Marshmallow Bungaku Girl

Marshmallow Bungaku Girl

Title: Marshmallow Bungaku Girl
Japanese Title: ましまろ文學ガール (Mashimaro bungaku gāru)
Alternate Title: Mädchen Marshmallow Literatur
Artist: Amano Taka (天乃 タカ)
Publisher: enterbrain (エンターブレイン)
Publication Dates: 6/27/2011 – 2/15/2013
Volumes: 2

In the late Meiji Period, as Japan undergoes the process of modernization, Hoshino Mone is a student at an all-girls private high school in Tokyo, where she lives with her male guardian, Sei. Although a young woman’s duty is to be beautiful and modest so as to become a suitable bride, Mone has a different dream – she wants to write literature! Literature (the bungaku of the manga’s title) is believed to corrupt women, so Mone cuts off her braids, dons schoolboy clothing, and joins an all-male literature club. Although she must face a bit of drama concerning her choices, the friends Mone makes help her hone her talents and offer her inspiration as they take her on adventures around town. The handsome young literary illustrator Nasuhito knows Mone’s secret but believes in her potential. Nasuhito’s respect for Mone as a fellow artist is not the only source of his warm feelings for her, however.

Although Bungaku Girl was published in the seinen magazine Fellows! – the former name of Kadokawa’s prestige-format monthly serial Harta (ハルタ) – it reads like a shōjo manga from the 1990s, when the influence of series such as Fushigi Yûgi and Cardcaptor Sakura injected elements of gender bending and bishōnen harems into even the most prosaic romance stories. All of the young men in the literature club are impossibly gorgeous, and everyone is decked out in immaculate period dress. There’s a hint of yuri provided by the radiant high school princess Sono, another literature fan who becomes enamored of Mone’s courage and independent spirit, but there are no elements of the male gaze to be found in the manga’s story or art. Instead, there are touches of Mori Kaoru in the close attention paid to historically accurate fabrics, interiors, street scenes, and city vistas.

Bungaku Girl is less about Mone’s cross-dressing and gender identity than it is about her commitment to doing whatever it takes to find a supportive community for what she loves. Many of the story’s most powerful moments occur when the characters are being creative – when Mone is writing, or when Nasuhito is drawing, for instance – and these moments are reinforced by being framed within the sense of belonging to a group of people all working together to share their ideas and produce something tangible. For us nerds who have studied modern Japanese literary history, there are pleasurable echoes of the student groups, coterie magazines, and research trips into pleasure districts associated with real-life literary figures.

This two-volume series is only available in Japanese, but it would be really cool if someone were to license it in North America. The story is simple and charming, the characters are adorable, and the art is clean and attractive. Bungaku Girl offers love, drama, and interesting imagery, not to mention encouragement to leave your comfort zone and live your dreams!

Bungaku Girl Volume 1 Page 23

I… want to join your literature club!

Writing “Strong” Female Characters

Otoyomegatari

Yesterday afternoon, I received a brilliant comment on my post about “strong female characters” in the Final Fantasy series of video games. As the commenter says, “I would argue that strength for a female character is not necessarily limited to ‘becomes goddess, wields gunblade, kicks ass’ (no matter how gratifying), but may also include, ‘forms strong bonds with and serves as mentor / role model / leader for other female characters,’ without reference to the guys.” Since gender is an important component of any work of fiction, I feel that this is an excellent opportunity to clarify my own opinions about what makes a “strong” female character, with “strong” meaning “well developed” in a literary sense.

Here are some suggestions for writing a strong female character:

(1) Unless there is something seriously wrong with a female character, she should have interiority, which means that she should think things. If she’s not a point of view character, or if your third person narrator isn’t omniscient, or if you’d rather just show and not tell, then she should be shown taking actions that demonstrate independent thought.

(2) Is the character in question human within the context of the story? Does she dodge bullets that hit other people, and can she overcome obstacles that no one else can for no discernible reason? Does she always do the right thing; or, by her doing something, does that thing suddenly become the right thing? Does she exhibit mastery over skills with no prior training, qualification, or explanation? Flaws and challenges make characters interesting, and a character with no flaws who faces no challenges is not interesting.

(3) Pretend that emotions are a color palette. Female characters should exhibit emotions that fall outside of their primary color group.

(4) Different characters should hold different attitudes towards a female character. Not everyone needs to love or to hate her. In the same vein, not everyone needs to have an opinion about her or even be aware of her existence.

(5) If you have a choice between closing plot holes and making sure that a female character gets together with her love interest, close the plot holes.

(6) Sometimes people undergo severe changes in personality when they fall in love, have sex, get married, or have a child, but don’t take drastic personality change for granted when it happens to a female character. You don’t need to comment on it or have other characters comment on it if that’s not your style, but understand that it will be jarring and upsetting to the reader and should be treated accordingly.

(7) Is your character raped? Is it necessary that she’s raped? Is she constantly being threatened by rape? Are the male characters also raped? I do not subscribe to the school of thought that holds that rape is the worst thing that can happen to a human being, but it can have severe consequences for both the victim and the rapist and should not be treated lightly.

(8) If a female character is damaged in some way (physically, psychologically, or emotionally), is her damage treated with the proper respect (i.e., is it actually damaging), or is it just a fetish? Does the character exist on a level other than as a representation of her damage?

(9) If your story is a story in which food exists and people eat, female characters should eat food. If your story is a story in which people take showers and use the bathroom, female characters should take showers and use the bathroom.

(10) Just as some people don’t need an excuse to be good, not everyone needs an excuse to be evil; some people are just assholes. Still, if a character is evil just because she’s an older woman or more sexually mature than other female characters, that’s just as ridiculous as her being good just because she’s young and virginal. Remember that stereotypes are mocked because they’re stupid and boring. A character that exists solely for the purpose of overturning a stereotype is also stupid and boring.

(11) Unless it makes logical sense for it not to do so, your story should pass the Bechdel test. This means that female characters should have conversations with each other about things other than the male characters. If they have interior monologs, they should think about things other than the male characters. If there’s nothing else in your story for female characters to talk or think about, then your story probably sucks.

All of these suggestions also work for writing male characters!

In the above list, I deliberately avoided the term “empowerment,” just as I deliberately avoided the term “agency.” “Empowerment” is something that generally pertains to non-fictional people (for example, female readers can feel empowered by a character, or readers can interpret a character in ways that are empowering from a feminist perspective); and, in any case, empowerment is something that’s generally associated with emotional fortitude and some degree of ability to change the world. I want to avoid this latter connotation, because I don’t think a character needs to be powerful or exceptional in order to be well written and compelling.

Just for the record, it is absolutely not true that a writer has to be physically female (or identify as female) in order to write female characters who are interesting and engaging; that would just be silly.

Kushana

The character at the top is Amira Halgal from Mori Kaoru’s Otoyomegatari. The character at the bottom is Kushana from Miyazaki Hayao’s Nausicaä of the Valley of the Wind.