productions focused on 3/11; or, the case of authors who, after writing a work on the
topic, turned back to their “common” themes; eventually, a periodical return on post-
Fukushima matters can be noticed too. An other categorisation is a remark on the
popularity of authors in question, already famous before 11th March or not. To
conclude, literary works can also be divided by topics, considering the
Daishinsai
or
the nuclear accident at Fukushima Daiichi as the main feature although works written
on both themes are also available.
This study represents a first overview of the
“literary of the catastrophe” as a canon and an attempt
to define the newborn
Fukushima bungaku
, especially in relation to Hiroshima and Nagasaki atomic
bombing experiences. Anyway, further investigation and an implementation of the
selected sources would be the right path to follow in order to revalue this Japanese
aesthetic literary response to trauma.