The Man in the High Castle

The Man in the High CastleAuthor: Philip K. Dick
Publisher: Houghton Mifflin Harcourt
ISBN: 9780544916081
Released: October 2016
Original release: 1962
Awards: Hugo Award

Philip K. Dick’s The Man in the High Castle is one of those classic science fiction novels that I’ve been meaning to read for ages but for one reason or another never quite got around to. Recently, though, the novel seems to be popping up wherever I turn: Viz Media’s speculative fiction imprint Haikasoru takes its name from the title; it was mentioned multiple times in the tenth volume of Mechademia which I read not too long ago; and in 2015 it was adapted as a live-action television series. Originally published in 1962, The Man in the High Castle can be counted as among the first major works of fiction written in English to examine an alternate history in which Germany and Japan emerged victorious from the Second World War, a historical turning point which has since become one of the most popular for the subgenre to explore. Winning the Hugo Award for best novel in 1963, The Man in the High Castle is also regarded as one of Dick’s most well-known and highly-acclaimed works. The novel has been re-published around the world numerous times with the most recent US edition scheduled to be released in 2016 by Houghton Mifflin Harcourt.

After being defeated, the United States of America was divided into three political entities at the end of World War II. The Pacific States of America is overseen by Japan and the Eastern United States is occupied by Germany while the central third of the country, the Rocky Mountain States, remains an independent buffer zone. Less than two decades have passed since the end of the war. Nazi Germany, having become a major power, continues to dominate and conquer the rest of the world and has even extended its reach to space. However, internal power struggles threaten to throw the precariously-balanced international political landscape into war and turmoil once again. In the meantime, Americans have had to either learn to adapt to their occupiers’ whims or to flee their homeland. The Japanese rule is fairly benign, especially when compared to that of the Germans, but it is still grating and demeaning for the Americans who are slowly losing their national identity along with the freedoms and respect that they once enjoyed in the past.

The alternate history that Dick envisions in The Man in the High Castle is honestly terrifying and horrifying. Under the global influence of a fascist, totalitarian regime, extreme racism and prejudice is rampant and genocide isn’t a thing of the past but of the present and future. People live in a world in which insidious fear, hatred, anger, and uncertainty have come to dominate. The Man in the High Castle follows several different and fairly ordinary characters from a variety of backgrounds who are all ultimately connected to one another, either directly or tangentially: an antiques dealer making his living selling Americana to Japanese clients, an American craftsman and jewelry maker who must hide his Jewish identity and heritage, a Japanese trade official stationed in what was once California, an American woman who teaches judo in the Rocky Mountain States, and a Nazi defector trying to prevent impending atrocities from becoming a reality. By the end of the novel, both together and separately, they have all taken a stand against the status quo and have made a difference, however small, in the world around them.

In addition to being a work of alternate history itself, there is a novel within The Man in the High CastleThe Grasshopper Lies Heavy—which explores yet another potential reality. That novel plays a pivotal role as does the Chinese classic the I Ching which many of the characters consult as an oracle or use to make major decisions and which Dick himself used to guide the story and plot of The Man in the High Castle. The writing style of The Man in the High Castle did take some time for me to get used to. Much of the novel consists of the characters’ internal monologues and thought processes, resulting in a work that frequently feels like fragmented stream-of-consciousness. Parts of the novel are also written in deliberately stilted English which, while clever and effective (and while I can understand and appreciate Dick’s intentions), doesn’t necessarily always make for the most pleasant reading experience. However, the underlying ideas and themes behind The Man in the High Castle are tremendous. Ultimately, The Man in the High Castle is a fascinating and chilling read, and a novel that is remarkably relevant and thought-provoking even today.

Bookshelf Overload: April 2016

April was a fairly reasonable month when it came to the number of manga and other books that I acquired, but by far my biggest acquisition was a house! It took nearly six months and a lot of stress to get everything to align properly, but I was finally able to close on the house that my family and I have had our eyes on since the the beginning of the process. We aren’t moved in yet, though we hope to be by the end of May. One of the (many) reasons that I’m especially excited about the new place is that it’s large enough that I’ll be able to devote an entire room to books. Now I’ll finally have a place to properly house my absurdly large library.

Anyway! Back to April’s manga. I happened across a bunch of Kaze Hikaru volumes for only a dollar each at my local comic book store, which made me very happy. As for preorders, there were several April releases that I was particularly happy to see, including Kaori Ozaki’s The Gods Lie (I loved Ozaki’s series Immortal Rain/Meteor Methuselah, so am glad to have the opportunity to read more of her manga) and the newly revised and expanded edition of The Passion of Gengoroh Tagame (I reviewed the original collection back when it was first released). However, what I think is probably one of the most notable and most important manga from April is Rokudenashiko’s What is Obscenity? I believe the official release date was technically in May and my copy simply arrived early, but that certainly didn’t stop me from reading and reviewing it.

Manga!
The Ancient Magus’ Bride, Volume 4 by Kore Yamazaki
I Am a Hero, Omnibus 1 by Kengo Hanazawa
The Gods Lie by Kaori Ozaki
Guardians of the Louvre by Jiro Taniguchi
Kaze Hikaru, Volumes 12-13, 15-18 by Taeko Watanabe
Library Wars: Love & War, Volume 15 by Kiiro Yumi
Midnight Stranger, Volume 1 by Bohra Naono
Of the Red, the Light, and the Ayakashi, Volume 2 by Nanao
The Passion of Gengoroh Tagame by Gengoroh Tagame
What is Obscenity?: The Story of a Good For Nothing Artist and Her Pussy by Rokudenashiko
Yowamushi Pedal, Omnibus 2 by Wataru Watanabe

Comics!
Broken Frontier edited by Frederik Hautain and Tyler Chin-Tanner
The Nameless City by Faith Erin Hicks
Two Keys, Volume 1 by Chloe Chan and Aliena Shoemaker
Vertoscope edited by Nechama Frier and Ten Van Winkle

Artbooks!
Bearutus by Cauro Hige
Blanc et Noir by Takeshi Obata
Living with Yuko Shimizu by Yuko Shimizu

Anthologies!
In Light of Shadows: More Gothic Tales by Kyōka Izumi

Nonfiction!
Straight from the Heart: Gender, Intimacy, and the Cultural Production of Shōjo Manga by Jennifer Prough

My Week in Manga: May 2-May 8, 2016

My News and Reviews

Last week at Experiments in Manga I announced the winner of the superhero duo manga giveaway. As usual, the post also includes a list of manga, in this particular case a list of manga featuring superheros of one ilk or another. Last week I also posted my review of Rokudenashiko’s comic memoir What Is Obscenity?: The Story of a Good for Nothing Artist in Her Pussy which is a wonderfully engaging and important work. Rokudenashiko is one of the featured guests at the Toronto Comic Arts festival which is this upcoming weekend; I greatly admire her and her work, so I’m looking forward to having the opportunity to meet her in person.

Elsewhere online: Rokudenashiko was recently interviewed in preparation for her trip to Toronto. Massive Goods hints at an upcoming announcement regarding an English-language release of Gengoroh Tagame’s award-winning My Brother’s Husband, which I am super-excited about. And Ryan Holmberg wrote a about Katsumata Susumu’s Anti-Nuclear Manga for the Sainsbury Institute and, at the other end of the spectrum, about the Nuclear Literati: Nakashima Kiyoshi’s Furusato Goes to Hell for The Comics Journal.

Quick Takes

I Am a Hero, Omnibus 1I Am a Hero, Omnibus 1 (equivalent to Volumes 1-2) by Kengo Hanazawa. By this point I’m fairly burned-out when it comes to zombies, but I had heard so many good things about the award-winning I Am a Hero that I had to give it a try. And, I must admit, the manga is one of the most interesting and best examples of the genre that I’ve come across in quite some time. For me what makes I Am a Hero stand out is the lead character, Hideo. After making his debut as a professional mangaka, he’s back to being an assistant when his career failed to take off. He has the tendency to talk to himself, hear voices, and hallucinate, so everything that he experiences has to be questioned. The zombie apocalypse doesn’t really come until the second half of the first I Am a Hero omnibus. Until that happens, most of the hints and clues of the impending disaster can be easily dismissed as part of Hideo’s delusions. When the apocalypse finally does happen the series suddenly becomes horrifyingly brutal and grotesque as the world descends into chaos. Hideo remains surprisingly calm in the face of it all, partially because he initially assumes that the end of the world is just another one of his hallucinations. By the end of the first omnibus there’s already an extraordinarily high body count (most the named characters are done for and even Hideo isn’t completely unscathed), so I am very curious to see where the series goes from here.

Maga-Tsuki, Volume 1Maga-Tsuki, Volume 1 by Hoshino Taguchi. Apparently the initial inspiration behind Maga-Tsuki was originally going to be worked into a shōnen battle manga, but in the end it turned into a harem-ish romantic comedy. Personally, in this case I probably would have been more interested in the action-oriented series, but Maga-Tsuki does offer some variations on the usual tropes that are amusing. It is, however, very trope-heavy and contains the expected levels of fanservice for this type of story. When he accidentally breaks the sacred mirror protected by his family’s shrine, Yasuke finds himself cursed by the goddess sealed within it. In order to lift the curse he must make Orihime, a goddess of calamity and misfortune, happy, which proves to be something of a challenge. In the meantime, his soul has been separated from his body and he must maintain constant physical contact with Orihime or else he will die. A kiss from Orihime will conveniently revive him, though. This obviously results in all sorts of complications and misunderstandings, especially when it comes to trying to confess his feelings to the girl that he likes. I like that Maga-Tsuki makes use of Japanese mythology, otherwise I’m not sure that it would have managed to hold my attention. However, I do have a hard time seeing the sweetly cute and seemingly innocent Orihime as an ancient, all-knowing goddess even if her divine powers are suitably impressive.

The Nameless CityThe Nameless City, Volume 1 by Faith Erin Hicks with colors by Jordie Bellaire. In general I tend to be fond of Hicks’ work, but I’ve been especially anticipating the debut of The Nameless City trilogy having followed its development and progress online. The titular Nameless City is a city that has been conquered and re-conquered countless times. Situated in a geographically advantageous location which allows the ruling kingdom immense control over the area’s economics and trade it makes a sought-after target. The city is currently under the domain of the Dao and has been for a few decades, but it’s likely only a matter of time before there’s another invasion or the residents rise up in revolt. Inspired in part by Chinese history, The Nameless City is about an unlikely friendship that develops over the backdrop of warfare, clashing cultures, and political intrigue. Kaidu is one of the Dao, sent to the Nameless City to participate in military education and training (though he’d much rather be reading than fighting), while Rat is one of the city’s many orphans whose parents were killed by the Dao. As Kaidu gets to know Rat he gets to know the city, and he learns more about his own people in the process, too. As for Rat, she initially hates Kaidu simply because he is Dao, but that slowly changes as she realizes that not all Dao are the same. I’m really enjoying seeing their relationship develop and look forward to the next volume, The Stone Heart, a great deal.

What Is Obscenity?: The Story of a Good for Nothing Artist and Her Pussy

What Is Obscenity?Creator: Rokudenashiko
U.S. publisher: Koyama Press
ISBN: 9781927668313
Released: May 2016
Original release: 2015

Like many other people both inside and outside of Japan, the work of artist and activist Rokudenashiko (the pseudonym of Megumi Igarashi) was brought to my attention following her arrests in 2014 on charges of obscenity. Rokudenashiko is a self-described manko (pussy) artist, challenging preconceived notions and taboos surrounding female genitalia by creating clever, fun, and silly sculptures incorporating realistic molds of vulvas as well as designing Manko-chan, a cute anthropomorphized pussy. One of Rokudenashiko’s responses to being arrested was to create the manga What Is Obscenity? about her experience. It was originally serialized in the Japanese political magazine Weekly Friday in 2014 before being collected in a single volume along with other material in 2015. The English-language edition of Rokudenashiko’s comic memoir, subtitled The Story of a Good for Nothing Artist and Her Pussy, was published by Koyama Press in 2016 thanks in part to the editing, translation, and production efforts of the fine folks behind Massive Goods.

In 2013, Rokudenashiko successfully crowdfunded a project to create a kayak molded from a 3D scan of her genitals. One of the rewards given to some contributors of the campaign was a downloadable vector file of the scan which she encouraged others to use to make their own artwork. In July 2014, this file along with her artwork and other personal belongings were used as evidence to support the obscenity charges that were brought against her. Rokudenashiko was arrested and jailed for a week before being released only to be arrested and indicted again in December of that year. She continues to fight the charges in court and her trial process is currently ongoing, although a judgement on her case is scheduled to be pronounced on May 9, 2016.

What Is Obscenity? collects two short series of autobiographical manga—”What Is Obscenity? How I Became a So-Called Artist” about Rokudenashiko’s first arrest, her time spent in jail, and the immediate aftermath and “Why I Became a Manko Artist” which relates the story of how she almost unintentionally became an activist and started creating pussy-related artwork. Adorable illustrations of Manko-chan are found throughout the volume and “This Is My Story,” a short full-color manga about Manko-chan, is featured as well. The English-language edition of What Is Obscenity also includes additional material such as an introduction by Rokudenashiko, examples of her sculptures and artwork, color photography, cultural notes, and an excerpt of a discussion between Rokudenashiko and the controversial film direction Sion Sono.

What Is Obscenity?, page 11Freedom of expression, and especially freedom from governmental censorship, is something that I am very passionate about. One of my particular focuses in the various copyright and intellectual property law courses I took in graduate school actually happened to be obscenity law which, as in the case of Rokudenashiko, can be used to attempt to silence and punish artists and other creatives as criminals and which are notoriously inconsistent in their application. But Rokudenashiko isn’t allowing herself to be silenced. Her arrest and trial, as well as her willingness to publicly fight the obscenity charges, made not only national but international news. This has given her a larger platform that has allowed her to bring even greater attention to the absurdity of the systemic injustice of a society that objectifies the bodies of women while at the same time treating them as something shameful and obscene. I greatly and sincerely admire her work and efforts; what Rokudenashiko is doing is incredibly important both artistically and socially.

One of the things that makes Rokudenashiko so remarkable is that even in the face of infuriating and intimidating circumstances she is able to retain an outwardly upbeat, bright, and strikingly personable attitude which is then reflected in her work. Even while dealing with some fairly serious issues, What Is Obscenity? is sweet and charming with a wonderful sense of humor and art to match. As with much of Rokudenashiko’s work, What Is Obscenity? can be silly and fun, though many of the events portrayed were probably not nearly as funny while she was actually living through them. Her experiences, everything from the utter lows of personal and family troubles and the jail time caused by her artwork to the immense joy sparked by the unflagging support of her friends and fans, are recounted with a cheeky candidness that makes her story and the subject matter approachable and entertaining while still getting her message across. With its gentle humor and creative cuteness, What Is Obscenity? and the rest of Rokudenashiko’s work is subversively powerful, inspiring, and empowering.