In Defense of Fujoshi

Content warning for discussion of rape fantasies, illustrations of penises, and strong irony regarding sensitive topics.

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I’m really serious about the content warning.
This essay is potentially triggering and extremely NSFW.

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At the Toronto Comic Arts Festival last weekend, Picturebox announced their plan to publish a bara manga anthology titled Massive. This news has been met with congratulations from all corners of English-language manga fandom, which is fantastic, because congratulations are in order.

What this excitement has occasionally been accompanied by, however, are snide comments about BL manga. To summarize and simplify these comments:

Male sexuality is BEAUTIFUL.
Female sexuality is GROSS.

Pornography drawn by men is ART.
Pornography drawn by women is TRASH.

Male sexual fetishes are EXCITING AND REVOLUTIONARY.
Female sexual fetishes are DESTROYING FEMINISM AND/OR LGBT RIGHTS FOREVER.

In other words:

Bara manga is GOOD.
BL manga is BAD.

This sort of mentality is often accompanied by essentializing statements such as:

All bara manga is AUTHENTIC.
All BL manga is HOMOPHOBIC.

The idea behind the above sentiment seems to be that, while all bara manga is always, by its very nature, an accurate depiction of the realities of the gay male lifestyle (note that there is apparently only one gay male lifestyle), BL manga, because it is always drawn by straight women, cannot accurately depict the concerns of gay men.

Okay, so if bara manga is always an accurate depiction of the gay male lifestyle…

Tagame Gengoroh - Standing Ovations

…then Tagame Gengorō’s one-shot manga “Standing Ovations” (pictured above), which is about a boxer who is drugged and forced to become a slave and repeatedly raped in front of a live audience, is apparently an accurate representation of the reality of what it means to be a gay man.

In another of Tagame’s stories…

Tagame Gengoroh - Arena

…titled “Arena” (pictured above), a boxer is drugged and forced to become a slave and repeatedly raped in front of a live audience. Except he’s eventually chemically lobotomized, and he ends up loving the rape, so it’s not really rape anymore!

Wow. I had no idea that all gay men everywhere in the world are either attending or participating in these sorts of rape battles.

This makes me wonder about bisexual men, or straight men who participate in group sex. Do those guys have their own separate rape battles, or are they just not invited to the rape battles? What about transgender men? Do they still get to go to the rape battles? And what about the gay men who aren’t interested in rape battles? Do they still get to be gay? Or am I just being a silly vagina-head by assuming that all gay men are not all totally alike?

But wait! It turns out that Tagame also wrote stories that were published in BL magazines like June, as well as magazines that have a balanced male/female readership, such as Kinniku otoko:

“I wrote ‘Hairy Oracle’ knowing that half of the readers were going to be women, so I tried to include some elements of romance and lightheartedness,” explains Tagame. “When I write for gay men’s magazines, it’s primarily about the hero’s initiative and interiority. When I know that women are also going to be reading it… they’re more interested in seeing actual relationships and coupling. So that’s a big difference when I go for writing for one or the other.”

Wait… So Tagame Gengorō has written BL manga… And BL manga is not authentic, because it’s all written by straight women… Which means that Tagame Gengorō is a straight woman?

My head just exploded.

Anyway, let’s consider the sick fantasies women have about gay men…

Kagurazaka Hanko - Hitotsu yane

…like gay men in monogamous relationships raising children.

SO GROSS.

The really terrible thing about these twisted women is that they’re not content with stand-alone BL manga; they also have to get their dirty lady cooties on mainstream media as well. For example, Azuma Kiyohiko’s series Yotsuba to, which manga critic Kamiya Kōsetsu has called an “eternal summer vacation” meant to provide adult men with an escape from the real world, is a huge hit with adult women, who are attracted to the role-reversal of a single father raising a child and the strong friendships between the female characters. When these women get their filthy lady hands on the manga…

Ookina hanayasan

…they write dōjinshi fanzines that turn the escapist fantasy of the original manga into a serious exploration of adult male gay relationships and the social constraints against two men raising a child in Japan.

HOW DISGUSTING.

I am one hundred percent certain that it’s entirely possible to use different examples and thereby demonstrate how bara manga is not all about bondage and rape fetishes (it totally isn’t) and how some BL manga is nothing more than shallow, disposable pornography that conflates homosexuality with sexual deviance (some of it totally is). There is a great deal of porn in the world, and there is more than enough to go around. The point I’m trying to make here is that there is a wide variation in both bara and BL manga, and it’s useless to make absolute statements about the people who read and write manga belonging to either category.

According to Dan Savage, author of The Commitment: Love, Sex, Marriage, and My Family, gay men can be kinky and enjoy porn and raise children in stable families. In other words, gay men can have sexual fantasies and still be “normal” people; it’s not an issue of either/or.

So what about fujoshi, the women who read and write BL manga?

Here is a common conception of fujoshi:

Fujoshi Stereotype

The above image may seem like a caricature, but many critics have extremely uncharitable opinions of women who read manga.

In his Neo review of the BL manga periodical Dear+, Jonathan Clements mocks the magazine’s readers, saying, “one imagines an audience of shelf-stackers, burger-flippers and NEETS, smiling dreamily at the thought of a world where everyone can wear, and afford, posh clothes, and gets to sit in an office all day thinking of ways to sell perfume to people like them.” In other words, the women who read Dear+ are useless, lazy slackers who can’t get real jobs but like to fantasize about what a high-powered professional life in the creative industry is like through the bodies of the men who have these jobs in the real world. Right. Let’s put aside the realities of the professional world in Japan, where men do in fact hold jobs women are strongly discouraged from attaining, and assume that the glass ceiling exists because women are too wrapped up in the fantasies of BL manga to be functional adults. Obviously.

Clements concludes his essay with the argument that BL contains elements of homophobia:

Dear Plus follows a format familiar to us from other magazines in the boys’-love genre, running the gamut of possible relationships in a single issue from chaste adoration to hardcore sex. But as noted in earlier Manga Snapshot columns on boys’ love, sometimes one detects that oddest of undertones, an arguably anti-gay assertion that all of this man-on-man action is merely a phase, and that what these lonely boys are really waiting for is the right girl to come along. In other words, these men are only snogging each other because the Reader hasn’t met them yet.

This is, we might say, another appropriation from the mainstream world, where myriads of lonely manga boys have suddenly received the girl of their dreams by some fiat of the fates, in which she drops out of the sky, appears in his wardrobe, or otherwise manifests through deeply unlikely means. In denying, however subtly, the desire of men who truly love men, Dear Plus suggests its true colors as a publication that is really aimed at lonely, heterosexual girls.

To summarize, all of these BL manga readers are terribly lonely (maybe because they’re such losers), and all they really want is a man of their very own. That sounds like an extreme projection of male heterosexuality to me, but it’s not as if Clements is the first man in the world to state that girls just wanna have cock.

In any case, it’s bizarre to me that Clements would identify fujoshi as man-hungry, lonely women, especially since the vast majority of scholarship on these women identifies them as participating in highly active homosocial communities. For example, in her monograph Fujoshika suru sekai, Sugiura Yumiko argues that the reason Ikebukuro became a fujoshi paradise (as opposed to somewhere like Nakano or Kichijōji) is because it’s a centrally located area that’s a convenient place for women to meet each other. In Ikebukuro, women can shop for both clothes and dōjinshi and then meet up with friends afterwards to have coffee in the cute and trendy cafes that dot the neighborhood. These women were early adapters to social networking sites like Mixi and Twitter, which they use to organize casual meetups. In fact, there’s a trend of fujoshi using Skype and Google Hangouts to talk to one another while and immediately after their favorite shows air live in the evening. It’s not that these women don’t have husbands and boyfriends, but rather that they also have female friends with whom they share their interests and hobbies.

Slash and BL fan communities in the West are highly social as well, with friends often forming offline clubs and art circles to share and promote their hobbies. In the vast majority of these communities, straight and gay men are totally welcome; and, in the artist alleys of American (and Canadian! and British! and French!) anime conventions, one is just as likely to see boys both in front of and behind the tables of artist collectives selling homegrown BL manga and fanzines. In some of the more commercially successful Western BL comics, such as the erotic comedy Teahouse, one can even spot the mention of the artists’ husbands (and partners) on the acknowledgements pages.

I am not saying that everyone who reads and writes BL manga is female, straight, and cisgender. That’s a common assumption, but it’s not true. Even if it were true, however, it would not be an excuse for the misogyny that pervades opinions about manga not explicitly targeted at men.

So seriously guys? Cut that shit out.

People who read bara manga are okay.
People who read BL manga are okay.

Maybe you personally prefer one over the other. That’s okay too.

Non-normative sexualities are okay, and other people’s fantasies are okay, and there doesn’t need to be some sort of weird war on the internet over whose gender is the most “authentic.” Everyone is perfectly free to mock the ridiculousness of both bara tropes and BL tropes until global warming renders such trivialities inconsequential, but please take a moment to consider whether writing homophobic and misogynistic things about people who read comics is really the most productive exercise of social justice before you waste your time trying to convince women that girls are yucky.

A Treasure Hunter’s Guide to Dōjinshi

Or, how to find dōjinshi in Tokyo. Here is what you need to know before you set out:

First, stores specializing in dōjinshi tend to fall into two categories, dansei-muke (for men) and josei-muke (for women). Dansei-muke dōjinshi are usually highly pornographic, and it is far from uncommon for them to feature the graphic rape of minors (or characters drawn to look like minors). The term josei-muke refers to the genre of boys love (BL), but the majority of the dōjinshi found in josei-muke stores aren’t BL at all but rather humor, parody, drama, or light heterosexual romance. You can usually tell what you’re getting from the cover, but every dōjinshi is enclosed in a plastic slipcase that you can’t (and shouldn’t try to) open until you actually buy the thing. Most general-audience dōjinshi are ¥210, and a good rule of thumb is that, the more expensive the dōjinshi, the more pornographic its content. There are exceptions to this – the dōjinshi in question may be particularly rare, or particularly good, or by a particularly well-known artist – but again, you can usually make an educated guess on the content based on the cover.

Second, you need to know how to read Japanese. It goes without saying that all dōjinshi are written in Japanese (regardless of whether English is used on the cover). More importantly, no English is used in any of the stores. Dōjinshi are organized in kana order by the title of whatever work they’re based on and grouped according to genre (ie, video games, shōnen manga, Western television shows, Korean boy bands, etc). Dōjinshi based on more popular series (such as Hetalia or Final Fantasy VII) are further organized by pairing or dōjin circle. You’re therefore going to need to be able to read Japanese in order to navigate the stores. The staff at these stores is generally happy to help you find what you’re looking for, but you need to tell them the title of the gensaku (original work on which the dōjinshi is based) in Japanese before they can help you. If you’re not confident about your Japanese, it might be useful to bring a friend to help you navigate and to visit the stores as soon as they open (so they won’t be crowded).

With that in mind, here we go!

Ikebukuro

Ikebukuro, and more specifically Otome Road, is the mecca for fujoshi. It should be the first and last place that any female dōjinshi hunter visits. If you’ve never been here before, let me promise you that it’s anything beyond your wildest dreams. Bring lots of money.

Ikebukuro Station is absolute chaos, and it’s very easy to get lost. In general, though, you want to head towards the Seibu side of the station. There are several exits out of the JR portions of the station; but, if you follow the yellow signs for “Sunshine” (which are referring to Sunshine City), you should be headed in the right direction. The specific exit you want to take out of the station is Exit 35.

You’ll emerge from chaos into chaos. There will be a huge Bic Camera to your left and an enormous throng of people directly in front of you. Follow the throng straight ahead and then to the left to a street crossing. On the other side of the street will be a Lotteria on the left and a Café Spazio on the right. Cross the street and pass in between these two restaurants to enter an enormous shopping street called Sunshine Plaza. Walk all the way down the street until you reach a highway overpass. Cross the road under the overpass on the right side and then turn right in front of the Toyota Auto Salon. Walk until you reach a Family Mart, and then take a hard left all the way around the corner building. You should see an Animate in front of you. Congratulations! You’ve reached Otome Road.

Otome Road begins at the Animate and ends at the three-story K-Books Dōjin-kan. This K-Books is probably the single best dōjinshi store in all of Tokyo. They have dōjinshi for every conceivable fandom, and they usually have the same dōjinshi for less money (¥210 as opposed to ¥420) than at the Mandarake you passed on the way. They also have tons of original dōjinshi and dōjinshi sets (all of the dōjinshi in a series, or a dōjinshi packaged with extras like fans or postcards). Keep in mind that all of the dōjinshi on the second floor are new and can usually be found for a fraction of the price on the third floor, where they sell used dōjinshi. What I like about this particular store is that they have a lot of general interest dōjinshi that have nothing to do with yaoi. The previously mentioned Mandarake has a much stronger focus on BL dōjinshi, and it’s a good place to find original dōjin artbooks as well.

There are two different branches of Café Swallowtail (a famous butler café) on Otome Road, one next to the Mandarake and one next to the K-Books. If you’d like to visit, make sure that you’re familiar with the process of attaining a reservation before you go. The two locations have two different reservation procedures, and you can only make a reservation for a thirty-minute time slot. Don’t be afraid of trying one out, even if your Japanese isn’t perfect, but it’s way more fun to go with a friend (especially since the cafés are geared towards parties of two).

On your way through Sunshine Plaza from the station to the highway overpass, you can turn right at any point to enter a maze of manga stores, maid cafés, and cat cafés. Also, if you’re really into Japanese youth culture and fashion, try entering Sunshine City (you’ll know it when you see it), which is the size of a small city – a small city filled with clothing and accessories for teenagers (and an aquarium). Finally, the cinemas lining Sunshine Plaza are the best places to go to see an animated movie, whether it’s the new Ghibli film or the latest feature-length spin-off of a popular franchise like K-ON. They’re also good places to pick up all the guidebooks and merchandise that accompany these movies. If you need to chill out and kill time before a show, you can always take advantage of one of the many many many kitschy love hotels (which are cheap and clean and more than likely have a nicer shower than your apartment or hotel) right off the main street.

Akihabara

Akihabara is where you go to get porn. The end.

Okay, seriously. Akihabara specializes in dansei-muke dōjinshi. There are tons of small dōjinshi stores located several floors up or several floors down from the narrow side streets that twist through the main electronics district. Many of these smaller stores cater to specific fetishes, and some of these fetishes might be extremely disturbing to some people. I will therefore leave the true exploration of this area to the truly adventurous. Thankfully, the Akihabara branches of K-Books and Mandarake are fairly mainstream (although still filled with porn).

Take the Akihabara Electric Town exit out of the JR station. Straight ahead you’ll be looking at several columns and a storefront, so head to your left to exit. Once outside the building, turn to your right. A few dozen feet down the left side of the street you’ll see the Radio Kaikan. There are several entrances into this building, but you want to take the escalator that goes directly from the storefront up to the second floor. (It’s right next to the display of electronic dictionaries. Incidentally, this is the single best place in Japan to get an electronic dictionary, as it has all the latest models at 40-60% off the list price.) Once off the escalator, go up the stairs to the third floor and then turn to your right to enter the K-Books dōjinshi store. Whatever fandom you’re interested in, from Evangelion to Azumanga Daioh, they have porn of it. They also have tons of fresh dōjinshi from the latest comic markets at reasonable prices, as well as other dōjin goods such as Vocaloid albums and body pillow covers.

[ETA: As of July 1, 2011, the Akihabara branch of K-Books has relocated to the “Akiba Cultures Zone” (AKIBAカルチャーズZONE). To get there, use the directions for Mandarake but turn to your left before the Sumitomo Fudōsan instead of after it. In other words, turn left at the Daikokuya electronics store (you should see the K-Books storefront reflected in the glass windows of the Sumitomo building). The first floor houses used manga, and the dōjinshi are on the second floor.]

The other big dōjinshi store in Akihabara is the Mandarake complex, which has separate floors for dansei-muke dōjinshi and josei-muke dōjinshi (as well as other floors for other things, like used manga and cosplay supplies). To get there, go straight past the Radio Kaikan until you reach a large street. This road is Chūō-dōri. Cross over to the other side of the street and turn to your right. Walk for about two blocks until you read the Sumitomo Fudōsan Building. Turn to your left after this building onto a small street, and you should see the Mandarake complex ahead on the right. The fourth floor has josei-muke dōjinshi, and the third floor had dansei-muke dōjinshi. The selection on both floors isn’t the best, but you can sometimes find stuff here that you can’t find anywhere else, such as the dōjinshi of a popular circle called CRIMSON, which publishes print versions of its dōjin visual novel games.

On the way to Mandarake, you will have seen the main branch of Tora no Ana on the other side of Shōwa-dōri. Tora no Ana publishes its own art books and dōjinshi (and a few mainstream manga like Fuku-Yomo), but its third floor is a fujoshi paradise of BL manga, manga magazines, and dōjinshi. Even if you’re not into porn, it’s worth visiting the Tora no Ana in Akihabara just to check out the culture.

Shibuya

The main attraction of Shibuya is the Mandarake, which specializes in used pornographic manga and figurines but has a sizeable josei-muke dōjinshi section with a unique selection. Since this Mandarake is somewhat removed from Otome Road, the dōjinshi in stock here aren’t the newest or the freshest that you can get your hands on, but this can work to your advantage if you’re looking for dōjinshi based on older titles like Sailor Moon, Revolutionary Girl Utena, Nodame Cantible, Hellsing, Wild Arms, Final Fantasy IV, or the next-to-latest incarnation of the Pokémon franchise. Also, if you’re looking for dōjinshi based on manga by CLAMP or the films of Studio Ghibli, this is the place to go. If you’re looking for original dōjinshi drawn by an artist like Ono Natsume or Yoshinaga Fumi, this is also the place to go. This particular store also has the friendliest and most helpful staff I’ve yet encountered.

To get there, take the Hachikō exit out of the JR station and orient yourself so that you’re facing the Tsutaya building with the Starbucks café. Head down the left side of the big road passing to the right of this building (the 109 Men building will be on the other side of the road). In about a block the Seibu department store will be on your left. Turn left to pass in between the two Seibu buildings (there will be bridges above you). Go straight on that street until it splits at a kōban (police box) and take the right fork. The Mandarake will be a block down on the left side of the street, directly across from a Choco Cro café. You’ll need to go down several flights of stairs to reach the actual store. (For the record, there is another entrance into the store, but this is the one that leads directly to its dōjinshi section.)

While we’re on the topic of Shibuya, I should also mention the Tsutaya I referred to in the directions. In my opinion, this particular branch of the chain is the single best place to buy new manga in Japan. They have multiple copies of all the volumes of all of the latest manga in stock, and they have really cute displays created by the staff to highlight interesting and notable titles. This is the place to go to find out what is popular in Japan right now, and you can take to elevator down to the basement to do the same trick with video games before progressively working your way up through music, movies, and literature.

If you find yourself spending a lot of money, go ahead and apply for a T-Point card, which also works at Book-Off (and Family Mart convenience stores and Excelsior coffee shops, for what it’s worth). Book-Off is a chain of used book stores known for its ridiculously low prices and the excellent condition of its used merchandise. In essence, after using your point card for the first two or three volumes of a manga at Tsutaya, you can get enough points to get a used copy of the next volume for free at Book-Off. And speaking of Book-Off, the one across the street from the Shibuya Tokyu Hands is a manga lover’s paradise. They also have tons of used light novels, art books, and video game strategy guides that you won’t even find in Akihabara.

Nakano

Nakano is a bustling, working-class shopping area a few stops out of the Yamanote loop on the JR Chuo line. The area is a bit out of the way of just about everything, but it’s home to Nakano Broadway, a rundown warren of manga stores and hobby shops. The top three stories of this indoor shopping complex are a hive of Mandarakes. If you have any sort of hobby related to anime or manga or video games, whether it’s cel collecting (fourth floor), cosplay (third floor), or researching Taishō-era children’s magazines (second floor), Nakano Broadway is where you go to spend all of your money. There are also tiny stores specializing in Ninja Turtles action figures from the nineties, old Japanese coins, and prayer beads and power crystals. There is even a Mandarake store called Hen-ya that, as its name implies, is a treasure hoard of the weird, baffling arcana of postwar Japanese pop culture.

From the JR Nakano station, take the north exit for Sun Plaza. Head around to your right past the turnstiles to exit the station, where you’ll see an open-air bus station in front of you. Beyond the bus station and to the right is the entrance to a shopping arcade called the Nakano Sun Mall, which is marked by yellow arches. Enter the shopping arcade and walk straight back all the way to the end to reach Nakano Broadway.

There’s nothing to see on the first floor, but you can take the escalator up to the third floor to reach the most awesome used manga store ever (run by Mandarake, of course). Whether you’re looking for editions of manga like Rose of Versailles from the eighties or the whole back catalog of a manga magazine like Monthly Cheese, they’ve more than likely got it stashed away somewhere. If you want to go straight to the dōjinshi stores, skip the escalator and take the stairs to the right of the escalator up to the second floor. Turn left from the stairs and then left again around the corner, and you should reach a dansei-muke store and a josei-muke store right across from each other a bit down the corridor.

Since Nakano is so out of the way, and since Mandarake keeps a lot of its excess stock up on the fourth floor, you can find old dōjinshi at these stores that have disappeared from just about everywhere else (such as those based on Harry Potter). The josei-muke store in particular specializes in anthologies, and you can strike real gold here if you don’t mind paying significantly more than the usual ¥210 – dōjinshi anthologies are huge and beautiful but can cost up to ¥5,000 (although ¥1,050 is more common). It takes a bit of work to get out to Nakano, and you’ll probably get seriously lost in Nakano Broadway, but it’s definitely worth the trip for a true treasure hunter.

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All of the directions I have given take it for granted that you’re using one of the JR lines (such as the Yamanote-sen). Be aware that these directions may not apply if you’re using one of the Tokyo Metro lines (or another private line like the Keio-sen).

K-Books, Tora no Ana, and Animate all have point cards. These cards are free and allow you to accumulate points with each purchase. You can use these points to either take a discount off future purchases or to get limited edition goods that can only be bought with points. If you’re going to be spending a long time in Japan or are planning on spending a lot of money during a short visit, it might be worth your while to ask for one of these cards. (In the case of K-Books, you might want to just get one anyway, since they give you a choice of really cute, collectible cards.) You can just ask your cashier for a card at K-Books and Tora no Ana, but you’ll need to fill out an application form with your address in Japan at Animate.

All of the stores I have mentioned by name accept Visa and Mastercard. The only caveat about using a credit or debit card is that you may not be able to get points on your point card for that purchase. The policy on accumulating points for credit purchases differs from store to store (especially in Akihabara), but you shouldn’t have a problem anywhere in Ikebukuro.

Finally, if this guide has made you giddy with excitement, please consider investing in the book Cruising the Anime City. It’s a bit dated (just as this guide is probably going to be in a year or two), and it betrays a strong masculine bias, but it’s still awesome.

The Summer of the Ubume

Title: The Summer of the Ubume
Japanese Title: 姑獲鳥の夏 (Ubume no natsu)
Author: Kyōgoku Natsuhiko (京極夏彦)
Translator: Alexander O. Smith and Elye J. Alexander
Publication Year: 1994 (Japan); 2009 (America)
Publisher: Vertical
Pages: 320

Reading The Summer of the Ubume was like being in a trance. Honestly, it feels weird to not be reading the book right now, but I imagine that I’m going to be reading it again soon. I haven’t been this engrossed in a book since I read Harry Potter and the Deathly Hallows

Which is not to say that Summer of the Ubume is in any way like the Harry Potter series, aside from its sheer literary addiction quotient. On the surface, the book presents a simple “sealed room” murder mystery. Underneath, however, is mystery upon mystery upon mystery. Running through these mysteries is a current of Japanese folklore, especially folklore concerning spirit possession. The “ubume” of the title is the ghost of a woman who died in childbirth and carries out her grudge against still-living mothers by stealing their infant children. This trope is connected to the household of a family that is just about as gothic as they come, with frail maidens and hereditary curses and hidden murders set on the stage of an almost abandoned hospital, which was designed by an insane architect and almost destroyed during the wartime firebombing of Tokyo.

The Summer of the Ubume is set in 1952 in the Nakano area, which used to be a residential district on the northwest periphery of Tokyo, a stone’s throw away from the prisons, insane asylums, and black markets of Ikebukuro. Its narrator is a man in his early thirties named Sekiguchi, a freelance writer who specializes in essays on supernatural incidents. Sekiguchi is friends with the brilliant yet antisocial proprietor of the Kyōgokudō used bookstore (which is the name his friends use to refer to him). Sekiguchi is the Watson to Kyōgokudō’s Holmes, and a great deal of the book is devoted to their conversations concerning metaphysical matters, which end up having a great deal to do with the mystery at hand.

In the course of his work (which borders on yellow journalism), Sekiguchi has stumbled upon a rumor of a woman who, having been mysteriously deserted by her husband, has been pregnant for eighteen months. After asking several magazine editors about the source of the rumor, Sekiguchi becomes more intrigued. Due to a strange series of coincidences, the writer has the opportunity to meet the woman’s family, which is deeply dysfunctional in every possible way. As Sekiguchi learns more about these people, it turns out that his ties to them are deeper than he initially suspected.

The first chapter of the novel is a forty-page discussion of the supernatural between Kyōgokudō and Sekiguchi. Each page is dense with ideas and metaphysical language (not to mention text – the book’s margins are practically nonexistent), and neither Sekiguchi nor Kyōgokudō is presented in a particularly sympathetic light – Sekiguchi comes off as rather dense while Kyōgokudō is supremely abrasive. If the reader can weather this initial chapter, however, he or she will be rewarded with a deliciously convoluted mystery populated by a genuinely fascinating cast of characters. The action of the story reaches its climax 230 pages into the novel, which leaves 90 pages for the explanation of the mystery. Although this may seem like poor pacing, the explication is well-plotted, engrossing, and bizarre, reaching its own climax at the end of the novel.

The Summer of Ubume is Kyōgoku’s debut novel, and at times it does feel unpolished. The momentum of the story more than makes up for any flaws in the narrative’s structure, however. The occasional clichés implicit in the mystery (such as the uncertainty that is inevitably created when there are two almost identical sisters in a fictional family) are balanced by the writer’s unique take on the gothic genre. The novel’s setting in 1950’s Tokyo is fully taken advantage of by Kyōgoku, who skillfully renders the city as a sinister gothic landscape.

Although, as I mentioned, there is a greater emphasis on talking heads in this novel than is strictly necessary, the characters and setting are superbly handled, and the mystery is just about as addictive as they come. I can only hope that more of Kyōgoku’s work is translated into English as soon as possible.