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5 August 2012 Leave a Comment

The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution

Author: Frederik L. Schodt
Publisher: Stone Bridge Press
ISBN: 9781933330549
Released: July 2007

The Astro Boy Essays: Osamu Tezuka, Mighty Atom, and the Manga/Anime Revolution written by Frederik L. Schodt is one of the few full-length publications available in English devoted to the life and work of Osamu Tezuka. Published by Stone Bridge Press in 2007, it is also one of the first. Although there now exist several more resources, the only other book about Tezuka that I’ve had the opportunity to read was Helen McCarthy’s The Art of Osamu Tezuka. Because Tezuka was such an influential creator, it’s somewhat surprising that there hasn’t been more written. (Granted, I’m hard pressed to name many other mangaka who have had entire books devoted solely to them.) Schodt is in a unique position to write about Tezuka and Astro Boy. He was a friend of Tezuka’s who not only personally knew the creator, but who also worked with him. Schodt was also the translator for Dark Horse’s English-language release of the Astro Boy manga, so he is quite familiar with the material.

Osamu Tezuka was an instrumental pioneer in the realms of manga and Japanese animation. One of his most iconic and well-loved creations wast Tetsuwan Atomu (Mighty Atom), better known in the United States as Astro Boy. Around the world there are many fans who, although they may not  recognize Tezuka’s name, know and adore Astro Boy, the cute boy robot who fought for peace. Astro Boy was first introduced as a character in the story “Ambassador Atom” in 1951 before becoming the star in his own manga series in 1952. Tezuka would continue to work on and revisit the Astro Boy manga well into the eighties. In 1963, Astro Boy become Japan’s first animated weekly television series and was subsequently exported to the United States. Tezuka would later create a color version of this black and white series in 1980. In addition to successful manga and anime series, Astro Boy also had a strong merchandising line.

The Astro Boy Essays consists of an introduction, eight chapters or essays, an afterword, notes, bibliography, and index. Two appendices are also included which list the Japanese and English titles of the Astro Boy manga stories and the 1963 anime episodes as well as the order of their release. Scattered throughout the book are a few informational sidebars (including a fascinating comparison of the replies that Tezuka and Yukio Mishima gave in response to a literary magazine’s survey), plenty of black-and-white illustrations and photographs, and sixteen pages of full-color artwork. Each of the essays are written in such a way that they can be read separately, but read together they provide a comprehensive look at Astro Boy and its importance as a work. Schodt covers many different aspects of Astro Boy: it’s place as a national icon, it’s creation and evolution, it’s influence on Japanese and American markets, its impact on the field of robotics, it’s many messages, Tezuka’s complicated relationship with the work, and so on.

The Astro Boy Essays is an excellent work and a valuable resource. Schodt has done his research and it shows, but the book has been written with a more casual, general audience in mind rather than a strictly academic one. I like Schodt’s approach of focusing on a specific creation, in this case Astro Boy in all of its incarnations, as a way to explore Tezuka’s innovations and influence. By tracing the evolution of Astro Boy, Schodt is also able to trace the evolution of Tezuka’s work in general while still limiting the scope of the book’s subject to something manageable. The Astro Boy Essays may be a slim volume, but it’s an accessible, engaging, enlightening, and highly informative one. Schodt covers a wide range of fascinating material quickly and effectively. The Astro Boy Essays are a fantastic introduction to Astro Boy, Osamu Tezuka, and their lasting influence on manga and anime.

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20 June 2012 Leave a Comment

Okinawa: The History of an Island People

Author: George H. Kerr
Publisher: Tuttle
ISBN: 9780804820875
Released: October 2000

My interest in Okinawa and the other Ryukyu Islands primarily stems from my study of traditional Okinawan martial arts, specifically karate and more recently kobudō. Okinawa: The History of an Island People, written by George H. Kerr in 1958, is the first and one of the only in-depth examinations of Okinawan history available in English. The work was actually based on Kerr’s original study Ryukyu: Kingdom and Province before 1945 which was commissioned by the Pacific Science Board, authorized by the Department of the Army, with the intention of having it translated into Japanese and distributed in Okinawa (which it was, in 1956). One reason for this commission was that much of Okinawa’s historical record and many primary sources were destroyed during World War II. In 2000, Tuttle Publishing released a revised edition of Okinawa with an afterword and additional material written by Okinawan historian Mitsugu Sakihara.

Okinawa: The History of an Island People is divided into four major parts which cover more than six centuries of Okinawan and Ryukyuan history, beginning with Okinawa’s prehistory and legendary beginnings and ending with the Battle of Okinawa in 1945. The first part, “Chuzan: Independent Kingdom in the Eastern Seas,” explores the early history of Okinawa through 1573. This time periods saw a concentration of internal conflict as three rival clans fought for control of the islands before the Sho Dynasty was established. The second part, “Isolation: Lonely Islands in a Distant Sea,” chronicles the beginning of Okinawa’s loss of independence between 1573 and 1797 as Satsuma invades the islands at the same time Okinawa owed tribute to China. Between 1797 and 1878, Okinawa was further overwhelmed as Western nations began to exert their political and military power and Japan established a claim to the islands as is described in part three, “Between Two Worlds.” Finally, in part four, “Okinawa-Ken: Frontier Province,” which covers the years between 1879 and 1945, the independent kingdom comes to an end and Okinawa is assimilated by Japan before the eventual American occupation after World War II.

In addition to Kerr’s main text and the supplemental materials and updates provided by Sakihara, Okinawa also includes an extensive bibliography, an index, maps, and illustrations. Okinawa really is one of the most comprehensive single-volume works on Okinawan and Ryukyuan history. The islands’ past and present is complex. Initially its own kingdom, both China and Japan would lay claim to the islands at various points in its history. Okinawa was extremely poor in natural resources and the people had to rely heavily on trade. This was greatly complicated by the islands political situation. Additionally, Okinawa was plagued by natural disasters. In many ways, Okinawa’ position was very unfortunate and yet its people were known for their peacefulness, friendliness, and hospitality, something that was often taken advantage of by other countries.

Okinawa: The History of and Island People was exactly what I was looking for. Martial arts are only barely mentioned in passing, but what I was really interested in was learning about their historical and cultural context which Okinawa provided. Admittedly, Okinawa is somewhat of a niche title. I found Kerr’s writing style to be very approachable and engaging, but someone who isn’t as interested in the subject as I was would probably find the book to be somewhat tedious even if it is accessible. I was a little frustrated that the revisions for this edition weren’t better incorporated into the work as a whole. Instead, Kerr’s original work was left completely intact and any corrections were simply appended to the end of the volume with minimal cross-referencing. Still, Okinawa is an excellent study of the fascinating and often curious history of the Ryukyu Islands. It is unquestionably one of the best places to start learning about Okinawa.

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13 June 2012 Leave a Comment

Monkey Business: New Writing from Japan, Volume 2

Editors: Motoyuki Shibata and Ted Goossen
Publisher: A Public Space
ISSN: 2159-7138
Released: April 2012

I have anxiously been awaiting the second volume of the English-language edition of Monkey Business ever since I read the debut issue last year. Japanese readers are lucky—they generally only had to wait a month between issues of the original Monkey Business literary journal. At the moment, the English edition is published annually. Motoyuki Shibata, editor of the Japanese Monkey Business, and Ted Goossen once again serve as the head editors for the 2012 issue of the English Monkey Business. They have put together a volume that is even bigger and maybe even better than the first, drawing from at least as early as the November 2008 issue of the Japanese literary journal and including selections from some of the more recent issues as well. Shibata and Goossen don’t limit themselves to works found in the original Monkey Business journal, either. A few of the contributions in Monkey Business, Volume 2 are being published for the first time in any language. The English edition of the journal is published with support from the Nippon Foundation.

Monkey Business, Volume 2 collects twenty-two works of short fiction, manga essays, and poetry—eight more selections than were included in the first issue. The second volume begins with “What Do You Wish We Had in Japan Today?,” a question that was asked of seventeen creators a month after the March 11th earthquake and tsunami in Japan in 2011. Their responses are a wonderful mix of the serious and fanciful. This is followed by Masatsugu Ono’s short story “I Chase the Monkey and the Monkey Flees from Me, the Monkey Chases Me and I Flee from the Monkey.” Although it has moments of frequent brilliance, I found it to be a difficult story to read overall. It almost seems like a prose poem, similar to Mieko Kawakami’s “A Once-Perfect Day for Bananafish,” which is also found in Monkey Business, Volume 2, although the two works vary substantially in feel. Other poetry collected in the second volume includes “Tales in Tanka” by Mina Ishikawa (my personal favorite), “Nowhere” by Stuart Dybek, and Minoru Ozawa’s haiku collection “Ghosts and Ghost Paintings” which includes the original Japanese along with the English translation.

Two manga selections are included in this issue of Monkey Business. The Brother and Sister Nishioka return with another manga based on a short story by Franz Kafka, “A Fasting Artist.” The second manga is by Fumiko Takano and is based on Lafcadio Hearn’s short story “The Futon of Tottori.” Takano’s work is quite clever and requires some familiarity with Japanese kanji to fully appreciate, although there are plenty of editor’s notes included for guidance. I was immensely pleased to discover continuations of Hiromi Kawakami’s series of quirky vignettes “People from My Neighborhood” and Sachiko Kishimoto’s fictional yet semi-autobiographical “The Forbidden Diary” (neither require having read the first Monkey Business issue to enjoy) as well as another hoodlum short story by Barry Yourgrau, “Medicine.” Hideo Furukawa also returns in this volume with the story “Breathing Through Gills.”

Other short stories, all of which I enjoyed, include: “Meditations on Green” by Toh Enjoe; “At the Delta” by Rebecca Brown; “Sleepyville” by Mimei Ogawa, first published in 1914, making it the oldest work in Monkey Business, Volume 2; “The Seaside Road” by Tomoka Shibasaki; and “John” by Yoko Hayasuke. Although it’s difficult to choose, Keita Jin’s “Bridges” was probably my favorite story in this volume although I was also quite fond of Keita Genji’s “Mr. English,” especially as it is accompanied by the essay “What’s Eating Soichirō Mogi” by Naoyuki Ii which examines Genji’s work in more detail. One other essay is included in this volume of Monkey Business, “The Great Cycle of Storytelling” by the world-renowned Haruki Murakami. The volume concludes with Comes in a Box’s short story “Black Space, The Sound of Rain.”

Everyone who worked to put together Monkey Business, Volume 2 has done a wonderful job. What I loved most about the first volume was the wide variety of contributions. This is still true of the second volume. And because it is longer than the first it includes even more variety. Some of the contributions are immediately accessible while others require the reader to put in some effort in order to really appreciate them. Admittedly, it’s not always easy reading. The works selected for Monkey Business, Volume 2 are drawn from nearly a century of creative output. While most were originally written in Japanese, a few started out in English. I’m beginning to more easily recognize the contributors’ work outside of Monkey Business; the journal has introduced me to creators who I want to follow and that I seek out. With its mix of eccentric fiction, nonfiction, poetry, illustration, and manga, I can’t wait for the next volume of Monkey Business to be published.

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3 June 2012 3 Comments

The Night Parade of One Hundred Demons: A Field Guide to Japanese Yokai

Creator: Matthew Meyer
Publisher: Matthew Meyer
ISBN: 9780985218409
Released: March 2011

The Night Parade of One Hundred Demons: A Field Guide to Japanese Yokai written and illustrated by Matthew Meyer was able to be published in 2012 thanks to a Kickstarter project. The book grew out of Meyer’s “A-Yokai-a-Day” series of illustrations and posts on his website, which is how I first came across his work. Originally from near Philadelphia, Meyer has been living in rural Japan since 2007,  where he draws inspiration for his art. When Meyer launched the Kickstarter project for The Night Parade of One Hundred Demons I immediately supported it. Over the last few years I have become increasingly interested in yokai—a general term used for a wide variety of Japanese spirits, supernatural creatures, and urban legends. There are actually very few books available in English that are devoted to the subject which is one of the reasons why I was so incredibly excited that The Night Parade of One Hundred Demons was able to make it into print.

Meyer collects information on one hundred eight different yokai and yokai phenomena; the guide easily lives up to its name of The Night Parade of One Hundred Demons. Each entry in the book is accompanied by a full page, full color illustration which includes the yokai being discussed. The yokai in The Night Parade of One Hundred Demons are loosely divided into five sections based on where they are likely to be found: “In the Wild,” “Out at Sea,” “Out on the Town,” “At a Festival,” and “In the House.” Within these categories the yokai don’t seem to be organized in any particular way that I noticed, although Meyer does try to keep similar and related yokai close together. The Night Parade of One Hundred Demons provides basic information about yokai: names, habitats, diet, appearance, behavior, interactions with humans, origins, and legends. A list of references, bibliography, and a helpful index are also included in the book.

Meyer’s artwork in The Night Parade of One Hundred Demons is marvelous. The illustrations take direct inspiration from traditional Japanese ink paintings and woodblock prints. They are very colorful, but instead of being garish Meyer has selected a more natural, subdued palette. Many yokai have close ties with nature and so I was pleased to see this reflected in Meyer’s artwork. He pays as much attention to the details of the yokai’s environment as he does to the yokai themselves. Occasionally Meyer takes a bit of artistic license, his yokai don’t always match up exactly with their accompanying text, but I really enjoy his interpretations. The artwork in The Night Parade of One Hundred Demons is one of the things that makes the volume so fantastic. I was just as happy flipping through the book enjoying Meyer’s illustrations as I was reading it.

The Night Parade of One Hundred Demons is a very approachable volume. Meyer’s writing style has an almost conversational feel with just a touch of humor to it. A few minor typos managed to slip through the editing process, but otherwise The Night Parade of One Hundred Demons is a delightfully enjoyable and informative read. The sheer number of yokai covered in the book is wonderful. I was already familiar with quite a few of them but there were plenty that were new to me, too. I like that Meyer makes a point to note the significant regional differences of the various yokai included in his field guide. He also addresses the similarities and relationships that exist between different yokai. I absolutely loved The Night Parade of One Hundred Demons. If you are a fan of yokai, or even just a fan of excellent Japanese-influenced art, the volume is well worth looking into. I haven’t been this excited about a book for a very long time.

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16 May 2012 Leave a Comment

Goodbye Madame Butterfly: Sex, Marriage, and the Modern Japanese Woman

Author: Sumie Kawakami
Translator: Yuko Enomoto
Publisher: Chin Music Press
ISBN: 9780974199535
Released: September 2007

Goodbye Madame Butterfly: Sex, Marriage, and the Modern Japanese Woman by Sumie Kawakami, published in 2007 with an English translation by Yuko Enomoto, was written specifically for the publisher Chin Music Press. I recently discovered the publisher and happened across Goodbye Madame Butterfly while browsing its backlist. Unfortunately, the volume is no longer in print—a shame since physically the book is quite lovely—but there are plans to release Goodbye Madame Butterfly in a digital edition soon. Chin Music Press was kind enough to send one of the few remaining print copies to me for review. Although there are several examples of Kawakami’s writing available in English, Goodbye Madame Butterfly is her first book-length work to be translated. Kawakami, a writer and journalist in Japan, is no stranger to to the subjects of sex and marriage and has written about them before, including coauthoring the book Tsuma no Koi (“Wives in Love”) with Taro Ohata.

Japan has a thriving sex industry that is not at all hidden. In fact, it is fairly high profile. And yet at the same time, Japan ranks among one of the lowest countries when it comes to sexual activity and sexual contentment according to a survey conducted by Durex. Despite a prominent and prevalent sex industry, which could either be seen as a symptom or as a cause, the number of sexless couples in Japan has been on the rise. Between 2005 and 2007, Sumie Kawakami interviewed a number of women and a few men about their sex lives and relationships. The results of these interviews form the essays that make up Goodbye Madame Butterfly. Although some details such as names have been changed to protect the privacy of those involved, all of the stories in Goodbye Madame Butterfly are true. The women come from a wide variety of backgrounds—some are single, some are married, some are divorced; some are professionals while others are housewives—but they all share some amount of dissatisfaction with their personal lives.

Each of the eleven essays included in Goodbye Madame Butterfly begins with a title and the name being used for the interviewee, as well as their age and profession. From there, Kawakami tells their story. The essays are intimate not just because they touch on sex and other private matters but because it is readily clear that the interviewees were open and honest with their thoughts and feelings while talking with Kawakami. The presence of the women is always felt while reading Goodbye Madame Butterfly, even in the case in which the interviewee is a man. This is especially true for the two essays that have been written in the first person. Kawakami allows the women and their stories to speak for themselves. She makes no attempt to analyze, contradict, or defend them, but simply allows them to be just as they are.

To be completely honest, Goodbye Madame Butterfly can be somewhat depressing with all of the failed marriages and relationships that are revealed. But it just goes to show that life is complicated and messy no matter who the person is. The women whose stories appear in Goodbye Madame Butterfly are real people dealing with real and often unfortunate circumstances. Life is not always happy. Even the author is a divorcée and a single mother, characteristics that she shares with many of the other women in Goodbye Madame Butterfly. One thing I found particularly interesting about the book is that Kawakami made a point to interview women that she personally admired in some way. Even if the decisions they make in their lives aren’t always the best ones, these women exhibit strength and perseverance. I may have only caught a brief glimpse of their lives but I, too, found women worthy of admiration.

Thank you to Chin Music Press for providing a copy of Goodbye Madame Butterfly for review.

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