Yoshinaga Fumi - Ooku, vol. 01-03 (Chi. trans.)
Tue, Jun. 24th, 2008 08:10 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
oyceterI first heard about this when it won a special prize from the Japanese Sense of Gender award (awards SFF works that examine gender); the people behind the SoG have been going to Wiscon regularly, which is how I heard of the award. Ooku (pretend there's a macron over the first "o") is an alternate history of Japan where a strange pox ends up killing three quarters of the men in the early 1600s. Because of that, the role of the shogun, like many other roles in Japanese society, ended up being matrilineal. The ooku was a harem formed for the shogun; with a female shogun, it was converted to hold about three thousand some men.
The story begins with Mizuno Yuunoshin's entrance into the ooku, but it also jumps back and forth in time to tell the story of how the role of the shogun ended up being female, along with how the disease affected Japanese history. When I first picked it up, I was afraid it wouldn't meet my expectations, as I've found Yoshinaga's work to be excellent but also uneven in terms of power differentials. I think Ooku is an excellent work of fiction so far; Yoshinaga carries off the broad scope and many time periods and characters with aplomb. As a work examining gender, I think it is awesome.
Why is this not licensed? Why why why?
At first, I was put off by the fact that we're following Mizuno's story. It's the same problem I have with Y: The Last Man; in a world where men are scarce, I still have to read something that's all about the guys? (I like Y and the women in Y, but it still irks me.) I was further put off by Mizuno taking on the more aggressive role with his childhood crush Onobu, as indicated by him kissing her and by the body language: he grabs her and pulls her in, she's slightly bent over backwards during the kiss, and he pushes her away to end it. I also wanted to know why all the women were still dressed in tightly wrapped kimono and obi when they were the ones running errands and doing business. While I love kimono, I think switching over to hakama might have been more practical! Similarly, the male dress in the first few pages is much less flowery than female dress; it looks like Edo in our history, with no hints of the changed male and female roles.
But! Yoshinaga is much, much better than that. Questions of clothing haven't entirely been resolved, but they've been brought up in the ooku already. And while we start with Mizuno, Yoshinaga does something very interesting: she switches between several POV characters, almost all male, and only has minor POV female characters. Yet the effect of this is to remind us how unstable the men's lives are; the shogun's favorites in the ooku may rise and fall, but the shogun and the women in power remain constant and dependable. There's a wonderfully claustrophobic feel to the ooku, a sense of limitation and constriction. I may have evilly cackled to myself and thought, "Bwahaha! See how it feels?"
Yoshinaga is also doing very interesting things with Japanese history; if I had known more about the Tokugawa shoguns, I would have picked up much earlier that she's following the exact same history as our own, only with female shoguns starting from Tokugawa Iemitsu. I particularly love that one of the greatest Tokugawa shoguns, Yoshimune, is a main character (and female). There's a wonderful scene in which Yoshimune meets with a Dutch captain: the pox hasn't spread to the rest of the world, and Yoshimune wants to know why only men are allowed on the Dutch merchant ships, which I read as a critique on how people will sometimes use feminism to justify nationalism or racism (I am not sure if it is, but whatever). And I particularly love what Yoshinaga's doing with Iemitsu, who began Japan's period of isolation, so disparaged by history books.
And there's so much more I'm not even touching on! The looks backward in history are even more fascinating, as they show a country struggling with changing gender roles. I would so suggest an Ooku book club panel for Wiscon, only given the lack of an English translation, I think it would be in vain.
To conclude on a completely random note, aside from being made of win, this manga also contains rodent death (traumatic only to me) and, more importantly, cat flinging as a form of affection.
(Please license this, someone!)
The story begins with Mizuno Yuunoshin's entrance into the ooku, but it also jumps back and forth in time to tell the story of how the role of the shogun ended up being female, along with how the disease affected Japanese history. When I first picked it up, I was afraid it wouldn't meet my expectations, as I've found Yoshinaga's work to be excellent but also uneven in terms of power differentials. I think Ooku is an excellent work of fiction so far; Yoshinaga carries off the broad scope and many time periods and characters with aplomb. As a work examining gender, I think it is awesome.
Why is this not licensed? Why why why?
At first, I was put off by the fact that we're following Mizuno's story. It's the same problem I have with Y: The Last Man; in a world where men are scarce, I still have to read something that's all about the guys? (I like Y and the women in Y, but it still irks me.) I was further put off by Mizuno taking on the more aggressive role with his childhood crush Onobu, as indicated by him kissing her and by the body language: he grabs her and pulls her in, she's slightly bent over backwards during the kiss, and he pushes her away to end it. I also wanted to know why all the women were still dressed in tightly wrapped kimono and obi when they were the ones running errands and doing business. While I love kimono, I think switching over to hakama might have been more practical! Similarly, the male dress in the first few pages is much less flowery than female dress; it looks like Edo in our history, with no hints of the changed male and female roles.
But! Yoshinaga is much, much better than that. Questions of clothing haven't entirely been resolved, but they've been brought up in the ooku already. And while we start with Mizuno, Yoshinaga does something very interesting: she switches between several POV characters, almost all male, and only has minor POV female characters. Yet the effect of this is to remind us how unstable the men's lives are; the shogun's favorites in the ooku may rise and fall, but the shogun and the women in power remain constant and dependable. There's a wonderfully claustrophobic feel to the ooku, a sense of limitation and constriction. I may have evilly cackled to myself and thought, "Bwahaha! See how it feels?"
Yoshinaga is also doing very interesting things with Japanese history; if I had known more about the Tokugawa shoguns, I would have picked up much earlier that she's following the exact same history as our own, only with female shoguns starting from Tokugawa Iemitsu. I particularly love that one of the greatest Tokugawa shoguns, Yoshimune, is a main character (and female). There's a wonderful scene in which Yoshimune meets with a Dutch captain: the pox hasn't spread to the rest of the world, and Yoshimune wants to know why only men are allowed on the Dutch merchant ships, which I read as a critique on how people will sometimes use feminism to justify nationalism or racism (I am not sure if it is, but whatever). And I particularly love what Yoshinaga's doing with Iemitsu, who began Japan's period of isolation, so disparaged by history books.
And there's so much more I'm not even touching on! The looks backward in history are even more fascinating, as they show a country struggling with changing gender roles. I would so suggest an Ooku book club panel for Wiscon, only given the lack of an English translation, I think it would be in vain.
To conclude on a completely random note, aside from being made of win, this manga also contains rodent death (traumatic only to me) and, more importantly, cat flinging as a form of affection.
(Please license this, someone!)