How I Came to Criticize Nagai Takashi's Urakami Holocaust Theory

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Note on Japanese Names xi
4. Introduction. Imagining Nagasaki: Religion and History in Postatomic Memoryscapes 1
5. Part I Catholic Responses
6. The "Saint" of Urakami: Nagai Takashi and Early Representations of the Atomic Experience 33
7. Loving Your Neighbor across the Sea: The Reception of the Work of Nagai Takashi in the Republic of Korea 70
8. Faith, Family, Earth, and the Atomic Bomb in the Art of Nagai Takashi 93
9. "Love Saves from Isolation": Ozaki Tōmei and His Journey from Nagasaki to Auschwitz and Back 112
10. Part II Literature and Testimony
11. "Nagasaki" in Akutagawa Ryūnosuke's Taishō-Era Literary Imagination 131
12. Lambs of God, Ravens of Death, Rafts of Corpses: Three Visions of Trauma in Nagasaki Survivor Poetry 151
13. Listening to the Dead and Filling the Void: The Prayer and Activism of Akizuki Tatsuichirō 179
14. Breaking New Ground in Nagasaki: Seirai Yūichi's Ground Zero Literature 191
15. Part III Sites of Memory
16. Fragmented Memory: The Scattering of the Urakami Cathedral Ruins among Nagasaki's Memorial Landscape 215
17. One Fine Day: The Allied Occupation of Nagasaki and "Madame Butterfly House" 243
18. The Titan and the Arch: Regulating Public Memory through the Peace Statue 264
19. Part IV Reflections
20. How I Came to Criticize Nagai Takashi's Urakami Holocaust Theory 295
21. On Rereleasing The Bells of Nagasaki to the World 312
22. Acknowledgments 319
23. List of Contributors 323
24. Index 327