Today I’m joined again by Rachel S. Cordasco, the creator of the indispensable website and resource Speculative Fiction in Translation, for the sixth installment of our series exploring non-English language SF worlds. Last time we covered Arkady and Boris Strugatsky’s ruminative “Wanderers and Travellers” in International Science Fiction, ed. Frederik Pohl (November 1967).
Please note that Rachel and I are interested in learning about a large range of authors and works vs. only tracking down the best. That means we’ll encounter some stinkers. Thankfully, not this time! We got a powerful one.
Unfortunately, Izumi Suzuki’s “Terminal Boredom” (1984, trans. by Daniel Joseph 2021) does not exist online. A large range of her SF stories were translated and published in two volumes by Verso books with various translators. You can acquire Terminal Boredom (2021) and Hit Parade of Tears (2023) at relatively inexpensive prices online. Despite my substantial qualms with the editions (see my review below), I recommend acquiring them.
“Terminal Boredom” (1984) does double duty as the 35th installment of my review series on media landscapes of the future.
Previously: George H. Smith’s “In the Imagicon” (1966).
Up Next: TBD
Enjoy!
Rachel S. Cordasco’s Review
In an article on the “iconoclast” Japanese sf writer Izumi Suzuki, Andrew Ridker distills her stories down to three words: “Ambivalence, disappointment, resignation: Suzuki’s stories speak so eloquently to our burnt-out moment that it’s easy to forget the importance of her cultural context” (LitHub, 5/7/21). We are indeed burnt out, more burnt out even than when Ridker was writing just four years ago. It’s now 2025 and time to face the fact that Facebook and YouTube have been around for over twenty years. The iPhone has been around for nearly that long, and for an entire year, the world was turned upside down during a pandemic, during which time we were even more closely connected to our devices. We’re burnt out by phones, by the rapidly-developing world of AI, by the streaming services that offer us so many choices that it’s nearly impossible to pick something to watch.
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