Published on March 9, 2017.
This essay examines the shared ideological structure linking Murakami Haruki, Kang Sang-jung, Asahi Shimbun editorialists, cultural figures, and so-called human-rights lawyers, comparing them to the role played by U.S. Democratic politicians in anti-Japan propaganda, and concludes that facts have fully validated the author’s long-standing arguments.

2017-03-09

Here as well, the facts have perfectly proven the correctness of my arguments.

As I read the previous chapter, images came to my mind of Murakami Haruki, Kang Sang-jung, the editorial writers of the Asahi Shimbun, opposition-party politicians, so-called cultural figures, so-called human-rights lawyers, people in specific publishing circles, and those who make their living by contributing as writers to weekly magazines.

This is probably the same structure as in the United States, where China and South Korea, acting in concert, have placed Democratic Party lawmakers—represented by figures such as Mike Honda—as the main targets of their anti-Japan propaganda.

The other day, while watching footage of President Trump’s policy address to the U.S. Congress, I instinctively felt a sense of frivolity and an unmistakable air of dubiousness among the Democratic lawmakers seated in the chamber, particularly the female members.

For example, discerning readers will surely remember that the sense of suspicion I felt the very first time I saw Kang Sang-jung on Asa Made Nama Television turned out to be one hundred percent accurate.

I had long felt something deeply strange and unsettling about the fact that Murakami Haruki—a mere translator, no more than a translator of Raymond Carver—had somehow come to be called a great novelist. As of yesterday, however, the entire picture became unmistakably clear.

All discerning readers must know that nearly all of my arguments have proven to be one hundred percent correct.

Here as well, the facts have perfectly demonstrated the validity of my arguments.

To be continued.