45 pages 1-hour read

Sweet Bean Paste

Fiction | Novel | Adult | Published in 2013

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Background

Content Warning: This section of the guide includes discussion of illness and ableism.

Cultural Context: The Art of Anko and Wagashi

Durian Sukegawa’s novel is rooted in the meticulous art of crafting wagashi, traditional Japanese confections often served with tea. Central to many wagashi, including the dorayaki pancakes featured in the book, is anko, or sweet bean paste. The novel elevates the preparation of this ingredient from a simple culinary task into a profound spiritual practice. Tokue, the elderly woman who transforms the struggling dorayaki shop, treats the process with a reverence that reflects deep cultural values surrounding craftsmanship, patience, and attention to detail. She insists that “[b]ean paste is the soul of dorayaki” and demonstrates this belief by “Listening” to the adzuki beans and imagining the “beautiful fine weather that they have witnessed” on their journey (19, 134). This mindful approach is a key theme, serving as Tokue’s primary means of connecting with the world and asserting her dignity.


The novel’s focus on confectionery as a high art form is grounded in Japanese culture, where establishments like Toraya, a company founded in the 16th century, are revered for their centuries-long dedication to the craft. Toraya is celebrated for its exacting standards and deep respect for the history and seasonality of its ingredients, mirroring Tokue’s philosophy. By grounding its central metaphor in this tangible cultural reality, Sweet Bean Paste uses the art of anko to explore how dedication to a craft can provide meaning, purpose, and a way to communicate one’s humanity when other forms of social connection have been severed.

Sociohistorical Context: Japan’s Leprosy Laws

Sweet Bean Paste draws upon the historical context of Japan’s 20th-century leprosy-prevention laws. Beginning with a 1907 statute and culminating in the 1953 Leprosy Prevention Law, the Japanese government enforced a strict policy of lifelong segregation for individuals with leprosy. Patients were forcibly removed from their families and quarantined in remote sanatoriums, a policy that remained in effect until the law was finally repealed in 1996. This history directly informs the life of Tokue, who was sent to the fictional Tenshoen sanatorium as a teenager and was “never allowed outside those gates” for most of her life (85). The social stigma created by the laws drives the novel’s central conflict, as the shop owner’s fear of contagion and rumors threaten Tokue’s employment and Sentaro’s business. Notably, the stigma has little to do with medical reality—leprosy has a low transmission rate, and a cure has been available since the 1940s.


Sukegawa uses this history to explore a deeper philosophical question. As he explains in his author’s note, he wrote the novel to challenge the idea that a person’s value is measured by their “usefulness to society” (215). This theme is voiced directly by Tokue, whose decades of isolation have led her to the conclusion that “we [a]re born in order to see and listen to the world” (199). Her quiet dignity stands in contrast to the real-world political struggle of former patients, which culminated in a landmark 2001 Kumamoto District Court ruling that deemed the segregation policy unconstitutional. This legal victory, and the government’s subsequent apology, provides an official acknowledgment of the profound injustice that shaped Tokue’s life.

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