I Guess All We Have Is Freedom

Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-gardeThere is a small but potent club of authors‿Miranda July and Patti Smith are both members‿who were renowned artists long before they became writers. Genpei Akasagawa was already a giant of the Japanese contemporary art world when he began writing these stories, which earned him Japan‿s two most prestigious book awards. In these stories, ostensibly quiet tales of a single dad in 1970s Tokyo, a doorknob practices radical politics, a peeled tomato smarts in pain, raw oysters tick like time bombs and gravestones provide a critique of capitalism. After reading I Guess All We Have Is Freedom, you will never be able to look at a sliding door, a rubber band or a plastic gutter the same way again. In spite of their suburban settings, the stories here are more radical than the most cosmopolitan contemporary art. Or as the protagonist puts it: “The whole art thing is a little played out at this point. Nowadays, it‿s all about buying gutters. Going out to buy a gutter on a sunny day.â€?Genpei Akasegawa (1937-2014) was a rare phenomenon, an artist who successfully transitioned from the avant-garde to the larger realm of popular culture. Akasegawa emerged on the Japanese art scene around 1960, starting in the radical Anti-Art movement and becoming a member of the seminal artist collectives Neo Dada and Hi Red Center. The epic piece Model 1,000-Yen Note Incident (1963-74), which involved a real-life police investigation and trial, cemented his place as an inspired conceptualist. Hyperart: Thomasson (Kaya Press, 2010), a collection of musings on art that the city itself makes, marks a crucial turning point in his metamorphosis from subculture to pop-culture status. Also an accomplished author writing under the penname Katsuhiko Otsuji, in 1981 he won Japan's most prestigious literary award, the Akutagawa Prize, for his story “Dad's Gone,â€? translated into English here for the first time in this volume.