In December 1948, a panel of 12 judges sentenced 23 Japanese officials for war crimes. Seven, including former Prime Minister Hideki Tojo, were sentenced to death. The sentencing ended the International Military Tribunal for the Far East, an over-two-year-long trial over Imperial Japan’s atrocities in China and its decision to attack the US.

India and Japan: A Natural Partnership in the Indo-Pacific, Harsh V Pant, Madhuchanda Ghosh (eds) (Orient BlackSwan, May 2024)
India and Japan: A Natural Partnership in the Indo-Pacific,
Harsh V Pant, Madhuchanda Ghosh (eds) (Orient BlackSwan, May 2024)

The Indo-Pacific has emerged as a new theater of strategic and economic competition in the twenty-first century. With the rise of China and the decline of US influence in Asia, India–Japan relations and foreign policies have also been undergoing a significant transformation. This volume critically assesses India–Japan relations with a particular focus on the growing power shift in the Indo-Pacific region. It brings together a diverse group of scholars and analysts from both countries who examine aspects of bilateral relations, partnerships at the regional level, obstacles in the way of fully cementing these ties, and the concrete policies that both countries can undertake for a comprehensive development of India–Japan relations.

Canadian lawyer Patrick Brode has written an interesting and fast-moving account of the little-known Allied war crimes and treason trials of Canadian-born Kanao Inouye, known as the Kamloops Kid by the Canadian soldiers who suffered beatings and torture by Inouye and his Japanese confederates in Hong Kong during World War II. It is a tale of war, suffering, racial animosity, inhumane conduct and, Brode believes, partial injustice.

In 1844, a young Japanese artist named Sakurada Kyūnosuke (1823-1914) happened upon a daguerreotype, an early form of photography that had been invented in France five years earlier. Sakurada, who generally went by the name of Renjō, was at the time an apprentice in the studio of a painter of the Kanō school, a loosely organized group whose members had served for more than two centuries as the official artists of the Tokugawa regime. Renjō was astonished by the verisimilitude of the image he saw, but what shocked him was how it had been made: not with dyes and ink, but with a machine and chemical solutions. His stupefaction was such that he “broke all his brushes” and resolved henceforth to commit all his time and energy to learning photography.