Japan’s suicide phenomenon has fascinated both the media and academics, although many questions and paradoxes embedded in the debate on suicide have remained unaddressed in the existing literature, including the assumption that Japan is a "Suicide Nation". This tendency causes common misconceptions about the suicide phenomenon and its features. Aiming to redress the situation, this book explores how the idea of suicide in Japan was shaped, reinterpreted and reinvented from the 1900s to the 1980s. Providing a timely contribution to the underexplored history of suicide, it also adds to the current heated debates on the contemporary way we organize our thoughts on life and death, health and wealth, on the value of the individual, and on gender. The book explores the genealogy and development of modern suicide in Japan by examining the ways in which beliefs about the nation’s character, historical views of suicide, and the cultural legitimation of voluntary death acted to influence even the scientific conceptualization of suicide in Japan. It thus unveils the way in which the language on suicide was transformed throughout the century according to the fluctuating relationship between suicide and the discourse on national identity, and pathological and cultural narratives. In doing so, it proposes a new path to understanding the norms and mechanisms of the process of the conceptualization of suicide itself. Filling in a critical gap in three particular fields of historical study: the history of suicide, the history of death, and the cultural history of twentieth century Japan, it will be of great interest to students and scholars of Japanese Studies and Japanese History.

The history of seppuku—Japanese ritual suicide by cutting the stomach, sometimes referred to as hara-kiri—spans a millennium, and came to be favored by samurai as an honorable form of death. Here, for the first time in English, is a book that charts the history of seppuku from ancient times to the twentieth century through a collection of swashbuckling tales from history and literature. Author Andrew Rankin takes us from the first recorded incident of seppuku, by the goddess Aomi in the eighth century, through the "golden age" of seppuku in the sixteenth century that includes the suicides of Shibata Katsuie, Sen no Rikyū and Toyotomi Hidetsugu, up to the seppuku of General Nogi Maresuke in 1912. Drawing on never-before-translated medieval war tales, samurai clan documents, and execution handbooks, Rankin also provides a fascinating look at the seppuku ritual itself, explaining the correct protocol and etiquette for seppuku, different stomach-cutting procedures, types of swords, attire, location, even what kinds of refreshment should be served at the seppuku ceremony. The book ends with a collection of quotations from authors and commentators down through the centuries, summing up both the Japanese attitude toward seppuku and foreigners’ reactions: "As for when to die, make sure you are one step ahead of everyone else. Never pull back from the brink. But be aware that there are times when you should die, and times when you should not. Die at the right moment, and you will be a hero. Die at the wrong moment, and you will die like a dog." — Izawa Nagahide, The Warrior’s Code, 1725 "We all thought, ‘These guys are some kind of nutcakes.’" — Jim Verdolini, USS Randolph, describing "Kamikaze" attack of March 11, 1945

For most Western observers, the Japanese practice of voluntary death, whether the self-inflicted sword-stroke of a warrior or the simultaneous suicide of lovers, is shocking and difficult to understand. The practice of voluntary death is deeply alien to Western Culture and to the Christian view that God alone is entrusted with power over life and death. In Japan, however,a tradition of voluntary death has existed for more than a millenium. The suicides of samurai warriors, of kamikaze fighter pilots, of artists and lovers are part of a tradition which stretches back over many centuries and which expresses a distinctive way of relating to death. In this profound and sensitive study, Maurice Pinguet carefully reconstructs this tradition of voluntary death and relates it to other aspects of Japanese culture and society. He shows that, in early Japanese myths and legends, acts of self-immolation were often exalted as an ideal. A self-effacing suicide was viewed as an ethical act: a way of restoring order in a world disrupted by conflict or marred by failure. Pinguet examines in detail the customs and elaborate rituals which surrounded the practice of voluntary death in different times and among different groups, from the seppuka practised by warriors in the thirteenth century to the suicide of Mishima in the twentieth. The result is a brilliant and absorbing analysis of Japanese culture and society - an analysis which, by focusing on a practice that is radically different from our own, tells us something about Western civilization as well.

Exploring how depression has become a national disease in Japan, this work shows how psychiatry has responded to the nation's ailing social order & how, in a remarkable transformation, the discipline has begun to overcome longstanding resistance to its intrusion in Japanese life.

A free ebook version of this title is available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. Japan is a nation saddled with centuries of accumulated stereotypes and loaded assumptions about suicide. Many pronouncements have been made about those who have died by their own hand, without careful attention to the words of the dead themselves. Drawing upon far-ranging creations by famous twentieth- and twenty-first-century Japanese writers and little-known amateurs alike--such as death poems, suicide notes, memorials, suicide maps and manuals, works of literature, photography, film, and manga--Kirsten Cather interrogates how suicide is scripted and to what end. Entering the orbit of suicidal writers and readers with care, she shows that through close readings these works can reveal fundamental beliefs about suicide and, just as crucially, about acts of writing. These are not scripts set in stone but graven images and words nonetheless that serve to mourn the dead, straddling two impulses: to put the dead to rest and to keep them alive forever. These words reach out to us to initiate a dialogue with the dead, one that can reveal why it matters to write into and from the void.

Novelist, playwright, film actor, martial artist, and political commentator, Yukio Mishima (1925-1970) was arguably the most famous person in Japan at the time of his death. Henry Scott Stokes, one of Mishima's closest friends, was the only non-Japanese allowed to attend the trial of the men involved in Mishima's spectacular suicide. In this insightful and empathetic look at the writer, Stokes guides the reader through the milestones of Mishima's meteoric and eclectic career and delves into the artist's major works and themes. This biography skillfully and compassionately illuminates the achievements and disquieting ideas of a brilliant and deeply troubled man, an artist of whom Nobel Laureate Yasunari Kawabata had said, "A writer of Mishima's caliber comes along only once every two or three hundred years."

This interdisciplinary collection of essays assembles historians, health economists, anthropologists, and sociologists, who examine the history of suicide from a variety of approaches to provide crucial insight into how suicide differs across nations, cultures, and time periods.