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Levelek Tokióból
263pages. poche. broché.
- GenresJapanese Literature
188 pages, Paperback
First published January 1, 1986
15 people want to read
About the author
Miyoko Matsutani
372 books17 followersjap. 松谷みよ子 Born in 1926, Kanda, Tokyo. Graduated from Toyo High School in 1942. Requisitioned by the Naval Hydrographic Department in 1944, when she started writing stories for children.
Evacuating to Nagano in May 1945 to escape the war, she met Joji Tsubota, a famous writer for the young readers who was also there under the war evacuation, and showed him her works, asking for his advice. After her return to Tokyo in 1948, Tsubota's recommendation enabled her Kaininatta Kodomo no Hanashi (A Story of a Child turned into a Shell) to appear in the magazine Dowa Kyoshitsu (A Classroom of Children's Stories). Later, the story was published by Akane Publishing Co. as collected short stories entitled Kaininatta Kodomo (A Child turned into a Shell, 1951). The work won the first Japan Juvenile Literature Association Award for New Writers.
Married to Takuo Segawa, a folktale historian, with whom she establishment Taro Za, a puppet theater company, which broadened her social perspectives in her writing
style. With her husband she energetically collected oral stories and folktales through the interviews with the rural people in the Shinshu region, which inspired her to create a story Tatsunoko Taro (Taro the Dragon Boy, 1960) in her unprecedented literary style. Matsutani describes the story as a "collaboration of ancestors and myself." Interspersed with classical children's rhymes, her narrative style flows with a beautiful rhythm exquisitely resonant with the inherent power of story-telling. With its highly appreciated originality both in contents and form of expression that opened a new way in children's books, the work received the first Kodansha Award for Newcomers, the Sankei Juvenile Literature Publishing Culture Award, and the Hans Christian Andersen Award-Honour List (current IBBY Honour List) in 1962.
Along with her enthusiasm in creating children's fictions based on folktales, the autobiographical narrative in her Chisai Momo-chan (Little Momo-chan, 1964) brought a fresh air to the genre. The lively tone in the depiction of a child's daily life with her working mother captured readers' hearts. The work won the Noma Prize for Juvenile Literature and the NHK Juvenile Literature Encouragement Prize. Subsequently, she worked on the series of Momo-stories following the girl's growth,
such as Momo-chan to Pooh (Momo-chan and Poo, 1970), Momo-chan to Akane-chan (Momo-chan and Akane-chan, 1974), Chisai Akane-chan (Little Akane-chan, 1978) and Akane-chan to Okyaku-san no Papa (Akane-chan and Daddy as Guest, 1983). Particularly, Chisai Akane-chan made a big challenge in dealing with a topic on a parent's divorce, a conventional taboo in the realm of children's literature, by putting the serious subject into focus in a touch of fairytale style.
Matsutani has also been intent upon writing such fictions termed as so-called protest literature, including Futari-no Ida (Another Little Girl Called Ida, 1969), Shinokunikara-no Baton (From the Past World, 1976), and Watashino Anne Frank (Letters to Anne Frank, 1979). Her war-stories for younger children such as Machinto (A Little more, 1978) and Oide-Oide (Come here, 1984), for example, are written for those children in the next generation who do not have any experience of real war. The scope of her activities has been extended to record and compile the modern folktales in a series such as Gendaiminwako (Collection of Folktales in Modern times, 5 volumes, 1985).
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Evacuating to Nagano in May 1945 to escape the war, she met Joji Tsubota, a famous writer for the young readers who was also there under the war evacuation, and showed him her works, asking for his advice. After her return to Tokyo in 1948, Tsubota's recommendation enabled her Kaininatta Kodomo no Hanashi (A Story of a Child turned into a Shell) to appear in the magazine Dowa Kyoshitsu (A Classroom of Children's Stories). Later, the story was published by Akane Publishing Co. as collected short stories entitled Kaininatta Kodomo (A Child turned into a Shell, 1951). The work won the first Japan Juvenile Literature Association Award for New Writers.
Married to Takuo Segawa, a folktale historian, with whom she establishment Taro Za, a puppet theater company, which broadened her social perspectives in her writing
style. With her husband she energetically collected oral stories and folktales through the interviews with the rural people in the Shinshu region, which inspired her to create a story Tatsunoko Taro (Taro the Dragon Boy, 1960) in her unprecedented literary style. Matsutani describes the story as a "collaboration of ancestors and myself." Interspersed with classical children's rhymes, her narrative style flows with a beautiful rhythm exquisitely resonant with the inherent power of story-telling. With its highly appreciated originality both in contents and form of expression that opened a new way in children's books, the work received the first Kodansha Award for Newcomers, the Sankei Juvenile Literature Publishing Culture Award, and the Hans Christian Andersen Award-Honour List (current IBBY Honour List) in 1962.
Along with her enthusiasm in creating children's fictions based on folktales, the autobiographical narrative in her Chisai Momo-chan (Little Momo-chan, 1964) brought a fresh air to the genre. The lively tone in the depiction of a child's daily life with her working mother captured readers' hearts. The work won the Noma Prize for Juvenile Literature and the NHK Juvenile Literature Encouragement Prize. Subsequently, she worked on the series of Momo-stories following the girl's growth,
such as Momo-chan to Pooh (Momo-chan and Poo, 1970), Momo-chan to Akane-chan (Momo-chan and Akane-chan, 1974), Chisai Akane-chan (Little Akane-chan, 1978) and Akane-chan to Okyaku-san no Papa (Akane-chan and Daddy as Guest, 1983). Particularly, Chisai Akane-chan made a big challenge in dealing with a topic on a parent's divorce, a conventional taboo in the realm of children's literature, by putting the serious subject into focus in a touch of fairytale style.
Matsutani has also been intent upon writing such fictions termed as so-called protest literature, including Futari-no Ida (Another Little Girl Called Ida, 1969), Shinokunikara-no Baton (From the Past World, 1976), and Watashino Anne Frank (Letters to Anne Frank, 1979). Her war-stories for younger children such as Machinto (A Little more, 1978) and Oide-Oide (Come here, 1984), for example, are written for those children in the next generation who do not have any experience of real war. The scope of her activities has been extended to record and compile the modern folktales in a series such as Gendaiminwako (Collection of Folktales in Modern times, 5 volumes, 1985).
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Displaying 1 - 4 of 4 reviews
September 5, 2020
Случвало ли ви се е да попаднете случайно на книга, за чието съществуване до скоро дори не сте и подозирали? Да протегнете ръка към тази книга ей така, от чисто любопитство, без да сте сигурни какво да очаквате точно като стил и сюжет, без да знаете за каква аудитория точно е книгата, но все пак да имате чувството, че ще си заслужава да разберете? Такъв беше случаят с мен и „Моята Ане Франк” на японската писателка Мацутани Миоко. Прочетете ревюто на "Книжни Криле": https://knijnikrile.wordpress.com/202...
November 22, 2020
Може ли едно японско момиче през 80-те да се протегне през времето и пространството и да стане приятелка с Ане Франк? Може, разбира се, защото 13-годишните момичета си приличат поне малко в целия свят. Това ми напомня на думите на Вирджиния Улф, че жената няма родина, за нея целият всят е родина.
Юко е на 13 и започва да учи за жестокостите на света, което ще пререже крехката наивност на детството, майка й е родена през същата година като Ане и сега Ане трябваше да е пораснала и самата тя да има 13-годишна дъщеря. Фукико се разминава със смъртта при атомните бомбардировки, Ане не успява да се спаси. Заедно с посещението на Аушвиц се прелитат и потискането на корейците и тяхната екстрадация. Япония тук не е срамежлива и вежлива гейша тук е ранен и справедлив самурай, който не замита грешките.
Дали Ане не е можела да се престори на арийка и да избяга смърта като много корейци, които взимат японски имена, за да си оправят живота? Дали Фукико ако беше в САЩ щеше да се престори на китайка, за да не я отведат в лагерите на Хаваите? Или няма нужда от преструвки, понеже всички сме еднакви?
Естествено има вплетен японски фолклор, но това, което не ми допадна е че единствената истоия, която не осъжда женското любопитство, а го насърчава е прочетена по много различен начин. Но нали затова са историите, всеки да взима и да разбира нещо различно.
Все пак смята, че там някъде Ане е получила дневника написан до нея и се е усмихнала.
Юко е на 13 и започва да учи за жестокостите на света, което ще пререже крехката наивност на детството, майка й е родена през същата година като Ане и сега Ане трябваше да е пораснала и самата тя да има 13-годишна дъщеря. Фукико се разминава със смъртта при атомните бомбардировки, Ане не успява да се спаси. Заедно с посещението на Аушвиц се прелитат и потискането на корейците и тяхната екстрадация. Япония тук не е срамежлива и вежлива гейша тук е ранен и справедлив самурай, който не замита грешките.
Дали Ане не е можела да се престори на арийка и да избяга смърта като много корейци, които взимат японски имена, за да си оправят живота? Дали Фукико ако беше в САЩ щеше да се престори на китайка, за да не я отведат в лагерите на Хаваите? Или няма нужда от преструвки, понеже всички сме еднакви?
Естествено има вплетен японски фолклор, но това, което не ми допадна е че единствената истоия, която не осъжда женското любопитство, а го насърчава е прочетена по много различен начин. Но нали затова са историите, всеки да взима и да разбира нещо различно.
Все пак смята, че там някъде Ане е получила дневника написан до нея и се е усмихнала.
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August 13, 2022Третата книга за Ноки и Юко.
July 7, 2014
I didn't like it as a child, because I didn't understand is. This book is mostly for teenagers and adults, and it's definitely better to have some historical background information if you want to read it.
Displaying 1 - 4 of 4 reviews