After reading that Selena Gomez looked ethereal in a custom Ralph Lauren wedding dress, that the Vitamix 5200 is a legend for a reason, and that scientists made a yogurt using ants, I feel sufficiently bad about myself because of how much time I have spent staring at inconsequential words and meaningless images on my little screen that I transition to the big screen that is my laptop. There, I read that the heart of United States president Donald Trump’s wealth is a rapidly growing cryptocurrency empire, and my friend is selling two tickets to Yung Lean. I grow weary. I pick up my phone again.
This summary of a recent Sunday afternoon is a diary of addiction. I’m not alone in feeling like I am tethered to a glowing appendage that contains the secrets to the world. The average Canadian spends about seventy days per year on their smartphone in aggregate.
I am not always like this; I love books in basically the same way that I have since I was a child under the covers, where I certainly spent more than seventy days reading a stockpile of young adult novels. But it is so easy to slip out of the habit of reading before bed after a few nights of phone time instead.
In recent years, a literary genre emerged and exploded in popularity, seemingly in direct response to our slovenly leisure culture that fetishizes appearing literary just as it slashes resources and opportunities to bolster the literary arts. Enter cozy lit, an import from Japan and Korea that prioritizes feeling over meaning, setting over structure, and texture over depth. The stories are gentle and warm, temporarily eliminating the friction of contemporary life. I’m not convinced they’re antidotes to the internet so much as replication of its hypnotic passivity. They are more akin to digital content than we know.
Cozy lit has its tropes. There should be cats. There should be books in the book. Tea. Rain. The seaside. More cats. There are actually so many cats. Reading this, you might be picturing a woman alone, swaddled in fleece blankets, her own cat on her lap. Indeed, cozy lit is feminized. And more than that, its absorption by Western publishing is the new frontier of chick lit.
The foreign markets for Japanese and Korean literature are booming writ large. They’re shortlisted for the International Booker Prize and hitting the New York Times bestseller list. The Eastern approach to literature—often prioritizing worldbuilding over action enfolding—comes from a different storytelling tradition than our own. But the cozy approach is something specific, and it’s been co-opted as a way to say nothing.
As someone fighting to wrest my attention back from algorithmic overstimulation, I dove into cozies this fall to test the restorative powers BookTok assured me I would unlock. The typical format is a linked story collection; people and places reappear but the (understated) drama changes up. The place is often a business of some kind—a cafe or a convenience store, which, in Japan, means something more sacred than a shitty Circle K—and the people are its customers. At Tenderness, a store anthropomorphized by Sonoko Machida’s The Convenience Store by the Sea, published in English this July, the automatic doors play a “gentle music-box melody,” and the night-shift clerk “can’t tell you how happy and grateful” it makes her that locals choose to patronize this location.
There’s The Blanket Cats, about a feline rental service, but often, the cats function simply as bait, gracing a cover in an attempt to ape the aesthetic package of a pre-eminent cozy book: Before the Coffee Gets Cold by Toshikazu Kawaguchi. First published in Japan in 2015, it came to North American readers in fall 2020, right around when many of us had accepted a fate of perpetual hermitdom during the pandemic. Now a series that has sold a reported 8 million copies worldwide, Before the Coffee Gets Cold also fits the paradigm of the adjacent sub-genre: healing fiction. Customers of Funiculi Funicula sit at a particular table and travel back in time to repair relationships and reverse their life’s regrets—as long as they return before, you guessed it, the steam has left their cup. These, too, are braided short stories anchored by a commercial site or a labourer—here it’s the enigmatic barista Kazu—a proxy therapist for our ambient melancholy.
One more: Menu of Happiness by Hisashi Kashiwai, published in October by an imprint of Penguin Random House, is the third in a popular series in which a quirky foodie family is tasked with hunting down and exactly replicating the dishes that haunt their customers. When they taste the omelette over fried rice, or the kake soba topped with fish marinated in sake lees, they are transported, often to a childhood memory. They finish and pay and gratefully pet the restaurant cat Drowsy on their way out.
I know this all seems innocent, but reading Menu of Happiness is basically like consuming pornography. (“Food porn,” the millennial influencer would call it.) A sensory encounter meant to make us salivate. Much of the book is dialogue, and Chef Nagare describes his creations at extreme length:
I am not always like this; I love books in basically the same way that I have since I was a child under the covers, where I certainly spent more than seventy days reading a stockpile of young adult novels. But it is so easy to slip out of the habit of reading before bed after a few nights of phone time instead.
In recent years, a literary genre emerged and exploded in popularity, seemingly in direct response to our slovenly leisure culture that fetishizes appearing literary just as it slashes resources and opportunities to bolster the literary arts. Enter cozy lit, an import from Japan and Korea that prioritizes feeling over meaning, setting over structure, and texture over depth. The stories are gentle and warm, temporarily eliminating the friction of contemporary life. I’m not convinced they’re antidotes to the internet so much as replication of its hypnotic passivity. They are more akin to digital content than we know.
Cozy lit has its tropes. There should be cats. There should be books in the book. Tea. Rain. The seaside. More cats. There are actually so many cats. Reading this, you might be picturing a woman alone, swaddled in fleece blankets, her own cat on her lap. Indeed, cozy lit is feminized. And more than that, its absorption by Western publishing is the new frontier of chick lit.
The foreign markets for Japanese and Korean literature are booming writ large. They’re shortlisted for the International Booker Prize and hitting the New York Times bestseller list. The Eastern approach to literature—often prioritizing worldbuilding over action enfolding—comes from a different storytelling tradition than our own. But the cozy approach is something specific, and it’s been co-opted as a way to say nothing.
As someone fighting to wrest my attention back from algorithmic overstimulation, I dove into cozies this fall to test the restorative powers BookTok assured me I would unlock. The typical format is a linked story collection; people and places reappear but the (understated) drama changes up. The place is often a business of some kind—a cafe or a convenience store, which, in Japan, means something more sacred than a shitty Circle K—and the people are its customers. At Tenderness, a store anthropomorphized by Sonoko Machida’s The Convenience Store by the Sea, published in English this July, the automatic doors play a “gentle music-box melody,” and the night-shift clerk “can’t tell you how happy and grateful” it makes her that locals choose to patronize this location.
There’s The Blanket Cats, about a feline rental service, but often, the cats function simply as bait, gracing a cover in an attempt to ape the aesthetic package of a pre-eminent cozy book: Before the Coffee Gets Cold by Toshikazu Kawaguchi. First published in Japan in 2015, it came to North American readers in fall 2020, right around when many of us had accepted a fate of perpetual hermitdom during the pandemic. Now a series that has sold a reported 8 million copies worldwide, Before the Coffee Gets Cold also fits the paradigm of the adjacent sub-genre: healing fiction. Customers of Funiculi Funicula sit at a particular table and travel back in time to repair relationships and reverse their life’s regrets—as long as they return before, you guessed it, the steam has left their cup. These, too, are braided short stories anchored by a commercial site or a labourer—here it’s the enigmatic barista Kazu—a proxy therapist for our ambient melancholy.
One more: Menu of Happiness by Hisashi Kashiwai, published in October by an imprint of Penguin Random House, is the third in a popular series in which a quirky foodie family is tasked with hunting down and exactly replicating the dishes that haunt their customers. When they taste the omelette over fried rice, or the kake soba topped with fish marinated in sake lees, they are transported, often to a childhood memory. They finish and pay and gratefully pet the restaurant cat Drowsy on their way out.
I know this all seems innocent, but reading Menu of Happiness is basically like consuming pornography. (“Food porn,” the millennial influencer would call it.) A sensory encounter meant to make us salivate. Much of the book is dialogue, and Chef Nagare describes his creations at extreme length:
The fish on the left of the large Tachikui dish is soy-simmered nodoguro. Next to that is duck grilled with rock salt—a cross of wild and domestic breeds. And then Seko crabmeat served in its shell, with a bonito-infused tosazu vinegar dressing. Below those you have the deep-fried tilefish, with a yuzu and chili pepper paste. I fried the scales separately, for extra crunch. Next to that, in the small Imari bowl, is a selection of steamed winter vegetables: Kintoki carrot, Shogoin and Sugukina turnips, and red negi onion. Nice with a dab of mustard—a bit like when you have them in oden stew.This is vibes-based prose, meant to wash over you—a gentle titillation or linguistic ASMR, not because the prose is magnificent but rather it’s lulling, the literary equivalent of watching someone slice butter on TikTok. Episodic, formulaic, reliably satisfying.
by Greta Rainbow, Walrus | Read more:
Image: Julieta Caballero