Me / by Tomoyuki Hoshino ; afterword by Kenzaburō Ōe ; translated by Charles De Wolf.

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  • Additional Information
    • Abstract:
      Summary: A young Tokyoite named Hitoshi Nagano who, on a whim, takes home a cell phone belonging to Daiki Hiyama who accidentally put it on Hitoshi's tray at McDonald's. Hitoshi uses the phone to call Daiki's mother, pretending he is Daiki, and convinces her to wire him 900,000 yen. Three days later, Hitoshi returns home from work to discover Daiki's mother in his apartment, and she seems to truly believe Hitoshi is her son. Even more bizarre, Hitoshi discovers his own parents now treat him as a stranger; they, too, have a “me” living with them as Hitoshi. At a loss for what else to do, Hitoshi begins living as Daiki, and no one seems to bat an eye. Provided by publisher.
    • Notes:
      "Originally published in Japanese in 2010 by Shinchosha"--Title page verso.
    • ISBN:
    • Accession Number:
    • Accession Number:
  • Citations
    • ABNT:
      HOSHINO, T. et al. Me. [s. l.]: Akashic Books, 2017. ISBN 161775448X. Disponível em: Acesso em: 26 out. 2020.
    • AMA:
      Hoshino T, Ōe K, De Wolf C, Hoshino T. Me. Akashic Books; 2017. Accessed October 26, 2020.
    • APA:
      Hoshino, T., Ōe, K., De Wolf, C., & Hoshino, T. (2017). Me. Akashic Books.
    • Chicago/Turabian: Author-Date:
      Hoshino, Tomoyuki, Kenzaburō Ōe, Charles De Wolf, and Tomoyuki Hoshino. 2017. Me. Akashic Books.
    • Harvard:
      Hoshino, T. et al. (2017) Me. Akashic Books. Available at: (Accessed: 26 October 2020).
    • Harvard: Australian:
      Hoshino, T, Ōe, K, De Wolf, C & Hoshino, T 2017, Me, Akashic Books, viewed 26 October 2020, .
    • MLA:
      Hoshino, Tomoyuki, et al. Me. Akashic Books, 2017. EBSCOhost,
    • Chicago/Turabian: Humanities:
      Hoshino, Tomoyuki, Kenzaburō Ōe, Charles De Wolf, and Tomoyuki Hoshino. Me. Akashic Books, 2017.
    • Vancouver/ICMJE:
      Hoshino T, Ōe K, De Wolf C, Hoshino T. Me [Internet]. Akashic Books; 2017 [cited 2020 Oct 26]. Available from:


Booklist Reviews 2017 June #1

The publisher states that Hoshino's novel "centers on the ‘It's me' telephone scam" in which a caller often targets the elderly, seeking funds to cover a false emergency, but that ploy is more a brief narrative catalyst. What gets more page time is McDonald's, where Japanese electronics store employee Hitoshi Nagano's usual McDonald's lunch is interrupted when a cell phone mistakenly lands on his tray. He nonchalantly takes it home, calls the mother of the owner, Daiki Hiyama, and persuades her to wire ¥900,000 immediately. Three days later, Mother Hiyama arrives at his door, convinced Hitoshi is Daiki; when Hitoshi visits his own parents, a doppelgänger has already usurped his place. The (sur)reality is that Hitoshi is just one of many MEs: without clarity of who's truly whom, violent chaos ensues. Hoshino's latest-in-translation (rendered by De Wolf) begins as black comedy and devolves into an antisolipsistic treatise on the impossibility of individual identity. Despite a thought-provoking afterword by Nobel Prize winner Kenzaburo Oe (Hoshino won the 2011 Kenzaburo Oe Prize), this muddled ME ultimately disappoints. Copyright 2017 Booklist Reviews.

PW Reviews 2017 April #4

Hoshino (The Mermaid Sings Wake Up) draws inspiration from the "It's me" telephone scams that prey mostly on Japan's elderly, opening with mischievous Hitoshi Nagano as he takes the cell phone of Daiki Hiyama and (posing as Daiki) asks the young man's mother for ¥900,000. Hitoshi explains that the wire is to pay a debt to a friend, and then gives her his actual name and bank account. Three days later, Daiki's mother appears in Hitoshi's home and, calling him Daiki, treats Hitoshi as if he is her son. From this point, the ordinary life of the characters transforms, as Hoshino leads readers on a psychological and philosophical journey in which the value of individualism is questioned and tested in escalating absurdist measures. When Hitoshi visits his old home, he finds another young man living as his parents' son and is treated as an imposter by his mother. The novel is most successful during Hoshino's riffs on parents obsessed with making sure their children achieve respectable vocations and marriages, value children more for their lack of individualism than for their unique talents and eventually losing sight of their adult children's identities. In Hoshino's dystopia, identities are fluid and any one is as good as another. The novel pushes this idea into a highly plotted, absurd world where normally shocking movements are rendered as reportage, depicted with the same emotional weight as casual conversations. Hoshino's ambitious novel is pleasingly uncomfortable. (June)

Copyright 2017 Publisher Weekly.