A Tokyo Romance: A Memoir
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When Ian Buruma arrived in Tokyo in 1975, Japan was little more than an idea in his mind, a fantasy of a distant land. A sensitive misfit in the world of his upper middleclass youth, what he longed for wasn’t so much the exotic as the raw, unfiltered humanity he had experienced in Japanese theater performances and films, witnessed in Amsterdam and Paris. One particular theater troupe, directed by a poet of runaways, outsiders, and eccentrics, was especially alluring, more than a little frightening, and completely unforgettable. If Tokyo was anything like his plays, Buruma knew that he had to join the circus as soon as possible.
Tokyo was an astonishment. Buruma found a feverish and surreal metropolis where nothing was understated—neon lights, crimson lanterns, Japanese pop, advertising jingles, and cabarets. He encountered a city in the midst of an economic boom where everything seemed new, aside from the isolated temple or shrine that had survived the firestorms and earthquakes that had levelled the city during the past century. History remained in fragments: the shapes of wounded World War II veterans in white kimonos, murky old bars that Mishima had cruised in, and the narrow alleys where street girls had once flitted. Buruma’s Tokyo, though, was a city engaged in a radical transformation. And through his adventures in the world of avant garde theater, his encounters with carnival acts, fashion photographers, and moments on-set with Akira Kurosawa, Buruma underwent a radical transformation of his own. For an outsider, unattached to the cultural burdens placed on the Japanese, this was a place to be truly free.
A Tokyo Romance is a portrait of a young artist and the fantastical city that shaped him. With his signature acuity, Ian Buruma brilliantly captures the historical tensions between east and west, the cultural excitement of 1970s Tokyo, and the dilemma of the gaijin in Japanese society, free, yet always on the outside. The result is a timeless story about the desire to transgress boundaries: cultural, artistic, and sexual.
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Ian Buruma. (2018). A Tokyo Romance: A Memoir. Penguin Publishing Group.
Chicago / Turabian - Author Date Citation (style guide)Ian Buruma. 2018. A Tokyo Romance: A Memoir. Penguin Publishing Group.
Chicago / Turabian - Humanities Citation (style guide)Ian Buruma, A Tokyo Romance: A Memoir. Penguin Publishing Group, 2018.
MLA Citation (style guide)Ian Buruma. A Tokyo Romance: A Memoir. Penguin Publishing Group, 2018.
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- A classic memoir of self-invention in a strange land: Ian Buruma's unflinching account of his amazing journey into the heart of Tokyo's underground culture as a young man in the 1970's
When Ian Buruma arrived in Tokyo in 1975, Japan was little more than an idea in his mind, a fantasy of a distant land. A sensitive misfit in the world of his upper middleclass youth, what he longed for wasn’t so much the exotic as the raw, unfiltered humanity he had experienced in Japanese theater performances and films, witnessed in Amsterdam and Paris. One particular theater troupe, directed by a poet of runaways, outsiders, and eccentrics, was especially alluring, more than a little frightening, and completely unforgettable. If Tokyo was anything like his plays, Buruma knew that he had to join the circus as soon as possible.
Tokyo was an astonishment. Buruma found a feverish and surreal metropolis where nothing was understated—neon lights, crimson lanterns, Japanese pop, advertising jingles, and cabarets. He encountered a city in the midst of an economic boom where everything seemed new, aside from the isolated temple or shrine that had survived the firestorms and earthquakes that had levelled the city during the past century. History remained in fragments: the shapes of wounded World War II veterans in white kimonos, murky old bars that Mishima had cruised in, and the narrow alleys where street girls had once flitted. Buruma’s Tokyo, though, was a city engaged in a radical transformation. And through his adventures in the world of avant garde theater, his encounters with carnival acts, fashion photographers, and moments on-set with Akira Kurosawa, Buruma underwent a radical transformation of his own. For an outsider, unattached to the cultural burdens placed on the Japanese, this was a place to be truly free.
A Tokyo Romance is a portrait of a young artist and the fantastical city that shaped him. With his signature acuity, Ian Buruma brilliantly captures the historical tensions between east and west, the cultural excitement of 1970s Tokyo, and the dilemma of the gaijin in Japanese society, free, yet always on the outside. The result is a timeless story about the desire to transgress boundaries: cultural, artistic, and sexual. - reviews
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October 15, 2017
A leading public intellectual and the author of numerous award-winning titles, Buruma has succeeded Robert B. Silvers as the editor of the New York Review of Books. And if that weren't the case, this memoir would still be fascinating. Buruma reports on his arrival in Japan as a naive young man who felt out of place back home and was seeking something different in Tokyo: the scarily forthright and visceral sense of humanity he found in the Japanese theater performances and films he had encountered in Paris and Amsterdam.
Copyright 2017 Library Journal, LLC Used with permission.
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January 1, 2018
A delicious if squirm-inducing memoir of a young Western artist in 1970s Japan.Now a veteran author and editor of the New York Review of Books, Buruma (Year Zero: A History of 1945, 2013) was a restless youth, anxious to escape his middle-class life, and a devotee of the local art theater, especially of a bizarre performance by a Japanese theater group. Following college, where he majored in Chinese, he obtained a scholarship to a Japanese film school and set off, arriving in 1975. Film school proved a disappointment, but Buruma had come to experience Japan and perhaps explore his own budding sexuality. Readers familiar with the tea ceremony, martial arts, and ancient temples will receive a jolt as the author immerses himself into the art scene of a nation with a tolerance for grotesquery, including depictions of violence and sex that put America to shame. "The pornographic imagination was not furtive and marginal, as in many countries, but entirely upfront." Perhaps more sophisticated but no less explicit than U.S. productions, one hard-core film made it to the Cannes Film Festival. Although an autobiography should pay attention to facts, this is a memoir, so readers must accept that what Buruma chooses to remember takes priority over what actually happened. He describes a naive youth plunging into a fantastical foreign culture, so readers must pass over the casual admission that he arrived with a Japanese girlfriend and left with her six years later.The reward is a wild ride through the late-20th-century Japanese avant-garde scene through the eyes of an innocent from across the sea.COPYRIGHT(2018) Kirkus Reviews, ALL RIGHTS RESERVED.
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Starred review from January 22, 2018
New York Review of Books editor Buruma reflects on his immersion in the artistic underworlds of late 1970s Tokyo in this lucid, engrossing memoir. A bored university student from the Netherlands, Buruma was intrigued by the exotic Japan of film and stage and moved to a country caught between dizzying economic growth and the student uprisings that followed. On his way to artistic maturity, Buruma befriended gay expat aesthetes, fashion photographers, Buto dancers, and underground theater troupes, his fluent Japanese providing access to milieus few Westerners ever encountered. Throughout the narrative, readers learn nearly as much about Buruma’s occasional male lovers as they do about a Japanese girlfriend he lived with (and later married). Bisexual and half “Anglo-German-Jewish,” Buruma had always felt remote from his Dutch countrymen, and he felt even more displaced among the Japanese. Of course, it was exactly his difference that made him intriguing to the fiercely tribal artistic enclaves he explored; as Buruma freely admits, having John Schlesinger (Midnight Cowboy) for an uncle proved quite helpful in encounters with luminaries such as film directors Ju¯ro¯ Kara , Akira Kurosawa, and Shu¯ji Terayama. Yet even as this far-from-typical gaijin enjoyed the benefits of his ambiguous status, he came to understand that he would never be fully accepted. Buruma makes the archetypal quest for home in a foreign land both uniquely personal and deeply illuminating. Andrew Wylie, the Wylie Agency.
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When Ian Buruma arrived in Tokyo in 1975, Japan was little more than an idea in his mind, a fantasy of a distant land. A sensitive misfit in the world of his upper middleclass youth, what he longed for wasn’t so much the exotic as the raw, unfiltered humanity he had experienced in Japanese theater performances and films, witnessed in Amsterdam and Paris. One particular theater troupe, directed by a poet of runaways, outsiders, and eccentrics, was especially alluring, more than a little frightening, and completely unforgettable. If Tokyo was anything like his plays, Buruma knew that he had to join the circus as soon as possible.
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