ticket to Salvation: Nichiren • Miyazawa Kenji. Miyazawa Kenji Selections. Uni- Buddhism in Miyazawa Kenji's Ginga tetsudō no versity of California Press (2007). ISBN 0-520- yoru", Japanese Journal of Religious Studies 41/2: 24779-5 305–345. 7

• Keene, Donald (1999). Dawn to the West: Japanese • Seki, Tokuya (1971). Kenji Zuimon. Kadokawa Literature of the Modern Era -- Poetry, Drama, Crit- Shoten. icism. New York: Columbia University Press. (First • Edition 1984; 1999 Columbia University Press pa- Stone, Jacqueline. 2003. “By Imperial Edict and perback reprint cited in text) Shogunal Decree: politics and the issue of the ordi- nation platform in modern lay Nichiren Buddhism” • Kikuchi, Yūko (菊地有⼦), Japanese Modernisa- . IN: Steven Heine; Charles S. Prebish (ed.) Bud- tion and Mingei Theory: Cultural Nationalism and dhism in the Modern World. New York: Oxford Oriental Orientalism, RoutledgeCurzon 2004 pp. University Press. 2003. ISBN 0195146972. pp 36ff. 193–219.

• Kilpatrick, Helen Miyazawa Kenji and His Illustra- • Strong, Sarah.“The Reader's Guide”In Miyazawa tors: Images of Nature and Buddhism in Japanese Kenji, The Night of the Milky Way Railway. Trans- Children's Literature, BRILL, 2014. lated by Sarah Strong. New York: 1991. • Inoue, Kota 'Wolf Forest, Basket Forest and Thief • Strong, Sarah. “The Poetry of Miyazawa Kenji”. Forest,' in Mason, Michele and Lee, Helen (eds.), Thesis (Ph.D.), The University of Chicago, 1984. Reading Colonial Japan: Text, Context, and Critique, Stanford University Press, 2012 pp. 181–207, • Ueda, Makoto, Modern Japanese Poets and the Na- ture of Literature. Stanford: Stanford University • Long, Hoyt On Uneven Ground: Miyazawa Kenji Press, 1983. and the Making of Place in Modern Japan, Stanford University Press, 2011 • Mitsutani, Margaret, 'The Regional as the Cen- 12 External links ter: The Poetry of Miyazawa Kenji,' in Klaus Martens,Paul Duncan Morris,Arlette Warken (eds.) • e-texts of Kenji Miyazawa's works at Aozora bunko A World of Local Voices: Poetry in English Today, • Königshausen & Neumann, 2003 pp. 66–72. The Miyazawa Kenji Museum in Hanamaki • • Miyakubo, Hitomi; Matsukawa, Toshihiro (May 7, Kenji Miyazawa's grave 2013). “Development of teaching materials for • J'Lit | Authors : Kenji Miyazawa | Books from Japan poetry: With close attention to Matsu no Hari by (English) Miyazawa Kenji” (PDF). Bulletin of Nara Univer- sity of Education (Nara University of Education) 62 • Public Domain Audiobooks of Kenji Miyazawa's (1). Retrieved May 11, 2015. works at Japanese Classical Literature at Bedtime • Miyazawa Kenji 1968. Nihon no Shiika series. Chūō • Kōron Sha. Works by or about Kenji Miyazawa at • Nabeshima, Naoki, ed. (November 14, 2005). • “Compassion for All Beings: The Realm of Kenji Works by Kenji Miyazawa at LibriVox (public do- Miyazawa”(PDF). Ryukoku University official web- main audiobooks) site. Ryukoku University Open Research Center for Humanities, Science, and Religion Open Research Center for Humanities, Science, and Religion. Re- trieved May 11, 2015. • Nakamura, Minoru (1972). Miyazawa Kenji. Tokyo: Chikuma Shobō. ISBN 978-4480011916. • Napier, Susan, The Fantastic in Modern Japanese Literature: The Subversion of Modernity, Routledge 1996 pp. 141–178 • Pulvers, Roger (2007). Miyazawa, Kenji, ed. Strong in the Rain: Selected Poems. Trans. Roger Pulvers. Bloodaxe Books. ISBN 978-1-85224-781-2. • Sato, Hiroaki. “Introduction.”In Miyazawa Kenji. Miyazawa Kenji Selections. Berkeley: University of California Press, 2007. 1-58. ISBN 0-520-24779- 5. 8 13 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

13 Text and image sources, contributors, and licenses

13.1 Text

• Kenji Miyazawa Source: https://en.wikipedia.org/wiki/Kenji_Miyazawa?oldid=686105496 Contributors: Shii, TakuyaMurata, Delirium, Emperorbma, WhisperToMe, Chris 73, Neilc, Andycjp, D6, CES~enwiki, Rich Farmbrough, Rsanchezsaez, Bendono, GK, The Sexy Data Tango, LordAmeth, Hijiri88, BlankVerse, Eirikr, Eamoniski, Kbdank71, Lockley, MChew, Duomillia, Gurch, 1523, Chobot, Gdrbot, Bgwhite, YurikBot, Gaius Cornelius, Muyo, Snek01, DAJF, SmackBot, Nihonjoe, Zyxw, Eskimbot, Sadads, Underbar dk, Ser Aman- tio di Nicolao, Beetstra, Ryulong, Tally Solleni, Yoda1893, Cydebot, Phonemonkey, Nishidani, Lunasspecto, Tkrepel, Myofilus, Barek, Dekimasu, Ben Ram, D.h, Paracel63, Numbo3, Cornelia-etc., Keesiewonder, Naniwako, John Carter, Billinghurst, Rontrigger, Exert, Oda Mari, Boneyard90, Jeanenawhitney, Howdoesitflee, BOTarate, Lucyintheskywithdada, DumZiBoT, XLinkBot, Addbot, Legobot, Mid- dayexpress, Luckas-bot, Yobot, AnomieBOT, Frous, Msmarmalade, Omnipaedista, Sibazyun, Green Cardamom, River-run, Classictext, Redrose64, Full-date unlinking bot, Actoreng1, RjwilmsiBot, Pagony, Brothernight, M miyama, Ubikwit, Helpful Pixie Bot, Rappelle-toi, Maculosae tegmine lyncis, BG19bot, MusikAnimal, Eriouc4887, こちぴかり, SuzYone, Shikieki, ChrisGualtieri, Marianssss, Catflap08, VIAFbot, Sturmgewehr88, Teraminato, JimRenge, Tonxabar~enwiki, ⽊部, CV9933, Roaldnel, KasparBot and Anonymous: 40

13.2 Images

• File:Flag_of_Japan.svg Source: https://upload.wikimedia.org/wikipedia/en/9/9e/Flag_of_Japan.svg License: PD Contributors: ? Origi- nal artist: ? • File:P_vip.svg Source: https://upload.wikimedia.org/wikipedia/en/6/69/P_vip.svg License: PD Contributors: ? Original artist: ? • File:Speaker_Icon.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/21/Speaker_Icon.svg License: Public domain Con- tributors: No machine-readable source provided. Own work assumed (based on copyright claims). Original artist: No machine-readable author provided. Mobius assumed (based on copyright claims).

13.3 Content license

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