Chapter 65 Section 13: The Appearance of "The Sinking of Japan" and the "Infiltration and Expansion" of Science Fiction

What kind of era was it in Showa 48 (1973) when "The Sinking of Japan" was published?As we all know, it was an uneasy era of oil shocks, skyrocketing prices, and shadows of high economic growth.Back then, the novel "The Great Prophecy of Nostradamus" by the realistic writer Tsutomu Goto (the content is a fictional history-like idea) was a hit, and the magazine "From the End" (Chikuma Shobo) was launched.Akasegawa Haruhira, Nakai Hideo, Inoue Ha, Nosaka Asajo, and Komatsu Sakyoto wrote for the magazine.In addition, interviews with Ui Jun, Niwa Goro, Sanrizuka Youth Action Team, etc. are published.At that time, it was also in the period of decline of the New Left after the 70-year security struggle and the United Red Army incident (1971-1973), creating a peculiar atmosphere in society.Contrary to the general social impression of apolitical subculture in the 1960s as youth culture rising, this period was clearly marked by innovative ideas and various activities of underground organizations.

This year can also be said to be a turning point in postwar science fiction."Cosmic Dust", which had been published monthly, was changed to an indefinite periodical. In addition, the magazine "Fantasy and Weird" was launched.Hayakawa Shobo began publishing the library version "Hayakawa Bunko JA".This is also the year when Abe Kobo Studio was established.Now that something has matured and has a lot of room to grow, it means that something is coming to an end. "The Sinking of Japan" quotes John Tuzo Wilson's "Seabed Spreading Theory", describing the disappearance of the Japanese archipelago due to crustal movement.At that time, what will happen to the Japanese people and Japanese culture?When Sakyo Komatsu conceived the novel as a whole, he tried his best to exclude ideological and political propositions, and did not take the dark areas of international politics and the inefficient functions of the Japanese political and administrative system as themes, and described what human beings can do within this framework.I think in this sense, this work achieves the same purpose as the ideal ending attempted by Unino Shisan's "Air Raid Funeral".

In "The Sinking of Japan", the national power headed by the head of the government makes every effort to take countermeasures to deal with the earthquake and sinking. After realizing that things are inevitable, they quickly go all out to protect the lives of the citizens, even if there is only one person left. More Japanese fled abroad and rushed.Re-reading "Japan Sinks" today, although the challenge of the engineers supported by professional enthusiasm still makes people feel real, but it does not produce any sad real feelings about the high profile of the politicians. It should also be mentioned that Komatsu Sakyo’s emotions and regrets in "The Sinking of Japan" are not the government and political system of Japan, but the nature of the land of the Japanese archipelago, the culture and traditions cultivated by this climate Wait.When Japan was about to perish, Dr. Tasho said: "The group of Japanese people... will become one with the four islands, nature, mountains and rivers, vegetation and living things, cities and villages, and the relics left by the previous people in the Japanese archipelago. (Middle omitted) The Japanese archipelago is so rich in climate and topography, and she has carefully cultivated such exquisite nature. She is an island where people who live in it have experienced a lucky history. It can be said that she is in Unique in the world. For me, the Japanese island is as infatuated with as the most Japanese Japanese woman.”

Because of this "praise for Japan (terroir)", there were many people who regarded "The Sinking of Japan" as a work created by conservative and retro thinking at that time.The irony of science fiction can easily cause readers to misinterpret and lead to criticism that is out of target.In fact, last year, Kakuei Tanaka put forward the theory of "the transformation of the Japanese archipelago", which is to engage in behaviors that destroy nature in the name of development. During this period, there was another interesting phenomenon. Although they belonged to the traditional cultural system, many progressive cultural people who claimed to have innovative ideas often missed the critical spirit of science fiction and subculture.Based on the prejudice of their means of expression, these people misunderstand and deny objects that have the same content as their own claims and thoughts.In other words, although it feels similar to its own thoughts, it hates people who use a different method from its own and are easy to express (it seems that way).

In this case, Oe Kenzaburo's essay "To a Certain Situation" serialized in the magazine Showa 48 (1973) has a subtle prejudice against monster movies, but the criticism is sharp: "Like the so-called 'Japanese Islands Reconstruction Project' Similarly, using the mechanical power of science to destroy nature on a large scale is an Ultraman-style activity, but as a just and scientific behavior propaganda, those who are accustomed to the Ultraman-style imagination can easily accept it. If If you want to buy a TV network where the government promotes the "Japanese Archipelago Reconstruction Plan" to the people, the monster movie program with Ultraman-style superhuman science stars is definitely the most suitable commercial medium. However, children who are obsessed with monster movies now grow up. , in all places in the Japanese archipelago that have been greatly 'transformed', even if a call for help is issued, there will be no 'transparent people' appearing in the polluted ocean, and Ultraman will no longer appear in the polluted sky. Just like Cheng A group of transparent monsters passed through, only the traces of destruction were vividly displayed in front of their eyes..."

In science fiction novels, especially juvenile works, there are indeed Ultraman-style characters, and many of them bring unexpectedly happy endings.However, Ultraman does not exist.Reading such things from the "world" described in the sci-fi style, or the task of the reader, is the foundation of the sci-fi cultivated by the age of monsters.This is my basic understanding. The government described in "Japan Sinks" does not exist in reality either.Those high-ranking government officials who did not escape for themselves but for the people without hesitation, government agencies that knew their destruction but persevered to the end and functioned efficiently, are just like the "new weapons" that appear in Uno Thirteen's novels, they are nothing but fantasy.Describing the non-existent "ideal" is the novel of Komatsu and Unano exposing the real society lacking this kind of style.And what I see from it is that this is the real reason why Komatsu Sakyo, who has already described the destruction of the world in "The Day of Resurrection", dared to describe the "small problem" of the destruction of Japan.

"The Sinking of Japan" eventually became a bestseller with a circulation of 4 million copies.At this point, science fiction is no longer a negative, do not know when to die genre. The genre of science fiction has also expanded to other literary genres.Some pure literature writers also have a tendency to absorb science fiction techniques.And science fiction writers themselves have established their own subject areas, and their expression space has gradually diversified.On the other hand, the question of "what is science fiction?" has become vague again, and the central topic is not easy to see clearly.

In Showa 50 (1975), the Kobe Science Fiction Conference was held. Yasutaka Tsutsui, the honorary executive chairman, set the theme of the conference as "Infiltration and Diffusion" of science fiction. As a headquarters plan, a symposium for science fiction writers was held.Hirai Kazumasa replaced Tsutsui Yasutaka's "infiltration and diffusion" with "degeneration and disintegration", which is the unique humor of science fiction writers.Despite differences in style, science fiction writers believe that what they write is science fiction.Moreover, science fiction can appear in a variety of fields in the future. Only by being familiar with its vast space can it be science fiction and can it continue.

Running came to Showa 50 (1975), and around this time, second-generation writers such as Tanaka Koichi, Yamada Masaki, and Yamao Yuko appeared as professional writers one after another.In Showa 49 (1974), the science fiction periodical "Wonderful Heaven" was launched.In Showa 50 (1975), the fantasy literature research journal "Fun" and the detective novel special "Phantom City" were launched. (After a short-term suspension of "Fantasy", it resumed publication immediately. At that time, the introduction of French fantasy literature works by Fumihiko Renezawa and German fantasy literature works by Tanemura Jihong had a great influence on science fiction fans. Anglo-American The fantasy literature of "Fantasy and Weirdness" is undertaken by both Junichiro Kida and Hiroshi Aramata and the lineup of Yuliang Junmi of "Fun God". Although both magazines ceased publication in a short period of time, they also had a great influence on later generations. "Fun" has booklet-like specials 3-1.) Since then, science fiction has really flourished.Not only science fiction, but now, reasoning detectives, horror, fantasy literature, animation, games, etc. have also flourished since then.Although it is all "from now on", we already have "such a rich" historical savings, how happy we are!

This "History of Japanese Science Fiction" is the beginning of the historical story of everyone who continues to the present science fiction writers and science fiction readers.