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Wind Phones In the Arts

Literacy, poems, songs, play -- much has been created around WPs

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Sasaki - book of reflections titled Kaze no Denwa _ Daishinsai... look on wikipedia

Wind phone - Wikipedia

Literature[edit]

Sasaki, the creator of the Ōtsuchi wind phone, wrote a book of reflections titled Kaze no Denwa – Daishinsai Kara Rokunen, Kaze no Denwa o Tooshite Mieru Koto (風の電話:大震災から6年、風の電話を通して見えること, lit. 'The Phone of the Wind: What I Have Seen via the Phone in the Six Years Since the Earthquake') in 2017. The book was published by Kazama Shobo.[2]

The 2020 novel The Phone Box at the Edge of the World by Italian writer Laura Imai Messina tells the story of a woman who loses her family in the Tōhoku tsunami and travels to the wind phone, where she meets a widower and his daughter who have experienced similar losses. The novel was inspired by Messina's visit to the Ōtsuchi wind phone in 2011.[21]

The Phone Booth in Mr. Hirota's Garden, a 2020 novel by Canadian writer Heather Smith, is a fictionalized version of the wind phone's origins.[22] According to Smith, she was inspired by a National Public Radio podcast about the wind phone and exchanged emails with Sasaki during the writing process, stating that it "was a thrill to receive his blessing and an honour to share his beautiful approach to grief through this book."[23]

Film[edit]

The 2019 Austrian short film The Wind Phone, written and directed by Kristin Gerweck, follows seven fictional strangers who visit the Japanese wind phone.[24] Gerweck wrote the screenplay when she learned about the wind phone after her grandmother's death, saying: "I was intrigued by the emotional realities that could emerge in this metaphysical grieving space and so began my journey to translate this beautiful story to screen."[25]

Voices in the Wind (風の電話, Kaze no Denwa) is a 2020 Japanese drama film about a fictional high school student who lost her family in the Tōhoku tsunami and returns to her hometown to visit the wind phone years later.[26] Director Nobuhiro Suwa, who returned to Japan for filming, stated: "Going there eight years later, you can't see much of the damage, it has been rebuilt. But people's feelings have not been fixed."[4]

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