I Guess All We Have Is Freedom

Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-gardeThere is a small but potent club of authors—Miranda July and Patti Smith are both members—who were renowned artists long before they became writers. Genpei Akasagawa was already a giant of the Japanese contemporary art world when he began writing these stories, which earned him Japan’s two most prestigious book awards.In these stories, ostensibly quiet tales of a single dad in 1970s Tokyo, a doorknob practices radical politics, a peeled tomato smarts in pain, raw oysters tick like time bombs and gravestones provide a critique of capitalism. After reading I Guess All We Have Is Freedom, you will never be able to look at a sliding door, a rubber band or a plastic gutter the same way again. In spite of their suburban settings, the stories here are more radical than the most cosmopolitan contemporary art. Or as the protagonist puts it: “The whole art thing is a little played out at this point. Nowadays, it’s all about buying gutters. Going out to buy a gutter on a sunny day.”Genpei Akasegawa (1937-2014) was a rare phenomenon, an artist who successfully transitioned from the avant-garde to the larger realm of popular culture. Akasegawa emerged on the Japanese art scene around 1960, starting in the radical Anti-Art movement and becoming a member of the seminal artist collectives Neo Dada and Hi
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