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"In many ways, despite their background against mass carnage on enormous scales the atomic bombings of Hiroshima and Nagasaki constituted something entirely new. The earlier fire bombing of Tokyo had likely killed more people (mostly civilians the vast majority of whom burned alive). But it was Hiroshima and Nagasaki that became etched into Japan’s consciousness in ways that are almost impossible to describe."

"A combination of factors might have contributed to what unfolded. To begin with, until the end of the US occupation of Japan in 1952, photographs from Hiroshima or Nagasaki could not be published (while US photographers extensively documented the aftermath in both cities — which fact we will come back to). Given the country’s history, the Japanese were used to large fires destroying their cities (often as direct consequences of major earthquakes). But two cities wiped off the face of the Earth literally in an instant?"

"And there were the survivors (hibakusha in Japanese), many of whom bore visible traces of what they had suffered through, and many of whom even years would die later of what initially were incomprehensible illnesses. The hibakusha largely faced incomprehension as a group, which made it very difficult for many to find life partners (there is a deeply affecting scene in Marie Mutsuki Mockett‘s Where the Dead Pause the Japanese Say Goodbye, in which a dying person reveals to their family on their deathbed that they are in fact a hibakusha)."

"Japanese artists have attempted to come to terms with Hiroshima and Nagasaki ever since. For example, novelist Masuji Ibuse’s Black Rain (published in 1965) centers on the attempts by a couple to find a husband for their niece, a hibakusha. The 1989 movie adaptation is as difficult to watch as the novel is difficult to read. Some of the scenes are as hard to imagine as to see, as when two young children meet in the newly burned out ruins of Hiroshima, and the older barely recognizes his brother part of whose skin is hanging loose from his limbs."

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