Hiroaki Sato – författare

One of the most spectacular vendettas ever: the history and haiku behind the mass-suicide featured in the 2013 film 47 Ronin.

A remarkable and true tale of loyalty, vengeance, and ritual suicide. . . . In the spring of 1701, the regional lord Asano Naganori wounded his supervising official, Kira Yoshinaka, during an important ceremony in the ruling shogunate''s Edo Castle and was at once condemned to death. Within two years, in the dead of winter, a band of forty-seven of Asano''s retainers avenged him by breaking into Yoshinaka’s mansion and killing him. Subsequently, all the men were sentenced to death but allowed to perform it honorably by seppuku.

This incident—often called the Ako Incident—became a symbol of samurai honor andat once prompted stage dramatization in kabuki and puppet theater. It has since has been told and retold in short and long stories, movies, TV dramas. The story has also attracted the attention of foreign writers and translators. The most recent retelling was the 2013 Hollywood film 47 Ronin, with Keanu Reeves, though it was wildly and willfully distorted.

What did actually happen and how has this famous vendetta resonated through history? Hiroaki Sato''s examination is a close, comprehensive look at the Ako Incident through the context of its times, portraits of the main protagonists, and its literary legacy in the haiku ofthe avengers. Also included is Sato''s new translation of Akutagawa Ryunosuke''s short story about leader Oishi Kuranosuke as he awaited sentencing.

Prolific, award-winning translator of classical and modern Japanese poetry Hiroaki Sato recorded his thoughts on American society in mainly two columns across 30-plus years, collected here for the first time.

This anthology of over 60 of Sato’s commentaries reflect the writer’s wide-ranging erudition and his unsentimental views of both his native Japan and his adopted American homeland. Broadly he looks at the Pacific War and its aftermath and at war (and our love of it) in general, at the quirks and curiosities of the natural world exhibited by birds and other creatures, at friends and mentors who surprised and inspired, and finally at other writers and their works, many of them familiar—the Beats and John Ashbery, for example, and Mishima—but many others whose introduction is welcome.

Sato is neither cheerleader nor angry expatriate. Remarkably clear-eyed and engaged with American culture, he is in the business of critical appraisal and translation, of taking words seriously, and of observing how well others write and speak to convey their own truths and ambitions.