She was a young woman mindful of her literary talents but striving to find her identity in ways that conservative members of Japanese society would criticize as unconventional. Izumi Suzuki, in the seven short stories that make up Terminal Boredom, presages the yutori generation, even though her writing comes before the very idea of yutori was taken up by the Japanese government. MEXT reversed some of the 2002 reforms in its renewed guidelines in 20 to reemphasize classroom hours and the “ability to survive.” Yutori education, at least according to Japan’s educational bureaucracy, was considered to have failed - but not without influencing a generation of Japanese students. The resulting yutori (cram-free) environment, according to some observers, created a generation that lacks ambition at work, incapable of handling stress, and devoid of will to communicate their thoughts. The directive stipulated the need to reduce classroom hours and focus on curriculum that is less about teaching the memorization of facts and more about flexible ways to get students to think about their own self-worth. In 2002, Japan’s Ministry of Education, Culture, Sports, Science and Technology (MEXT) introduced a new guideline for public education of minors.
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