Tsushima Yūko: Wildcat Dome, transl. Lisa Hoffman-Kuroda, Penguin, 2025
Regular visitors to my blog will know how passionate I became about Tsushima Yūko’s work after reading Territory of Light in 2019 (rereading it in 2024). I then devoured all of her work available in English, which was mostly her earlier stories and novels, all translated by Geraldine Harcourt back in the 1970s-80s, and I expressed some curiosity about her later work, which turns to social, environmental and political concerns. Then I came across Laughing Wolf, dating from 2000, translated by Dennis Washburn, and it showed a marked change from the realism and close observation of psychological and domestic matters in her early work. Wildcat Dome was written in 2013, as a response to the tsunami and Fukushima disaster in 2011, what the Japanese call 3/11, and shows a continued desire to experiment with form and timelines.
It starts off in a present-day (of 2013) that bears a lot of resemblance to our world, except that the earthquake, tsunami and nuclear fallout have been much more severe, Japan seems to be on the brink of destruction, and the danger of a further earthquake and a complete nuclear annihilation is imminent. Mitch is an old man who travels to Japan after the disaster to reunite with childhood friend Yonko, although they haven’t spoken in over a year. He is haunted by three prophecies uttered by a sorcerer in Brittany: the first two have come true already and the third was that ‘Japan will be swallowed up by the sea and a mysterious evil spirit will take up residence there.’ Unsurprisingly, he would like Yonko to leave with him, but she refuses to evacuate.
The story then takes us back in time to when they first became friends. Mitch and Kazu were two orphan boys, likely the result of American GIs raping their Japanese mothers in the late 1940s. They are adopted and raised as brothers by Mama, who works at an orphanage catering for these ‘unwanted half-breeds’, and Yonko is Mama’s niece, who lives nearby and is not squeamish about playing with these children that the rest of society would rather not see.
We then experience how these three friends come together and grow apart, how they individually and as a group (together with some of the other orphans, who have been adopted in the States) navigate the next five decades or so, at times in Japan, at times in other parts of the world. Through their eyes, we also tangentially experience Japanese history over those decades. We witness Mitch and Kazu being sent away to school in England but failing to fit in there and returning to Japan, although they will struggle to finish school there too. We see how others from their orphanage days forget the Japanese language or are conscripted to fight in Vietnam as American citizens. Yonko, the only ‘pure’ Japanese amongst them, engages in unsatisfactory relationships (even marriage) with unsuitable Japanese men, but it becomes clear that these children can only find refuge or a kind of home in each other. Mitch and Kazu have a very deep bond, almost like twins, and it appears that perhaps both Mitch and Kazu were in love at certain moments with Yonko, although the boundaries between friendship and love are kept deliberately blurred in Tsushima’s poetical prose.
But there is another layer to the story, a reason why these friends are unsettled and afraid and can only cling to each other. When they were 7-8 years old, they witnessed the drowning of one of their little orphan friends, a girl called Miki-chan wearing a little orange skirt, who died in the pond near their home. They saw a local Japanese boy, the loner and outcast Tabo, at the scene of the crime and have some suspicion that he might have pushed Miki in. However, since they themselves are outcasts and also the first to report the death, they too come under suspicion. And, just as they think they might have overcome this childhood trauma, another young woman wearing orange is killed in the same area ten years or so later. Several more killings following the same pattern occur over the next couple of decades, and the friends seem to be paralysed by the news: terrified, yet unable to definitely accuse Tabo of the subsequent deeds, nor able to entirely escape falling under suspicion themselves, even if they were out of the country for the later killings.
There are perhaps too many themes packed into this fairly slender book (240 pages): a murder mystery, found families, friendships over the years, nuclear fallout after an earthquake and tsunami, cultural identity and mixed-race orphans (or unwanted children) in post-war Japan and the discrimination they faced, vexed notions of cultural identity and home, the dangers of problems festering when they are unaddressed. Perhaps Tsushima felt that this might be her last major novel and tried to squeeze all she wanted to say into it.
The style also takes some getting used to: hopping from one viewpoint to the other, often deliberately vague, occasionally a bit pedestrian, but at other times quite hypnotic (the orange thread running through the book, the imperfect memories, the descriptions of nature).
Raindrops, glimmering white, slide off each leaf, the sound of the drip, drip striking his eardrums like a song, a quietness that could only be called a raindrop song, a cheerful song.
There are also passages that are directly critical of Japanese society (although attributed to grumpy old Mitch, for example, when addressing the son of one of their childhood friends, who has decided to grow up in Japan):
Japan is a strange, terribly conceited country that hates outsiders, so you have to be careful. You’re likely to be bullied wherever you go because of how you look. Terrible things are lying in wait for you. But I want you to overcome those things. I want you to live. Because those are the wounds of my own soul.
Finally, there are echoes of the earlier Tsushima, the troubled single mother narrator. I can imagine the translation challenges that Lisa faced with passages such as these (in Japanese it is often ambiguous whether it’s the first or third person speaking), and I admire her sure-footed, elegant choices.
There must be people living in those apartments, but as a whole, the building is quiet – here everyone lives holding their breath… The mother isn’t sure exactly who lives here, or how many of these hundred square-foot apartments there are. In one of them is her son, the cold stone, sunk to the bottom of the darkness.
I don’t want to go back in there, the mother things again. Why can’t she just abandon him? She wants so much to do it, and yet. This life she had birthed. It wasn’t as though her son had wanted to be born into this world. But she is afraid of him. She can’t stop trembling. As she approaches the apartment, she feels a scream rising in the back of her throat.
The ending is particularly lyrical and moving, although it is not the complete resolution that English-speaking readers might crave. Moving on is sometimes about sheer inertia and stubbornness, about survival rather than about being healed.



