That was last year, right? 2018? It feels like a lifetime since then. Humanity’s slow slide into extinction is picking up steam, and it’s honestly hard to keep track of which disaster is happening when and where anymore. The US is basically about to execute women for having abortions, Ontario has decided autistic people don’t matter, Australia just voted to destroy the Great Barrier Reef (essentially), and while the earth burns, scientists are bringing decapitated pigs back to life. And this is all just in the last couple weeks! How could I possibly be expected to remember that there was a whole year of life before all of this??
And it’s so easy in the face of all this madness to throw up our hands in despair and wonder why art even matters when we’re all going to burn in the planetary dumpster fire that is climate change. But this is when art matters the most! The stories we tell and the way we connect through art gives us a reason to keep on fighting when things seem most dire. Plus, the onslaught is just too much, and sometimes, you need to escape into fantastical man-man action. So welcome to the doujinshi round-up for the lost year of 2018! Continue reading “Doujinshi Round-Up: What Happened to 2018??”
Given how close we are to TCAF, you may be surprised that I’m not on here talking up Junji Ito or Hiromi Takashima, our very special manga guests this year. But in a weird turn of events, I have translated the work of both of these artists, so it would be even more self-indulgent for me to write about those works here. That said, you should definitely pick up Takashima’s Kase-san series because it is a delightful bit of yuri that is free from so many of the tired tropes and simply explores the relationship between these two girls as they figure out what it means to be together and how they want to move forward. And you should also be reading Ito’s everything because he is a great master of horror and excess—you should obviously especially be reading all of my translations of his work, if nothing else, though. I personally am devouring everything he ever wrote at the moment, including the utterly dreadful Yukoku no Rasputin which I regret ever crossing paths with, because, well, TCAF. I am his interpreter. I have to be prepared. (Please no one ask about Rasputin.)
But I also need distractions! Reading too much of the same artist all in a row can make all the stories blur together into a mess of tangled and mutilated bodies, in the case of Ito’s work. Fortunately, my special delivery of horror manga from the other side of the ocean also included some decidedly non-horror manga from an artist I’ve only recently fallen for, Kiwa Irie. Her current series Yuria-sensei no Akai Ito is giving me life, so I decided to go back and check out her earlier work, as is my wont when I fall hard and fast for an artist.
But checking out her earlier work was not so easy as all that! I was told that Tasogare was also a very solid series, so I went to the bookstore to get the first couple volumes. However, volume one comes with a CD specially made of the music that features in the book and so costs about twice as much as a regular manga. I did not want a special CD of music I was almost certain to dislike (I am a person of strong musical opinion), so I went from bookstore to bookstore looking for a volume one sans CD. But it was not to be! Which is why I ended up getting it delivered to be from my favourite online retailer with a pile of Junji Ito books once I was back in Canada. Continue reading “Tasogare Takako: Kiwa Irie”
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”
It comes up every so often on the interwebs—or maybe only on Twitter which is where I spend most of my interwebs time—this idea of not starting a series until it’s finished because you want to read the whole thing at once. Or you worry that the publisher will drop it before it ends. And pretty much everyone involved in the making of series of books comes forward to say that this is the surest way to get a series cancelled. The terrible law of attrition means that sales of volume one are pretty much always the highest and it only goes downhill from there as some readers find they actually aren’t all that into the series or they move onto other books and forget about this one or they move to a shoebox apartment and can no longer buy books and keep them in their house the way they’d like to or they ran out of money and buying books is the last thing on their list. There are plenty of legitimate reasons for not continuing with a series, but anyone in the publishing industry will tell you that fear of the series ending prematurely is not one of them. When a reader doesn’t buy the first volumes in a series for this reason, they are basically signing the death certificate for the whole endeavour.
And as a person in the publishing industry, I am well aware of this fact! (I’m also well aware of the fact that pre-ordering a book is the best way to get it on shelves and boost sales in the crucial weeks after release, but I cannot be that together of a grown-up human being. To know what I will want to read in the future?! That is some kind of black magic and will probably end up with me roasting in the flames of hell.) But! I am also a deeply forgetful person. And the time between publication of between one volume and the next is basically enough for me to have forgotten the entire premise of the series. So reading books as they come out is basically an exercise in frustration and repetition. What is an absent-minded reader to do?? It’s simple, really. Just buy them all as they come out and then read them when the whole series is done. Continue reading “Bikacho Shinshi Kaikoroku: Moyoco Anno”
The luggage situation on the Japan side of the ocean has been getting increasingly over the top the last few trips I’ve made. I’m there for months at a time, so it’s only natural that I would take these enormous suitcases and a whole life’s worth of stuff. And when I am packing up my Toronto life, I deliberately pack a lot of presents and Japanese books I am done with and consumable items (like the quinoa that I love but is too expensive on the Japan side and the spicy jalepeños that have historically been hard to find but are now pretty much everywhere so maybe I will stop bringing a jar or two over with me). But lately, when I am putting my Tokyo self into those same suitcases, it seems like I am always overstuffed and overweight. And you know what is causing that stuffed weight: books!
It’s also long been a habit of mine to send a box or two of things to myself so that I can have a little surprise come in the mail once I am back in Canada and gloomy about the terrible winter. Even if you’re not coming back to cold Canada, I highly recommend sending treats to yourself when you travel. It’s such a happy thing to get a box full of things you love that you forgot you sent yourself. (I always remember that I sent myself a box, but never what’s actually inside the box, so it’s like I am Santa to my own self.) But the number of boxes has been increasing and they too are getting heavier. Because: books! I don’t want the takeaway here to be that I buy too many books because that is clearly not the case since you can never buy too many books. But I do feel like I could stand to spread my book purchases out more and maybe do more buying in Canada where I do not have a strict weight limit on how many things I can carry to my home. Continue reading “Amazoness Kiss: Natsuko Ishitsuyo”
A thing happening in the marketing of books lately is to note the number of followers or likes the artist has on Twitter—most often, but occasionally, it will be Instagram or Pixiv—on the obi, and talk about how this popular web thing is at long last a book. It’s like Japanese publishers recognize the power of the internet, but still aren’t that sure how to harness it. So they slap some numbers on the cover and hope that people will worry about being left out of the group and pick up a copy. And in Japan, that is not the worst strategy since one of the greatest compliments you can pay a restaurant here is that it always has a line-up. I have with my own eyes seen people join a line simply because it was there and whatever was at the end of it must be good if there was a line. Given this kind of consumerist mindset, it’s not actually a bad strategy to count on Twitter followers to get new readers to pick up a book.
My issue with the “find something on the internet and publish it with follower count info” is that publishers are snapping up web manga and comic essays in hope of grabbing the next My Lesbian Experience With Loneliness, but more than a few of these books are boring or bad or could have used some extra time with an editor. So I’ve grown a bit wary of those internet numbers on the obi, a sign of something possibly half-baked in the pages of the book it adorns. Which is why I passed over Shumatsu no Wakusei the first few times I saw it in the bookstore. Although I was intrigued by the cover and the title, that Twitter likes count on the obi made me pull my hand back every time I saw it.
But push a good cover on me enough times, and I will break eventually. (Hard stare in the direction of Color Recipe in particular here) I always judge books by their covers, and my curiosity about what’s inside inevitably gets the best of me. And so it was with Shumatsu and the girl staring forlornly at me from space and the end of the world. Continue reading “Shumatsu no Wakusei: Oya”
Still on the josei train, apparently. Maybe I will never get off it? Is this where I live now? All josei all the time? I wonder if the train will stop in Shojo Town or Seinen Village. Because I do like that stuff, too, but it seems my brain is particularly concerned with women and whatever the heck they’re writing about these days. Life circumstances? The man-hating feminist deep in my heart feeling free to finally stand in the sun? Who can say!
Whether it’s man-hating feminism or plain curiosity about books I haven’t read, I’ve had my eye on Sanju Mariko for some time now. Not just because it’s been on all the lists of amazing manga since it started running in Be Love a few years ago—although when a manga is on everyone’s list, it does make you curious—but because the protagonist of this series is an 80-year-old woman and when was the last time you saw that happen? Not the protagonist’s mom or the lady at the grocery store yelling at the cashier for messing up her order or the elderly woman the doctor just couldn’t save dammit who becomes the jumping off point for the doctor’s new life as a unicyclist, but the hero of the story, the one we care about and follow eagerly through the many events and obstacles. Seriously. If you know of a manga or movie or TV show from recent years that stars an elderly lady, please tell me about it, because I am entirely here for this. Continue reading “Sanju Mariko: Yuki Ozawa”