Jun Ishikawa (石川淳, Ishikawa Jun, 7 March 1899 – 29 December 1987) was the pen name of a modernist author, translator and literary critic active in Shōwa period Japan. His real name (written in the same kanji) was Ishikawa Kiyoshi.
The next year, he was resigned from the university due to controversy over his participation in student protest movements. He returned to Tokyo and began a bohemian existence, living out of cheap pensions while translating André Gide's Les Caves du Vatican and Molière's Le Misanthrope and Tartuffe.
His literary career began in 1935, when he began writing a series of short stories, starting with Kajin (佳人, Lady), and Hinkyu mondo (貧窮問答, Dialog on Poverty) in which he depicted the struggles of a solitary writer attempting to create a Parnassian fiction. In 1936 he won the fourth annual Akutagawa Prize for his story Fugen (普賢, The Bodhisattva).[1]
In early 1938, when Japan's war against China was at its height, Ishikawa published the brilliantly ironic Marusu no uta (マルス の 歌, Mars' Song), an antiwar story soon banned for fomenting antimilitary thought.[citation needed] His first novel, Hakubyo (白描, Plain Sketch, 1940) was a criticism of Stalinism. During the war years, he turned his attention to non-fiction, producing biographies on Mori Ōgai and Watanabe Kazan. However, his main interest was in the comic verses of the Tenmei era of the Edo period (狂歌, Kyoka), of which he became a master. He wrote poetry using the pen-name of Isai (夷斎). Along with the likes of Osamu Dazai, Sakaguchi Ango, and Oda Sakunosuke, Ishikawa was known as a member of the Buraiha (literally "Ruffian") tradition of anti-conventional literature. In the post-war period, he wrote Ogon Densetsu (黄金伝説, Legend of Gold, 1946) and Yakeato no Iesu (焼跡 の イエス, Jesus in the Ashes, 1946). The author Abe Kobo became his pupil.
He also continued his work in essays, which took two forms. In Isai hitsudan (夷斎筆談, Isai's Discourses, 1950–1951), he covered a wide range of topics in art, literature and current events, in an irreverent, and at times, bitter, style. On the other hand, Shokoku Kijinden (諸国畸人伝, Eccentrics and Gallants from around the country, 1955–1957), is a series of biographical sketches of unusual persons from various points in Japanese history. He turned also to ancient Japanese history, with the serial publication of Shinshaku Kojiki (新釈古事記, Another Translation of the Kojiki), Hachiman Engi (八幡縁起, Origins of Gods of Hachiman, 1957) and Shura (修羅, Demons, 1958), in which he explored the origin of Japanese nation and conflict between the Jōmon and Yayoi peoples.
In 1964 he went to a journey to the Soviet Union and western Europe together with Abe Kobo. It was his first overseas travel, and resulted in Seiyu Nichiroku (西游日録, A Record of a Journey West, 1965). In 1967 he joined Kawabata Yasunari, Mishima Yukio and Abe Kōbō in issuing a statement protesting the destruction of Chinese art during the Chinese Cultural Revolution. Ishikawa was immensely popular in the post-war era, and won numerous awards. His Edo Bungaku Shoki (江戸文学掌記, A Brief Survey of Edo Literature, 1980), won the Yomiuri Literary Award.
He died of lung cancer while working on his last novel, Hebi no Uta (蛇 の 歌, A Song of Snakes, 1988),
