Suicide problem in China

I’ve written about this before as it relates to Japan, but last week the Yomiuri Shinbun reprinted a story from a Chinese newspaper on China’s suicide rate, which included some staggering statistics (roughly translated but I think you’ll get the idea) .

According to numbers released by doctors working at the Beijing Psychological Crisis Research Center,
*Every year over 250,000 people commit suicide in China; this represents one-fourth of the total number of suicides in the world.
*Ever 2 minutes in China, a person commits suicide.
*Over 2,000,000 people attempt suicide in China every year but are unsuccessful.
*Suicide is the number one cause of death in China among people 15 to 34 years old.
*Chinese living in rural areas commit suicide 3 times more than those in urban areas.
*Chinese women commit suicide 3 times more than men.
*28% of Chinese suicides have never had formal schooling of any sort.

One of the more revelatory aspects of the article was the fact that of the over 2,000,000 unsuccessful suicides, post-attempt interviews indicated that 37% of them attempted suicide on an impulse, less than 5 minutes after the idea had come to them. In other words, their attempts were not (necessarily) related to depression, and they had not spent any time contemplating beforehand the fact that they were about to take their own lives. This, along with some of the other data released by the report, such as the high rate of women committing suicide, or the prevalence of suicide in rural areas, runs counter to (Western) preconceptions on the hows and whys of suicide.

Wright’s Imperial Hotel and the Great Kanto Earthquake of 1923

Naoko and I took Kaika to Hibiya Koen yesterday, where this weekend are events related to the 400th anniversay of the start of the Edo period. On the way home we stopped by the Imperial Hotel, which neither of Naoko nor I had been in before. I of course knew that there had been a version of the hotel designed by Frank Lloyd Wright, and was curious if anything of that incarnation remained in what now looks like a relatively drab modern hotel.

There’s nothing left, sadly (the hotel’s main entrance hall and lobby are preserved at the Museum Meiji-Mura), but there was a small exhibit down in the basement documenting the construction and life of Wright’s Imperial (1923-1967), and one tidbit struck me (in addition to a nice photo of Gregory Peck holding court in the hotel bar): the grand opening of Wright’s hotel was the same day as The Great Kanto Earthquake of September 1, 1923, which devastated Tokyo and Yokohama and killed 140,000. Wright’s structure withstood the quake and was hailed as a great achievement in “aseismic” architectural planning.

I figured there was a bit more to this story that meets the eye, so I did some searching and came across this interesting (and accessibly written) analysis of Wright’s design and and why it might have been able to withstand such a huge quake, from the National Information Service for Earthquake Engineering at UC Berkeley:

If one were to choose the building whose performance in the 1923 earthquake had the greatest influence on architectural historians and journalists and therefore the mass audience, it would no doubt be the Imperial Hotel. But if one were to look at the structural performance which was most noted and discussed among engineers, or to single out the examples which had the greatest effect on both the development of the state-of-the-art of seismic design and on the evolution of the modern aseismic building code, then the Tokyo buildings designed by Dr. Tachu Naito would be the obvious choice.

Ikebukuro in October

Police officer, Ikebukuro, October 4, 2003: click for gallery

The above photo is from a new album of images I’ve just uploaded, photos that were taken in the Ikebukuro area of Tokyo over two sucessive weekends in October. (Truth be told, a few of the images have been shown before). Though I hesitate to draw any conclusions that will no doubt be betrayed by a new direction discovered oh, maybe tomorrow, I will draw your attention to the fact that all images but one feature human beings. This is not something I anticipated happening, but (for now) it’s definitely the direction things are going.

Perhaps it’s strange to remark about this at all, but just a few months ago you’d be hard-pressed to find very many people in my photos. Like I’m wont to do with a lot of things lately, I attribute this to Kaika, though to be honest I haven’t really thought about it enough to know whether in this case that’s warranted, or to fully explain how this might be so.