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Counterculture(s) Past: Izumi Suzuki's Terminal Boredom


The first of two collections of Izumi Suzuki’s (1949-1986) work forthcoming from Verso Books,
Terminal Boredom: Stories contains seven pieces appearing for the first time in English translation in some cases more than forty years after their original release. However, from gender politics in a queer matriarchy to media oversaturation and disaffection, the themes of her fiction still thrum with a resistant, brightly grim tension. Passing decades certainly haven’t dulled the the razor’s cut of her punk sensibilities.
Instead of one translator handling the entire collection, the stories are split between six: Daniel Joseph, David Boyd, Sam Bett, Helen O’Horan, Aiko Masubuchi, and Polly Barton. Across their individual stylistic approaches to Suzuki’s prose, bedrock features come through: crispness edging toward a cruel gloss in the dialogue, emotional saturation (or desaturation) as both literal experience and speculative metaphor, references to American films and J ....

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BOOKS Prescient visions of the way we live now


(Verso, £10.99)
IN 1986 Izumi Suzuki, whose work as a model, actor and writer made her a countercultural icon in Japan, committed suicide at the age of 36.
Remarkably, this is the first English-language collection of her fiction but Verso has acquired the rights to all her stories and will publish a second volume in 2022.
This is excellent news because Terminal Boredom is a dazzling book, packed with memorable and unsettling ideas.
Sociopolitical commentary in science fiction is notoriously vulnerable to the ravages of time but, four decades after they were written, the seven stories in Terminal Boredom provide a powerful critique of a society based on manipulation and exploitation. ....

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