Are we ready to talk about josei again? I promise not to rant (too much) about how work by and about women is consistently undervalued in our culture. But it’s honestly impossible to talk about josei manga without coming up against this wall. I’d love to see some hard numbers on this, but even without that kind of rigorous data, it’s pretty clear that compared with the flood of shonen and seinen manga—genres targeted at and (mostly) written by men (boys)—the amount of josei and shojo—genres for and by (mostly) women (girls)—published in English is a mere trickle. And you can step right off with the argument that josei and shojo stories just aren’t as good or as well produced. Josei and shojo manga consistently win big awards—Yuki Ozawa won the Kodansha award for her incredible Sanju Mariko just last year, while Misato Konari is shortlisted for the Tezuka Cultural Prize and also snagged an Excellence Award at the Japan Media Arts Festival this year, and we’ll probably never see either of these excellent titles in an English translation.
There are a gazillion reasons why we see so little josei and shojo in translation, and I promised I wasn’t going to rant, so I won’t go into every one of them. But a big reason, and something you see all over the place not just manga in translation, is that works created by and about women are seen as for women only, while works created by and about men are for “everyone.” Work about/by women is denigrated at pretty much every turn. Little boys are taught that this or that book is “for girls” and thus they should never pick them up (remembering that YA author who talked about how some schools excused boys from her school visits since she wrote books “for girls” so of course the boys wouldn’t be interested, but I can’t remember her name, so if you know who I’m talking about, please tell me so I can credit her) (Update: Thanks to Mecque for telling me that I was talking about Shannon Hale!), and even when a woman author is recognized with a prestigious award, her win is cast in the light of a man author who lost. (Yes, I am thinking of Jennifer Egan’s pulitzer win and how every other article about it had a headline with Franzen’s name in it, too.) So when you have publishers and society cutting out half of the population as a possible readership for women’s work, you are going to have a hard time selling that stuff.
And this isn’t just limited to the North American market. Although a ton more shojo and josei makes it onto the shelves in Japan, this is mostly because the publishing industry in Japan is more robust and simply has more readers buying books. Stories by and about women are still not taken as seriously as those by and about men, as evinced by the fact that while women are winning those manga awards, they’re winning them about a quarter as often as men do. For an artist who wants her work to be widely read by both women and men then, a series in a seinen or shonen magazine is really the way to go, even if she’s writing about women and the series could easily run in a magazine aimed at women.
I feel like Torikai’s Sensei no Shiroi Uso is just such a title. Although it ran in the seinen magazine Morning, it takes as its protagonist a young woman grappling with her own womanhood and what it means to be a woman in a society that sees women as second class. And this is where I have to give you a chance to get out before things get too heavy. Torikai does not shy away from depictions of sexual assault and violence against women. If this is something you would rather not subject your eyes or your mind to, then this is not going to be the series for you. Go read the warm delight that is Witch Hat Atelier instead. It just came out in English and you will not be sorry you picked it up! Continue reading “Sensei no Shiroi Uso: Akane Torikai”