David G. Goodman – författare

Shortly before releasing deadly sarin gas on the Tokyo subway in March 1995, the Aum Shinrikyo religious cult published a vicious 95-page antisemitic tract that declared war on its Jewish archenemy. The gassing of the Tokyo subway was the culmination of a century of Japanese theorizing about Jews, an important part of which has been antisemitic. In recent years, books blaming Jews for everything from the designs on Japanese currency to the 1995 Kobe earthquake have appeared, and some have sold millions of copies. What explains this virtual obsession with Jews in Japan—a country that has no Jews?In this highly original cultural and intellectual history, David G. Goodman and Masanori Miyazawa show that present-day Japanese attitudes toward Jews are the result of a process of accretion that began nearly 200 years ago. Skillfully tracing the historical development of Japanese images of Jews against the background of the development of modern Japanese culture, they describe how these images reflect the great themes of modern Japanese intellectual life. Spanning fields ranging from politics to poetry, the authors demonstrate how Japanese attitudes toward Jews have had real political and cultural consequences, culminating in the 1995 subway gassing and resonating into the twenty-first century.

"One of the most thought-provoking studies of [modern theater in Japan].... David Goodman shows a broad range of literary sympathies and skills in his introductions, translations, and commentaries, which I find exemplary.... A real contribution to our understanding of postwar Japan, raising questions, political, moral, and spiritual, that all of us must learn to face as human beings, whatever our national or cultural origins." —Journal of Asian Studies

First published in 1988 and now available in a photo-reprint paperback edition, this book provides an important perspective on the theatre, culture, and politics of Japan in the 1960s. It contains translations of five plays representative of the period, with analytical commentary by a leading authority on postwar Japanese drama. The author's central thesis is that the 1960 demonstrations against the renewal of the U.S.-Japan Mutual Security Treaty was a major turning point in Japanese intellectual life, one characterized by disillusionment with the old left and the legacy of prewar left-wing formulations and by a quest for an alternative to the dominant Hegelian-Marxist system. The book argues that the 1960s were a period of eschatological reflection in which profound questions about ultimate ends were being asked.