Yuki-onna

Yuki-onna (雪女, the snow woman) from the Hyakkai-Zukan (百怪図巻), 1737

In a village of Musashi Province (portions of contemporary Tokyo and Saitama), there lived two woodcutters: Mosaku and Minokichi. At the time of which I am speaking, Mosaku was an old man; and Minokichi, his apprentice, was a lad of eighteen years. Every day they went together to a forest situated about five miles from their village. On the way to that forest there is a wide river to cross; and there is a ferry-boat. Several times a bridge was built where the ferry is; but the bridge was each time carried away by a flood. No common bridge can resist the current there when the river rises.

Mosaku and Minokichi were on their way home, one very cold evening, when a great snowstorm overtook them. They reached the ferry; and they found that the boatman had gone away, leaving his boat on the other side of the river. It was no day for swimming; and the woodcutters took shelter in the ferryman's hut, -- thinking themselves lucky to find any shelter at all. There was no brazier in the hut, nor any place in which to make a fire: it was only a two-tatami hut, with a single door, but no window. Mosaku and Minokichi fastened the door, and lay down to rest, with their straw rain-coats over them. At first they did not feel very cold; and they thought that the storm would soon be over.

The old man almost immediately fell asleep; but the boy, Minokichi, lay awake a long time, listening to the awful wind, and the continual slashing of the snow against the door. The river was roaring; and the hut swayed and creaked like a junk at sea. It was a terrible storm; and the air was every moment becoming colder; and Minokichi shivered under his rain-coat. But at last, in spite of the cold, he too fell asleep.

He was awakened by a showering of snow in his face. The door of the hut had been forced open; and, by the snow-light (yuki-akari), he saw a woman in the room, -- a woman all in white. She was bending above Mosaku, and blowing her breath upon him;-- and her breath was like a bright white smoke. Almost in the same moment she turned to Minokichi, and stooped over him. He tried to cry out, but found that he could not utter any sound. The white woman bent down over him, lower and lower, until her face almost touched him; and he saw that she was very beautiful, -- though her eyes made him afraid. For a little time she continued to look at him;-- then she smiled, and she whispered:-- "I intended to treat you like the other man. But I cannot help feeling some pity for you, -- because you are so young... You are a pretty boy, Minokichi; and I will not hurt you now. But, if you ever tell anybody -- even your own mother -- about what you have seen this night, I shall know it; and then I will kill you... Remember what I say!"

With these words, she turned from him, and passed through the doorway. Then he found himself able to move; and he sprang up, and looked out. But the woman was nowhere to be seen; and the snow was driving furiously into the hut. Minokichi closed the door, and secured it by fixing several billets of wood against it. He wondered if the wind had blown it open;-- he thought that he might have been only dreaming, and might have mistaken the gleam of the snow-light in the doorway for the figure of a white woman: but he could not be sure. He called to Mosaku, and was frightened because the old man did not answer. He put out his hand in the dark, and touched Mosaku's face, and found that it was ice! Mosaku was stark and dead...

By dawn the storm was over; and when the ferryman returned to his station, a little after sunrise, he found Minokichi lying senseless beside the frozen body of Mosaku. Minokichi was promptly cared for, and soon came to himself; but he remained a long time ill from the effects of the cold of that terrible night. He had been greatly frightened also by the old man's death; but he said nothing about the vision of the woman in white. As soon as he got well again, he returned to his calling,-- going alone every morning to the forest, and coming back at nightfall with his bundles of wood, which his mother helped him to sell.

One evening, in the winter of the following year, as he was on his way home, he overtook a girl who happened to be traveling by the same road. She was a tall, slim girl, very good-looking; and she answered Minokichi's greeting in a voice as pleasant to the ear as the voice of a song-bird. Then he walked beside her; and they began to talk. The girl said that her name was O-Yuki; that she had lately lost both of her parents; and that she was going to Yedo (Tokyo), where she happened to have some poor relations, who might help her to find a situation as a servant. Minokichi soon felt charmed by this strange girl; and the more that he looked at her, the handsomer she appeared to be. He asked her whether she was yet betrothed; and she answered, laughingly, that she was free. Then, in her turn, she asked Minokichi whether he was married, or pledge to marry; and he told her that, although he had only a widowed mother to support, the question of an "honorable daughter-in-law" had not yet been considered, as he was very young... After these confidences, they walked on for a long while without speaking; but, as the proverb declares, Ki ga areba, me mo kuchi hodo ni mono wo iu: "When the wish is there, the eyes can say as much as the mouth." By the time they reached the village, they had become very much pleased with each other; and then Minokichi asked O-Yuki to rest awhile at his house. After some shy hesitation, she went there with him; and his mother made her welcome, and prepared a warm meal for her. O-Yuki behaved so nicely that Minokichi's mother took a sudden fancy to her, and persuaded her to delay her journey to Yedo. And the natural end of the matter was that Yuki never went to Yedo at all. She remained in the house, as an "honorable daughter-in-law."

O-Yuki proved a very good daughter-in-law. When Minokichi's mother came to die,-- some five years later,-- her last words were words of affection and praise for the wife of her son. And O-Yuki bore Minokichi ten children, boys and girls,-- handsome children all of them, and very fair of skin.

The country-folk thought O-Yuki a wonderful person, by nature different from themselves. Most of the peasant-women age early; but O-Yuki, even after having become the mother of ten children, looked as young and fresh as on the day when she had first come to the village.

One night, after the children had gone to sleep, O-Yuki was sewing by the light of a paper lamp; and Minokichi, watching her, said:--

"To see you sewing there, with the light on your face, makes me think of a strange thing that happened when I was a lad of eighteen. I then saw somebody as beautiful and white as you are now -- indeed, she was very like you."...

Without lifting her eyes from her work, O-Yuki responded:--

"Tell me about her... Where did you see her?

Then Minokichi told her about the terrible night in the ferryman's hut,-- and about the White Woman that had stooped above him, smiling and whispering,-- and about the silent death of old Mosaku. And he said:--

"Asleep or awake, that was the only time that I saw a being as beautiful as you. Of course, she was not a human being; and I was afraid of her,-- very much afraid,-- but she was so white!... Indeed, I have never been sure whether it was a dream that I saw, or the Woman of the Snow."...

O-Yuki flung down her sewing, and arose, and bowed above Minokichi where he sat, and shrieked into his face:--

"It was I -- I -- I! Yuki it was! And I told you then that I would kill you if you ever said one work about it!... But for those children asleep there, I would kill you this moment! And now you had better take very, very good care of them; for if ever they have reason to complain of you, I will treat you as you deserve!"...

Even as she screamed, her voice became thin, like a crying of wind;-- then she melted into a bright white mist that spired to the roof-beams, and shuddered away through the smoke-hold... Never again was she seen.

From Lafcadio Hearn's Kwaidan: Stories and Studies of Strange Things).

The stigma of Japan's 'suicide apartments'

Japan has one of the highest suicide rates in the world and on average nearly 100 people take their own lives every day.
But where those deaths take place has a big impact on families left behind.
In a stuffy apartment in Sendai, the air blue with smoke from cigarettes, a father kneels in prayer.
Lighting incense sticks and ringing a bell before the family altar, an ornate wooden cupboard.
His daughter's photograph is not inside alongside the other ancestors, it is still on the bookshelf.
Putting it there would be a final acceptance that she has gone, that two years ago he found her body in her rented Tokyo flat.
She was only 22 and her father cannot face that yet.

"When I realised she was dead I just could not move and I could not think at all," he says.

"I could not take in what happened. I thought there is really no God in this world at all. That is what I remember from that day."

Only the father, and his former wife, the young woman's mother, know their daughter took an overdose.
Other relatives and friends have never been told it was suicide, so he does not want his name to be used.
It was not long after the death that he got another shock - this time a letter from his daughter's landlord.

"We held her funeral at the end of March," he remembers.

"The bill for renovating the flat came in April, then a demand for compensation for lost rent in May. So it was one after another.


This father is suffering not just bereavement, but financial hardship too

"The only thing I could think about was my lost daughter. So when I was getting those bills, I had no will or strength to negotiate or resist."

In all he paid more than £18,650 ($30,000).
Purification rituals

Japan has a historic tradition of ritual suicide as an honourable way out. But as the number of people killing themselves has risen, public unease has grown.
Few would choose to rent an apartment where a previous occupant had taken their own life. So a death is frequently followed by a demand for money.

"There are a lot of them," says Sachiko Tanaka who set up a support group for the families of suicides after her own son died.

"Mostly it's compensation for loss of rent for flats. The biggest was 120m yen (£900,000). The claim was that the entire apartment building was worthless because one person committed suicide there. So they have to pay to rebuild it."

Many families are also required to pay for expensive purification rituals.
The support group is dealing with around 200 complaints of excessive demands from landlords and she is calling for a change in the law.

Already some estate agents are keen to help the bereaved.
Yoshihiro Kanuma has what he calls a difficult house on his books. He was motivated to take it on by his devout Buddhism


Nine out of 10 people don't want anything to do with the house, says estate agent Yoshihiro Kanuma

It is an ordinary-looking place, a few years old - what the trade in Japan calls a 3LDK; three bedrooms, a living room, dining room and kitchen, in a commuter town outside Tokyo.
The tour takes in the master bedroom, with a view over a paddy field, but then he has to tell potential buyers that the last owner hanged himself on the stairs.

"Nine out of 10 people say I don't want anything to do with the house," he says.

"The Japanese may think the house is stained. I guess some may say it's heroic to take your own life but in terms of a house it's not viewed that way. We feel the house is not pure and it will bring unhappiness. I personally think the house itself has no responsibility but lots of Japanese feel that way."

Mr Kanuma has managed to persuade one family to put in an offer which has been accepted - half the price of other houses in the area.
Back in Sendai the bereaved father sits silently in his chair, and lights up another cigarette.
He admits he has turned into a recluse, and says he would like to die himself.
Compared to the loss of his daughter the money is nothing, but like many Japanese he is suffering not just bereavement, but financial hardship too

Text by Roland Buerk, 10 February 2011
BBC News, Sendai

Astro Boy

I feel compelled to write about a horrific poster i saw today of an American film ‘Astro Boy’ based on the manga/anime of the same name. It’s happening a lot recently, with unnecessary and mostly offensive remakes (even the karate kid, inexplicably set in China), but I was particularly upset with Astro Boy because of its completely gratuitous westernisation.
Obviously Astro Boy was always a commercial product. In true Japanese fashion, a huge amount of money has been squeezed out of the series in terms of manga, anime series, film, merchandise, games, sponsorship etc., so its not that I’m whinging about the studios just trying to net cash; its the apparent need to take original (and more importantly commercially proved) ideas, and conform them to western/hollywood standards. What will kids delight in by seeing yet another ubiquitous pixar-style 3D feature with the same plot again?
I’m currently watching Dennou Coil, a recent anime series which is the current inspiration for a lot of AR industry projects. It reminded me of the quiet, bittersweet character of a lot of Japanese childrens tv/fiction and how unexpectedly fresh and touching the character development and storytelling is. Children don’t seem to care that much about cultural boundaries either; Disney is huge in Japan, and Japanese anime is big all around the world. Astro Boy was a lot of fun, but touched on a lot of issues (death, rejection, obsession, war) that are maybe considered too adult for the kids of today. I think they can handle it though, and in the right hands Astro Boy would be a great vehicle to present some new storytelling methods and visual styles to the mainstream feature format. The original manga was a big smash in the US too, so the move to ‘update’ the visuals and dumb down the storyline seem ill-motivated. As it is, I feel slightly robbed.

Keiichi Matsuda

Source :Keiichi Matsuda blog, January 18, 2010.

Story

Magic lantern slide created in the 1930s and distributed around
the world to educate people about Japan.

Source : www.pinktentacle.com

Your Life

Japanese Ningyo Johruri Bunraku Puppet Theatre