Shinta Chō

2.1. Early Life and Education

Chō was born Shuji Suzuki on September 24, 1927, in Haneda-cho, Ebara-gun, Tokyo-fu (now part of Ōta Ward, Tokyo), and grew up in Kamata. During World War II, he attempted to enroll in the Army Youth Pilot School but was rejected due to insufficient weight. He graduated from Tokyo Municipal Kamata Technical School, which is now Tokyo Metropolitan Ichihashi High School. Following the air raids that devastated Kamata, he moved to Yokohama, where he experienced the end of the war. His love for cinema led him to work for about three years as a movie billboard painter.

2.2. Entry into Manga and Illustration

His professional career began in December 1948 when he entered the "Hatsuwarai Tokyo Nichi Nichi Shimbun Manga Matsuri" (First Laugh Tokyo Nichi Nichi Shimbun Manga Festival), a manga contest organized by the Tokyo Nichi Nichi Shimbun (Tō-Nichi). His four-panel manga titled "Long Kyō" (ロング狂_{Rongu Kyō}^Japanese), which humorously depicted long skirts, earned him second prize. Following this success, Tō-Nichi offered him a serialized contribution, and in 1949, he joined the newspaper as a commissioned staff member. It was at this point that he was given the pen name "Shinta Chō" without his prior consent. While the exact individual who coined the name remains uncertain, it is believed to have originated from the then editor-in-chief of Tō-Nichi, Chikao Kanō. The name was derived from "long" (長_Chō^Japanese) from "long skirt," "new" (新_Shin^Japanese) to signify a newcomer, and "bold" (太_Ta^Japanese) reflecting a wish for him to be courageous in his endeavors. His office in Yūrakuchō, Tokyo, was in the same building as the Mainichi Shimbun's editorial department, which housed desks for notable manga artists like Ryūichi Yokoyama, Taizō Yokoyama, and Ryōsuke Nasu. This environment fostered connections with younger artists, including Kō Kojima.

2.3. Transition to Children's Literature

In 1955, coinciding with the suspension of Tō-Nichi's publication and the dissolution of its corporate entity, Chō joined the Independent Manga Faction (独立漫画派_{Dokuritsu Manga-ha}^Japanese), led by Kō Kojima. While exploring the possibilities of one-panel manga alongside fellow members Yōsuke Inoue and Yōji Kuri, he gradually transitioned into illustration and children's books. His debut as a picture book author came in 1958 with "Ganbare, Saru no Saran-kun" (がんばれ、さるのさらんくん_{Ganbare, Saru no Saran-kun}^Japanese, "Go, Saru no Saran-kun"), written by Masafumi Nakagawa. This move marked a pivotal shift in his career, leading him to be celebrated as the "God of Nonsense" for his unique approach to storytelling.

3.1. Picture Books

Chō authored and illustrated a vast array of picture books, many of which became beloved classics in Japan. His significant contributions to this genre include:

• The Gas We Pass: The Story of Farts (おなら_Onara^Japanese).
• Umph-a-Lumph, Meow (つみつみニャー_{Tsumi-tsumi nya}^Japanese).
• Chorus of Winter Buds (ふゆめがっしょうだん_{Fuyume gasshodan}^Japanese), which received the Japan Picture Book Awards Grand Prize in 1990.
• The Easygoing Aquarium (ノンビリすいぞくかん_{Nonbiri suizokukan}^Japanese).
• The Cats and Their Flying Machine (ごろごろにゃーん_{Gorogoro nyan}^Japanese).
• Up! Up! (だっこだっこねえだっこ_{Dakko, dakko, née dakko}^Japanese).
• Rolling Kittens (ころころにゃーん_{Korokoro nyan}^Japanese).
• A Worm Named Buddy (みみずのオッサン_{Mimizu no ossan}^Japanese).
• Chomp! (ぱっくんぱっくん_{Pakkun pakkun}^Japanese).
• Dakuchiru, Dakuchiru.
• My Beach (わたしのうみべ_{Watashi no Umibe}^Japanese).
• The Talkative Omelet (おしゃべりなたまごやき_{Oshaberi na tamagoyaki}^Japanese), which won the Bungei Shunju Manga Award in 1959 and an honorable mention in the Hans Christian Andersen Awards in 1974.
• Spring is Here, Auntie Owl (はるですよふくろうおばさん_{Haru desu yo, Fukurō Obasan}^Japanese), a recipient of the Kodansha Publication Culture Award for Children's Picture Books in 1977.
• Cabbage Boy (キャベツくん_Kyabetsu-kun^Japanese), which earned him the Japan Picture Book Awards Grand Prize in 1981.
• Upside-Down Lion (さかさまライオン_{Sakasama raion}^Japanese), written by Rintarō Uchida, was awarded the Japan Picture Book Awards Grand Prize in 1986.
• Rubber-Headed Pontarō (ゴムあたまポンたろう_{Gomu-atama Pontarō}^Japanese), for which he received a Japanese Picture Book Award in 1999.
• My Crayon (ぼくのくれよん_{Boku no Kureyon}^Japanese), published by Kodansha, received the Ministry of Health and Welfare Child Welfare Culture Encouragement Award in 1978.
• Where the Horizon is Visible (ちへいせんのみえるところ_{Chiheisen no Mieru Tokoro}^Japanese), published by Biliken Publishing.
• Pikakun Gets Dizzy (ぴかくんめをまわす_{Pikakun Me o Mawasu}^Japanese), from Fukuinkan Shoten.
• Octopus Bus (タコのバス_{Tako no Basu}^Japanese), from Fukuinkan Shoten.
• Munyamunya Snow Bus (ムニャムニャゆきのバス_{Munyamunya Yuki no Basu}^Japanese), from Holp Shuppan.
• Chubby Lion (ちょびひげらいおん_{Chobihige Raion}^Japanese), from Akane Shobo.
• Hello! Weird Lion (こんにちは! へんてこライオン_{Kon'nichiwa! Henteko Raion}^Japanese), from Shogakukan.
• Weird Animal Diary (ヘンテコどうぶつ日記_{Henteko Doubutsu Nikki}^Japanese), from Riron-sha, which won the Robou no Ishi Young Adult Literature Award in 1990.
• Greedy Ta~ko (よくばり たーこ_{Yokubari Ta~ko}^Japanese), from Fukuinkan Shoten.
• Strange Onigiri (へんな おにぎり_{Hen na Onigiri}^Japanese), from Fukuinkan Shoten.
• Hoihio-san (ほいほいさん_Hoihio-san^Japanese), from Hikari no Kuni.
• Cabbage Boy and Butayama-san (キャベツくんとぶたやまさん_{Kyabetsu-kun to Butayama-san}^Japanese), from Bunken Publishing.
• Cried (ないた_Naita^Japanese), written by Hirotaka Nakagawa, received the Japan Picture Book Awards Grand Prize in 2005.

3.2. Manga

In his early career, Shinta Chō actively contributed to the manga medium. His notable manga works include:

• Manga Dōwa Nanjamonja Hakase (マンガ・どうわ なんじゃもんじゃ博士_{Manga Dōwa Nanjamonja Hakase}^Japanese, "Manga Fairy Tale Dr. Nanjamonja"), which was serialized in the magazine Haha no Tomo from April 1974 to March 1976 and later compiled into book format by Fukuinkan Shoten.
• Subsequent volumes of the series, Manga Dōwa Nanjamonja Hakase Harahara-hen (マンガどうわ なんじゃもんじゃ博士 ハラハラ編_{Manga Dōwa Nanjamonja Hakase Harahara-hen}^Japanese, "Heart-pounding Edition") and Manga Dōwa Nanjamonja Hakase Dokidoki-hen (マンガどうわ なんじゃもんじゃ博士 ドキドキ編_{Manga Dōwa Nanjamonja Hakase Dokidoki-hen}^Japanese, "Exciting Edition"), were also published.
• His "Manga Kaijin Series" (マンガ・怪人シリーズ_{Manga Kaijin Shirīzu}^Japanese, "Manga Mysterious Person Series") was collected and published in his essay collection Umi no Bidama.

3.3. Illustrations for Other Authors

Shinta Chō's distinctive visual style also greatly enriched the works of other authors. His notable collaborations as an illustrator include:

• The Talkative Omelet (おしゃべりなたまごやき_{Oshaberi na tamagoyaki}^Japanese) by Teruo Teramura.
• Beyond the Mountain Was a Blue Sea (山のむこうは青い海だった_{Yama no Mukou wa Aoi Umi Datta}^Japanese) by Shōichi Imae.
• The Girl Who Hugged an Elephant (ぞうをだいた女の子_{Zou o Daita Onna no Ko}^Japanese) by Keiko Ochiai.
• It's Strange, It's Strange (へんですねえ へんですねえ_{Hen desu ne~ Hen desu ne~}^Japanese) by Shōichi Imae.
• The "Bonbon" tetralogy (ぼんぼん_Bonbon^Japanese) by Shōichi Imae.
• Sea Zebra (うみのしまうま_{Umi no Shimauma}^Japanese) by Akio Yamashita.
• Feelings (きもち_Kimochi^Japanese) from Fukuinkan Shoten.
• Rocco the Mischievous Otter (いたずらラッコのロッコ_{Itazura Rakko no Rokko}^Japanese) by Toshiko Kanzawa.
• Where is Little Kitten (こねこちゃんは どこへ_{Koneko-chan wa Doko e}^Japanese) by Toshiko Kanzawa.
• Pirate Oneshon (かいぞくオネション_{Kaizoku Oneshon}^Japanese) by Akio Yamashita.
• Sea Medaka (海のメダカ_{Umi no Medaka}^Japanese) by Tatsuya Saraumi.
• Mr. Sewing Needle and Mrs. Pin (ぬい針だんなとまち針おくさん_{Nuinbari Danna to Machibari Okusan}^Japanese) by Etsuko Dobashi.
• Children's Poetry Collection: The Sun's Fart (子どもの詩集 たいようのおなら_{Kodomo no Shishu Taiyou no Onara}^Japanese), compiled by Kenjiro Haitani.
• Bonbon Monogatari: The Life of Chibi (ボンボンものがたり チビの一生_{Bonbon Monogatari Chibi no Issho}^Japanese) by Akira Nagai.
• Land of the Fat, Land of the Tall (デブの国ノッポの国_{Debu no Kuni Noppo no Kuni}^Japanese) by André Maurois, translated by Akira Tsuji.

3.4. Essays and Other Writings

Beyond his work in children's literature, Shinta Chō was also an active essayist, sharing his unique perspectives on humor, travel, and his personal interests. His published writings include:

• Sea Marbles (海のビー玉_{Umi no Bidama}^Japanese), published as part of the Heibonsha Library series.
• Shinta Chō's Chichinpuipui Trip (長新太のチチンプイプイ旅行_{Chō Shinta no Chichinpuipui Ryokō}^Japanese), a travelogue published by Heibonsha.
• Discovery of Humor (ユーモアの発見_{Yūmoa no Hakken}^Japanese), part of the Iwanami Junior Shinsho series.
• Straddling a Tin Potty (ブリキのオマルにまたがりて_{Buriki no Omaru ni Matagarite}^Japanese), originally published in Hanashi no Tokushu and later re-published by Kawade Shobō Shinsha, chronicling his unusual hobby.

4.1. "God of Nonsense"

The moniker "God of Nonsense" (ナンセンスの神様_{Nansensu no Kamisama}^Japanese) perfectly encapsulates Shinta Chō's artistic essence. This title emerged from his imaginative and often illogical narrative structures, which he intentionally crafted to challenge artistic conventions. His work featured humorous developments and absurd plotlines, delighting both children and adults by breaking free from traditional storytelling norms. Rather than adhering to realistic portrayals or didactic messages, Chō embraced the illogical, transforming everyday objects and situations into fantastical scenarios.

4.2. Humor and Absurdity

A cornerstone of Chō's distinctive style was his masterful use of playful humor and absurd situations. His stories often featured talking fried eggs, cabbage boys, or upside-down lions, creating a world where anything was possible. This deliberate embrace of absurdity served not only to entertain but also to encourage critical thinking and imaginative play among his young readers. By presenting the unconventional, Chō invited his audience to question reality, fostering creativity and a broader appreciation for diverse perspectives. His humor resonated with adults as well, who appreciated the subtle wit and philosophical underpinnings of his seemingly simple narratives.

6.1. Personal Life and Hobbies

Shinta Chō was known for his distinctive hobby of collecting urinals (おまる_omaru^Japanese), particularly those made of tin. This unusual interest even became the subject of one of his own published works, Straddling a Tin Potty (ブリキのオマルにまたがりて_{Buriki no Omaru ni Matagarite}^Japanese), originally released by Hanashi no Tokushu and later re-published by Kawade Shobō Shinsha, chronicling his unusual hobby.

7.1. Death

Shinta Chō had been undergoing repeated hospitalizations for cancer treatment since around 2000. He passed away on June 25, 2005, at a hospital in Shibuya Ward, Tokyo, at the age of 77 (his 78th year). The cause of his death was complications from oropharyngeal cancer.

8.1. Critical and Public Reception

Shinta Chō's work received widespread critical acclaim and public appreciation throughout his career and continues to maintain an enduring reputation. His unique artistic vision, characterized by humor and absurdity, resonated deeply with both children and adults. Critics praised his ability to create engaging narratives that transcended traditional boundaries, while the public embraced his playful and thought-provoking stories. His unconventional approach, which challenged the conventional wisdom of what children's books should be, was seen as both refreshing and profound.

8.2. Influence on Children's Literature

Shinta Chō's innovative and often surreal style had a significant impact on the development of children's literature and illustration. By embracing nonsense and challenging logical conventions, he expanded the artistic boundaries of the genre, demonstrating that stories could be both entertaining and deeply imaginative without adhering to strict realism or overt moralizing. He encouraged creativity, not just in children, but also in aspiring artists and authors, by showing the potential of unbound imagination. His pioneering work inspired subsequent generations of artists and writers to explore new forms of storytelling, cementing his status as a seminal figure whose influence continues to be felt in contemporary children's literature.