The so-called A-bomb literature of Japan’s 20th century is an outstanding example for a literature of trauma. Most analyses deal with literary works which developed in the atomic aftermath and are therefore biased in their bearing witness to the events. Another genre of works describes the bombings from a temporally distant perspective attempting to depict the horrors against their historical background. Whereas the first group is based on the tales of often autobiographically motivated, strongly scarred narrators, the second group intends to give a more objective account. While both genres approach the trauma from a rather external perspective through witnessing and recording, the authors of the so-called naikō no sedai 内向の世代 (introverted generation), of which many were children during the war and experienced the bombings of Hiroshima or Nagasaki, refer to the experience of trauma from a more internal point of view. Many of them state that it was a turning point in their life, which made them become a writer. This contrasts with the generally assumed apolitical attitude of these authors, who were defined by their lack of ideological commitment and their rather inward-looking perspecive dealing with personal issues. This paper attempts to analyze the way in which authors of the naikō no sedai recount their view of the atomic bomb. Ōba Minako, one of the most significant authors of the 20th century and often counted among the naikō no sedai, was in Hiroshima at the time. As a schoolgirl, she was recruited to help clean up the devastated city and therefore witnessed the horrors of the atomic aftermath. She dealt with this experience only in 1977 by depicting it in her first longer novel Urashimasō, but traces of trauma appear much earlier in her work. This paper is about the narrative means Ōba Minako deploys to write about the bombing of Hiroshima from a spatiotemporally distant perspective.