“disaster-sightseeing” he indulged in after the 1923 quake, we should also remember that, to use his own phrase, he was already a “master of funerals” long before this particular experience of death and disaster (having lost every last member of his immediate family in childhood). To use him as a representative example of a quake-affected or quake-traumatized author thus seems rather problematic. Also, although the urban environment may not have featured as prominently as in Asakusa kurenaidan in any of his later works, it would be a mistake to think that Kawabata ever returned to the kind of self-satisfi ed, navel-gazing inwardness of the Taisho naturalists and I-novelists. One might offer a late story such as “Kata ude” (One arm, 1964), for instance, as a remarkable example of how his fi ction can be both intensely subjective and intensely objective at the same time. Of course, none of this detracts in any way from my high estimation of Bates’s achievement here. The Culture of the Quake is a seminal work that will help shape scholarly debate on this topic for a long time to come.

中文翻译：

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博宁岛民，1830 年至今：大卫·查普曼讲述日本国籍

他在 1923 年地震后沉迷于“灾难观光”，我们也应该记住，用他自己的话说，早在这次特殊的死亡和灾难经历（失去所有最后一名成员）之前，他就已经是“葬礼大师”了。他童年时的直系亲属）。因此，将他作为受地震影响或受地震创伤的作家的代表性例子似乎相当成问题。此外，尽管城市环境在他后来的任何作品中都没有像浅草 kurenaidan 那样突出，但认为川端曾经回到大正那种自我满足、凝视肚脐的内在的想法是错误的。博物学家和我小说家。例如，人们可能会提供诸如“Kata ude”（一只手臂，1964 年）之类的晚期故事，作为他的小说如何同时具有强烈主观性和强烈客观性的一个显着例子。当然，这些都不会影响我对贝茨在这里取得的成就的高度评价。地震文化是一项开创性的工作，将有助于在未来很长一段时间内形成有关该主题的学术辩论。