Title: The Last Children of Tokyo
Japanese Title: 献灯使 (Kentōshi)
Author: Yōko Tawada (多和田葉子)
Translator: Margaret Mitsutani
Publication Year: 2014 (Japan); 2018 (United Kingdom)
Publisher: Portobello Books
In the future – but not long in the future – Japan has secluded itself from the rest of the world. The environment is saturated with toxic substances, it’s dangerous to go near the sea, and most animals have disappeared from the wild. Humans still live on the Japanese archipelago, but their society has changed. Adults born in our own time live long lives and continue working well past their hundredth birthdays, while children born in the present of the novel have trouble retaining nutrients from food and are often too weak for sustained physical activity. Young and healthy people in their sixties and seventies do everything in their power to immigrate to Okinawa or the north of Japan, where agriculture still thrives, while Tokyo suffers from depopulation.
A novelist named Yoshiro still lives in Tokyo, where he cares for his great-grandson, Mumei. Mumei is fascinated by pictures of animals that have recently gone extinct, while Yoshiro similarly spends his time looking back on the gradual shifts and changes in Japanese society. Each of Yoshiro’s memories is a sustained flight of magical realism that often has very little to do with the conventions of science fiction or dystopian fantasy. The Last Children of Tokyo is not about social critique through the medium of apocalypse, nor does it have much of a plot. Rather, it’s a reflection of everyday life in contemporary Japan in a mirror that’s mostly accurate but has a few interesting distortions.
Some of these distortions offer a speculative interpretation of how daily life has changed as a result of Japan’s recent demographic shifts.
The names of some of the older holidays were changed: “Respect for the Aged Day” became “Encouragement for the Aged Day,” while “Children’s Day” was now “Apologize to Children Day”; “Sports Day” was changed to “Body Day” to avoid upsetting children who were not growing up big and strong; so as not to hurt the feelings of young people who wanted to work but simply weren’t strong enough, “Labor Day” became “Being Alive Is Enough Day.” (43-44)
Other distortions magnify current practices out of proportion, making them seem like harbingers of social collapse.
He heard the phrase “Baby Carriage Movement” from Marika for the first time. This was a movement to encourage mothers to push their baby carriages around town every day as long as the sun was shining. Mothers who woke up unbearably miserable every morning, feeling helpless, hungry, about to pee all over themselves with no one to help them, whether because of a moist, clammy dream they’d had the night before, or because being cooped up all day with a squalling infant stimulates memories of the mother’s own infancy, went out to push their baby carriages until they came to a coffee shop with a “baby carriage mark” in the window, where they would find books and magazines to read and other mothers to talk to. (67)
Nevertheless, Tokyo is still a center of population, and Yoshiro can’t bring himself to leave the city as social services crumble, public transportation breaks down, and people resort to eating weeds. Even in decline, it seems, Tokyo is still home to many vibrant communities.
Though Tokyo was now impoverished, new shops still bubbled up from the depths to open up like flowers; just sitting on a park bench, you never got tired of watching the people go by. Walking around the city made the gears in your brain start turning. People had begun to realize that these simple pleasures were the most delicious part of the fruit we call everyday life, which is why even though their houses were small and food was scarce, they still wanted to live in Tokyo. (60-61)
In The Last Children of Tokyo, the city of Tokyo is less of a physical location than it is a collection of people who, as a society, have developed a fascinating set of collective quirks. The novel has very little plot to speak of, allowing the reader to take in the sights as its narration slowly meanders between times and places. The last forty or so pages shift to Mumei’s perspective as he becomes involved in a secret plan to leave the Japan, but there’s no sense of urgency regarding the matter; and, like the rest of the novel, the ending is meant to be enjoyed for its atmosphere. Tawada’s writing is given form by its abstractions, most of which can be interpreted by the reader in multiple ways and pursued in multiple directions. As a result, The Last Children of Tokyo is neither a particularly hopeful nor a particularly grim novel. It’s an odd book and an entertaining thought experiment, and Tawada playfully invites her readers to join her on a journey through a Tokyo that doesn’t exist – at least, not yet.