The global rise of Japanese literature is no longer just a trend. Today, Japanese novels are reaching new audiences worldwide, winning praise and awards. However, to sustain this momentum, Japan must develop a deeper international strategy. At the same time, it must spark fresh enthusiasm among younger domestic readers. Without both, this literary moment may fade too quickly.
Now, Hiromi Kawakami’s Under the Eye of the Big Bird is shortlisted for the International Booker Prize. The novel explores human extinction and humanity’s merging with artificial intelligence. If she wins, Kawakami would be the first Japanese author to receive the prize. Consequently, she would join writers like South Korea’s Han Kang in lifting Asian literature onto the global stage. That would mark a major milestone in the global rise of Japanese literature.
In addition, other Japanese authors have also gained attention abroad in recent years. For instance, Yoko Tawada and Yu Miri each won the U.S. National Book Award for translated fiction. Likewise, Sayaka Murata’s Convenience Store Womanbecame a breakout hit in the UK. It paved the way for novels like Asako Yuzuki’s Butter, which sold over 300,000 copies there. Collectively, these successes highlight the growing international appetite for contemporary Japanese voices.
Historically, Japanese literature was once seen as exotic by global readers. Writers like Yasunari Kawabata and Junichiro Tanizaki defined that earlier image. Then, in the 1980s, Haruki Murakami and Banana Yoshimoto introduced a new tone—accessible and modern. Their global success, in turn, helped reshape perceptions of Japanese writing. Now, their legacy supports the global rise of Japanese literature.
Moreover, this literary surge reflects more than curiosity. In a divided world, readers seek nuance, empathy and quiet reflection. Japanese novels often avoid clear moral judgments, instead choosing subtle insight or dry humour. Notably, the strong presence of women writers in this movement also meets a global call for diverse voices. That range is essential for lasting literary influence.
Behind the scenes, institutions such as the Japan Foundation have played a crucial role. They subsidise translations and support foreign publishers willing to take a chance. Similarly, the Cultural Affairs Agency has also helped Japanese publishers prepare English-language pitches. Yoko Tawada’s translated work, for example, found success with that kind of backing. These efforts are vital, but not yet enough.
Therefore, to truly secure its place, Japan must expand these efforts with long-term vision. That means supporting translation into more languages, not just English. Furthermore, partnering with overseas universities to train literary translators could widen access. Richer funding models would also encourage more bold projects from foreign publishers. Translation must be treated as cultural diplomacy, not a side effort.
At the same time, domestic engagement must grow as well. Publishers and media outlets should spotlight global reader responses more actively. As a result, Japanese readers might rediscover their literature through foreign admiration. This exchange of perspectives can reshape how stories are told—and received—at home. Indeed, Japan’s own readers deserve to see their literature through global eyes.
Ultimately, the global rise of Japanese literature is more than a trend; it is a chance to build cultural bridges. But bridges must be maintained, not just built. Japan’s institutions and readers both have a role to play. By investing in its storytellers, Japan strengthens how the world understands it. That opportunity, undoubtedly, should not go to waste.
