Distance as a Narrative Device in Japanese Children’s Literature

After the 2011 Great East Japan Earthquake, many Japanese children’s book writers and illustrators were forced “to ponder how to convey the trauma of this disaster to children who were not affected, as well as how to provide support and understanding to those who were” (Kokusai Kodomo Toshokan, 2017). At that time, several approaches were explored—from offering comfort and encouragement to providing realistic depictions of the situation. However, instead of focusing directly on the disaster, some authors chose to center their works on World War II, using geographical and temporal distance as a tool “to divide as well as unite.” In fact, the distance created by a frame narrative is an effective strategy that allows readers to empathize with the protagonist while preventing them from becoming too emotionally involved in the narrative. The focus of this paper is to analyze the peculiarities of this technique in the works of Yōko Tomiyasu (1959-), Shaw Kuzki (1957-), and their precursor, Miyoko Matsutani (1926-2015). Set in present-day Japan, these works invite readers to rediscover, along with the protagonists, traces of the past—particularly the wartime past. In line with the best traditions of children’s literature, these narratives evoke curiosity not by providing definitive answers, but by raising questions and encouraging reflection through the presentation of diverse perspectives.