Trump’s Tactics Toward Canada Suggest He Underestimates Resolve of America’s Neighbor to the North
By CONRAD BLACK
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This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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Tsutomu Mizukami is unknown in English, though his two most famous works have long been available in French. Now “The Temple of the Wild Geese” and “Bamboo Dolls of Echizen” (Dalkey Archive Press, 208 pages, $22.95) have been translated by Dennis Washburn and collected in one volume. Equated in Japan with other mid-century greats, such as Georges Simenon and Patricia Highsmith, who brought high literary values to the mystery genre, Mizukami helped pioneer intelligent detective fiction in Japan. His greatest years of output — during which time he wrote both novellas collected here — came in the early 1960s, when Mizukami discovered in himself a colloquial Japanese landscape nevertheless rife with modernist sexual symbolism. It is a landscape — inclusive of detective fiction, perverse sexuality, and Buddhist mythology — that is well known to American readers today, practiced as it is by Haruki Murakami and manga artists.
By CONRAD BLACK
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By MATTHEW RICE
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By GEORGE WILLIS
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By MATTHEW RICE
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By CAROLINE McCAUGHEY
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By ROSS ANDERSON
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By MARIO NAVES
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By CARLOS SOUSA
|Tsutomu Mizukami is unknown in English, though his two most famous works have long been available in French. Now “The Temple of the Wild Geese” and “Bamboo Dolls of Echizen” (Dalkey Archive Press, 208 pages, $22.95) have been translated by Dennis Washburn and collected in one volume. Equated in Japan with other mid-century greats, such as Georges Simenon and Patricia Highsmith, who brought high literary values to the mystery genre, Mizukami helped pioneer intelligent detective fiction in Japan. His greatest years of output — during which time he wrote both novellas collected here — came in the early 1960s, when Mizukami discovered in himself a colloquial Japanese landscape nevertheless rife with modernist sexual symbolism. It is a landscape — inclusive of detective fiction, perverse sexuality, and Buddhist mythology — that is well known to American readers today, practiced as it is by Haruki Murakami and manga artists.
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