This paper focuses on the links between contemporary literature and the various positions choosenchosenby authors facing the problematics of translation. Beginning with the observation that translation studies should develop from a theoretical point of view in Japan--an emblematic country for translations--this paper shows that currently, translation in Japan has to be considered as a cultural exportation trend and not only as the importation trend that dominated the cultural scene during the 20th century. For example, data on published translations in France show that since 2007, Japanese is the second most frequently translated language after American-English--due to the popularity of mangas in France. In the literary field, new phenomenons can also be observed in Japan. In this paper, four case studies are presented. The most remarkable case concerns Murakami Haruki's strategy, in which he, being an important translator of the Great American Novel, crosses the boundaries between countries and languages in order to represent a new kind of nationless writer, i.e. a global writer appreciated all over the world. On the other hand, Mizumura Minae mixes English and Japanese in her I novel from left to right, making it untranslatable into English. This for her represents the resistance of a minor language, Japanese, to the domination of English. Tawada Yôko, for her part, writes in two languages, Japanese and German, and in doing so tries to deconstruct both cultural and linguistic norms, enhancing translation as an impossible tool. Finally, the American-born Hideo Levy's three-piece band features Japanese, English and Chinese members, interconnected by the belief in translation as an ideal vector of communication. All these new streams contribute to the reshifting of Japanese literature in the world and induce a necessary renewal of the critical approaches.