#takekurabe

[ochoislas]

Hay un largo paseo hasta la entrada delantera del arrabal, donde las decaídas ramas de los sauces despiden a los juerguistas y las luces del burdel guiñan en el foso, negro como la laca que tiñe las sonrisas de las bellezas de Yoshiwara. Desde los cuartos del segundo piso de las altivas casas se derrama a los callejones la música y el jolgorio, casi tangibles. ¿Cómo prosperan tales negocios? El caso es que los calesines no paran de llegar día y noche.

Al vecindario detrás del arrabal lo llaman compás del templo Daion. Por muy pío que suene, sus vecinos le dirán que es un lugar muy descocado. Doblando la esquina del santuario de Mishima no se ven residencias señoriales, solo cuadras de diez o veinte casas con aleros vencidos hace mucho y postigos desvencijados que cierran a medias. Aquí no medra el comercio.

Ante las maltrechas casas todos se afanan recortando curiosas piezas de cartón, pintorreándolas de colores y espetándolas en unos extraños palitroques. Familias enteras por todo el barrio están entregadas a la confección de estas raras y abigarradas banderillas. Ponen a secar los recortes por la mañana y a la noche los montan. ¿Qué son estos cacharros en los que todos andan atareados? «¿No lo sabe usted?  —exclamaría un comerciante atónito— ¡Rastrillos de la buena suerte! ¡Tendría que ver cómo se los llevan los señorones en el festival de Otori!»

Cada año sin falta, nada más bajar el ramo de pino de Año Nuevo del portal, todos los comerciantes que se precien se dedican al mismo negocio, y para el verano manos y pies están todos manchados de pintura. Cuentan con la ganancia para comprar ropa nueva para las fiestas. Si los dioses conceden la fortuna a los que compren estos amuletos, los que los confeccionan se imaginan que serán ellos quienes recojan el maná. Lo curioso es que por aquí nadie sabe de ningún vecino que se haya hecho rico.

Casi todos acá, de hecho, tienen algo que ver con el arrabal. Los hombres hacen chapuzas para las casas de menos categoría. Oigan a éste jugueteando con un manojo de tarjas de guardarropa antes de salir a la tarea, poniéndose el tabardo cuando los demás se lo quitan. Su mujer choca pedernales en la puerta para guardarlo de la mala fortuna. ¡Quién sabe si volverá mañana! Es un oficio peligroso. Inocentes circunstantes mueren en las reyertas de los burdeles. ¡Y cuídate mucho de frustrar el doble suicidio de una cortesana y su amante! Pero allá van los maridos cada noche a jugarse la vida, como si fueran colegiales que salen de merienda.

Las hijas de la casa también tienen quehacer con el barrio: aquí una es camarera en una de las grandes casas; allá, otra una trotona, trajinando como lanzadera entre el burdel y la casa de té. Van patullando linterna en ristre, anunciando a todos el nombre del establecimiento. Ahora su trabajo les parece de mucho rumbo y gala, como si actuaran sobre un noble tablado. Pero, a punto ya de acabar su aprendizaje, ¿qué les espera a todas estas chicas? Allá va una, cumplidos los treinta, muy peripuesta con su capa de algodón, vestido a juego y sus prudentes medias azul oscuro. No hace falta decir qué lleva en el atadillo bajo el brazo. Plon, plon, plon, hacen los tacones de sus zuecos —no tiene un minuto que perder— y la frágil pasarela se descuelga sobre el canal. «Aquí se lo dejo —dice poniendo en el suelo su fardo—, hay que dar una vuelta enorme hasta el frente.» Así que es costurera, al parecer.

Las costumbres aquí son muy particulares. No se encuentran muchas mujeres que se aten la faja pulcramente detrás. Una cosa es una mujer de cierta edad que se pirra por los estampados chabacanos o las fajas demasiado anchas, otra muy distinta ver a todas estas descaradas niñas de quince vistiendo las prendas más llamativas, chupando alquequenjes para evitar la preñez. Pero este barrio es así. Una furcia que ayer atendía bajo el nombre de no sé qué heroína del Romance de Genji en una casa de tercera junto al canal, se ha escapado con un hampón. Abren un figón, cuando ninguno tiene la menor idea de cómo llevar un negocio. Pronto se arruinan. La bella empieza a añorar su antiguo oficio. Sus activos fueron a la basura con los huesos del pollo servido anoche, pero la ninfa sí puede volver al nido. La gente por aquí encuentra atractivo el tipo, quién sabe por qué.

¿Cómo no va a influir tal atmósfera en los niños? Las mojigangas de otoño, por ejemplo. La madre de Mencio habría puesto el grito en el cielo si hubiera visto lo pronto que aprenden a imitar a los mimos famosos. ¡Vamos, que no hay uno que no sepa remedar a Rohachi o a Eiki! Oyen cómo los alaban y esa misma noche los despabilados golfillos andan tras sus pasos haciendo la ronda de las casas. Así empiezan con siete u ocho, ¡y para cuando tienen quince…! Miren a éste, que vuelve a la tarde de los baños con la toalla al hombro, graznando groseramente con la boca torcida la última coplilla. En la escuela la clase de música desemboca al primer descuido en las cadencias del barrio. Las tonadas de las geishas animan los encuentros deportivos, ¡sobran los hurras de la escuela! No se puede más que simpatizar con sus profesores de la Ikueisha aquí cerca. Será una escuelilla abarrotada —de hecho es particular—, pero hay hasta un millar de estudiantes y los profesores que triunfan aquí pronto son famosos. Aquí decir escuela es decir la Ikueisha.

Escúchenlos a la salida de clase: «Tu padre no pasa una en la casa de té junto al puente ¿no?», le gritan al hijo del bombero. La sabiduría de la calle; los niños están al tanto de lo que se cuece en el arrabal. Trepan por las cercas de los jardines, imitando a los bomberos: «¡Oye, que has quebrao los pinchos pa que no entren los ladrones!». El hijo de un tinterillo de poca monta inicia el hostigamiento: «Tu viejo es un mulo del burdel ése, ¿no? ¡Di!». El acusado se pone como un tomate. El pobrecillo moriría antes que reconocer que su padre cobra las facturas de cierto burdel. Y luego están los consentidos hijos de los peces gordos del arrabal, que crecen apartados del lugar, para poder pasar por bien nacidos. Lucen gorra de secundaria a la última con aire desenfadado y llevan la indumentaria europea con mucho caché. Divierte ver a los otros hacerles la pelota: «¡Señorito! ¡señorito!», llaman, cuando mejor dirían niñato malcriado.

Entre los muchos escolares de la Ikueisha está Nobuyuki del templo Ryūge. A su debido tiempo la tonsura segará su apretado pelo negro y endosará el hábito de sacerdote. Bien podría haberlo decidido él, pero también puede ser que se haya resignado a su suerte. Su padre era clérigo y, siguiendo sus pasos, Nobu es ya un erudito. Chico callado por naturaleza, sus compañeros lo consideran un muermo y se meten con él. «Mira, esto es lo tuyo: ¡un parroquiano! —gritan izando un gato muerto en un palo— ¡Adminístrale los últimos sacramentos!» Pero todo eso pasó, ya nadie se burla de él, ni por error. Tiene quince años, estatura media y el oscuro cabello cortado a cepillo al modo escolar; con todo tiene un aire que lo distingue de los demás. Aunque todavía lleva el ordinario nombre de Fujimoto Nobuyuki, ya hay algo en su porte que hace barruntar al eclesiástico.

Higuchi Ichiyō

[atalina-falling]

bsd analysis: ichiyō higuchi

I’ve had this in my notes app drafts for a long time, but here it is. My analysis on Higuchi, who is, in my opinion, one of the most underrated characters in BSD. Note that I’m not the first person to do an analysis on her and I likely won’t be the last, so there may be things in here that others have already pointed out before. With that said, let’s get into it. No spoilers this time:

pattern of idolization

[ch 14: translated by easygoing scans]

Higuchi’s devotion to Akutagawa is one of her most defining traits. While BSD has several characters who idolize their peers to an unhealthy degree, Higuchi stands out in that a) we still don’t have an explanation for her feelings, and b) this idolization is not based on a connection between the real-life authors. Below, I’ll give examples of other characters who also share this kind of codependent relationship and explain how Higuchi differs from the pattern:

Akutagawa and Dazai

Akutagawa chases after Dazai’s approval because of the way Dazai abused him in the Mafia and subsequently abandoned him afterwards. In real life, their roles were reversed, with Dazai greatly looking up to Akutagawa and trying to win the Akutagawa prize.

Poe and Ranpo

Poe idolizes Ranpo’s intelligence and previously made it his goal to defeat him after Ranpo beat him in a game of deduction. In real life, Ranpo looked up to Poe as a mystery author and even modeled his pen name after Poe.

Nikolai and Fyodor

Nikolai considers Fyodor the only person who will ever understand his messed up psyche. In real life, Fyodor was inspired by Nikolai’s work and the two shared similar political views, although they never met.

The reason that Higuchi breaks this pattern is because a) her reasons for chasing after Akutagawa are unknown, and b) as far as I’m aware, the two authors had no connection in real life. Higuchi lived centuries before Akutagawa and while some famous authors did acknowledge her work (eg. Mori), Akutagawa was not one of them. (If someone ends up discovering a link between them, please let me know, since my Japanese is still not great so all the research I do is in English). Higuchi’s actions in the story show that her feelings for Akutagawa go far beyond simple infatuation: from staying in the Mafia just for him, to stalking him when she sees him with another girl.

relationship with Akutagawa

It’s worth looking at Akutagawa’s character to see what exactly Higuchi might idolize about him. Akutagawa is cruel and senselessly violent. While Higuchi is most likely desensitized from working in the Mafia, it’s been shown several times that she does not enjoy violence and only carries it out when necessary.

[ch 4: translated by easygoing scans]

However, though she might not enjoy Akutagawa’s excessive violence, it’s possible that she looks up to it as a form of strength. Higuchi has been shown to doubt her own strength and value within the Mafia. Meanwhile, Akutagawa is infamously known as the Rabid Dog. Not only does his violence earn him fear and respect, it‘a also what makes the Black Lizard respect Higuchi by extension. At least until chapter 14, where she proves herself by going in to rescue Akutagawa alone. But even after her subordinates learn to respect her, Higuchi still remains devoted to Akutagawa.

Higuchi also hasn’t shown attraction to anyone else in the story. Unlike Dazai, who is naturally flirty and has canonically had multiple failed relationships with women (L), the only time Higuchi ever shows attraction is towards Akutagawa. This makes it less likely that she acts this way towards all her love interests and this is simply a part of her personality.

her eyes

Harukawa once mentioned that they purposefully draw deranged characters with larger and darker pupils, while characters with a chance for redemption have more light in their eyes. Higuchi’s pupils in the manga are half light, half dark, making her one of the Mafia members with the lightest eyes. This could tie in with her wanting to leave the Mafia and goes to show that if not for Akutagawa, she could blend back into society and find a peaceful job with relative ease.

[uploaded by easygoing scans]

unknown ability

Higuchi is one of the few characters with an unknown ability. Back in 2018, Asagiri tweeted about not having decided on a name for her ability yet (look how many exclamation marks lol).

[translated by @Chibikko_Chuuya on Twitter]

In real life, Higuchi’s most well known work was called Takekurabe, which literally means “comparing heights” but is usually translated as Growing Up or Child’s Play. However, the fact that Asagiri struggled to decide on a name for her ability may suggest that it’s either unrelated to her literary work (eg. Oda’s Flawless) or derived from a combination of multiple works (eg. Poe’s Black Cat in the Rue Morgue). Shoutout to @/nikadoesanart for pointing out the second possibility on Discord over a year ago when we first discussed this.

parallels with Tachihara

My theory is that Higuchi’s development will be similar to Tachirara’s. Both started out as side characters with an unknown ability. However, in the DOA arc, Tachirara’s ability was revealed and he suddenly became very important to the plot. Along with his ability, his backstory and motives were also explored and he underwent a lot of development in a short amount of time. It’s very possible that this is what we’ll see with Higuchi as well. Once her ability is revealed, she’ll play a much larger role in the upcoming plot and much of her character—including the backstory of how she ended up in the Mafia and her reasons for being obsessed with Akutagawa—will be explained.

sources

Sources for the historical connections I mentioned between the real-life authors are a little all over the place, especially when it comes to the Japanese writers (doing research in English really is a limitation). However, I’ll do my best to compile them:

This post by @/bsd-bibliophile is honestly the best online source I found regarding Dazai and his relationship to Akutagawa. Much of it is a summary of the book Self Portraits: Tales from the life of Japan's Great Decadent Romantic.

There’s also an image scan here of the letter Dazai wrote to Haruo Satō, one of the judges for the Akutagawa Prize, the first time he failed to win the award.

Edogawa Ranpo naming himself after Edgar Allen Poe is probably literary trivia at this point and is mentioned below the information chart on his Wikipedia page.

Nikolai being a literary influence for Fyodor is explored in this 227 page-long PhD dissertation which I probably don’t recommend reading unless you have lots of time, but the section “The Role of Nikolai Gogol in Fyodor Dostoevsky’s Literary Mind” (pages 4-16) has a lot of information about the relationship between the two authors.

[aarcanechaoss]

Theory time with Higuchi!

For anyone who wants a good read and some info on Ichiyo (Natsu) Higuchi this Reddit Post was really interesting

I first want to say I have zero evidence or reasoning behind most of this shit specifically the two abilities I’m pulling out of my ass (I do still love my Flowers at Dusk theory don’t get me wrong and a lot of the Growing Pains / Child’s Play theories are beautiful). Again these are for entertainment only I have no bets on these being real LOL

1. Draining / Absorbing

2. Her word is law

Now before I get into these (1,2) I want to bring up an interesting point seen in the Reddit Post I shared.

Specifically the Mori does not punish Higuchi part- and remembering the episodes in particular he really doesn’t. At most he is disappointed in her failure and asks if “she is suited for this job.”

Now this also made me realise (again the Reddit Post mentioned this too I found after reading further) the Command Unit is in direct line to Mori just after Executives.

Meaning she is high ranked overall in the Mafia not just amongst the Black Lizard.

She is Akutagawa’s equal - role wise in the mafia.

Why?

We know she is an ability user (not what the ability is) so is she simply well connected to Mori or is she a Secret Weapon? Or both.

Somehow she had to make it to Commander level even with the lack of respect she receives (until rescuing Akutagawa but even then they still don’t treat her like a leader).

I propose an option that also has no standing or reasoning.

She’s related to the previous boss.

Someone who didn’t have a choice to have anything but a mafioso lifestyle.

A granddaughter or a great niece etc. but let’s go with grandchild for this post- a favoured one at that- which I will get to.

Yes, this would technically mean she’s been in the mafia the longest compared to many characters (Dazai, Chuuya, Akutagawa etc).

I hear your “Wouldn’t Hirotsu know then?” It’s entirely possible if she is a favoured grandchild the Boss would have only wanted certain people to know about her when she was so young plus it’s not like every grandparent shares a last name with their grandchild (he could be her mother’s father).

It’s also possible if he knew the boss had a grandkid she would have been known as Natsu not Ichiyo at the time (since that is the authors real name).

And we all know I head-cannon that our girl is naturally brunette / raven haired so of course I'm adding in more plot with the name thing. Could be just for fun, maybe it was ordered, maybe it's so the people who did know about Natsu wouldn't point her out (Mori just hiding the nepotism).

In any case if this was how Mori knew her- after digging and of course killing him it’s entirely plausible that he’d 1. Look at it as an opportunity to fuck over the guy even when he’s dead 2. She’s a valuable asset because of it.

By that I mean her family name would hold power eg. she goes by Natsu (boss last name) when Mori needs something that only her family could get him.

Or she’s incredibly powerful and he’d be an idiot to not keep her. Perhaps she hates her power and he keeps that in check- she does what he says and then she doesn’t need to use it / she doesn’t have control - because less control over that means more control over her.

It’s not like she’d be his heir or anything (though that would be a funny fic idea- people trying to fight for the next in line and Mori is just like no I have a replacement it's Higuchi).

Anyway onto my not at all reasonable Ability theories.

1. Draining / Absorbing

This one was originally a "takes abilities" theory- which has absolutely no merit being a theory at all unless for whatever reason Asagiri decides that she and Dazai have been secretly related the whole time.

In the Reddit Post OP theorises that she could paralyse her opponents using her novella Takekurabe (Comparing Heights) with the English titles Growing Up and Child’s Play as the forefront. Though I’ve seen the use of the title Growing Pains instead of Up as well.

Using OP's word's, I don't think Higuchi will have a name-based ability (eg. Beast Beneath the Moonlight or Thou Shalt Not Die) and so for this crack theory I'm also using Growing Pains / Childs Play.

I suggest that she can drain or absorb abilities instead- leaving her opponents with a dull aching because a part of them is practically gone should she drain an ability to its dredges. She could probably kill someone if she wasn’t careful and took too much.

Think Rogue from X-Men.

That would make her a formidable enemy to have and an even better secret weapon.

It would also make her just another tool like Dazai was- instead of halting an ability she practically takes it away (which is plausible if we really dug into it, but this is more she takes the power or energy involved in using the ability).

Where did this idea even come from you ask?

Honestly no clue but I was trying really hard to figure out what possible ability she could have, and I have landed on it must be powerful and this would absolutely be an ability that she would hide until necessary. It would also be a play on the novella titles instead of simply going Child's play= dolls= voodoo doll ability for example (mostly because that's kind of Q's ability) but more a play on how for some people transitioning into adulthood is draining and not as fun as when the world was too big for us.

2. Her word is Law

Okay this is also a stretch just so we are clear BUT I think it's more plausible than draining / absorbing. I don't really know which title I'd give this one because I'm leaning again to a more a non-name-based ability (eg. No Longer Human or Plum Blossom in the Snow) so for the fun of it lets call this Flowers at Dusk (Yamizakura- yes, the one I usually use in Fics).

When I say her word is law I don't mean legally speaking- think Jessica / Paul Atreides or the Reverend Mother from Dune and how they use 'the voice'.

This ability came to mind since Ichiyo Higuchi is an important figure in Japan, though it wasn't like she would be able to sway politics or anything of the like. Her works are important, the words in the stories are significant. Key word, words.

This would be a valuable power worth keeping hidden and close to the chest, she would make her way up the ranks fast with such an ability and more than likely she'd be a great asset in regard to interrogations.

Mori would absolutely keep this ability a secret and keep her close because of it. Let's play into the idea that she hates or is afraid of her ability, a power that takes away others free will or control would be hard to deal with depending on your mental fortitude or upbringing.

If she said jump you would jump, if she said kill you would kill.

She'd be the perfect secret weapon with an ability like this especially if no one else knew and she got kidnapped- whoops they didn't put on ability suppressors ...oh hey where did she go?

I feel like this is a plausible option- only because we know nothing but that she is an ability user. It would make sense for her to be closer to Mori- he'd ensure she would never use the ability on him and considering people underestimate her already it would be an uppercut of a power to have and no one (but Dazai or those who are deaf I suppose) would be able to get away from it.

We'd really have to get into the meat of this ability and flesh out weaknesses par her voice box and No Longer Human. Is it the vibrations in her voice? Does she need a key word? Can she only use it on a certain number of people at a time? Could she pinpoint who isn't going to be affected if it were with a large group.

For example- The Black Lizard get cornered, and she needs to use her ability would her yelling STOP, MOVE BACK or FREEZE (any key words really) affect Gin, Hirotsu, Tachihara or Akutagawa?

Can you tell I like this idea for an ability lol.

Well, I think this post has been long enough. Let me know your thoughts as well, which one do you like better? Do you have any theories for what Higuchi's ability could be? Which book title do you think Asagiri will choose when we get to finally see what her ability is?

[antronaut]

Kiyokata Kaburagi “Midori, Heroine of [Takekurabe] by Ichiyō Higuchi” 1940

[lavender-andcoffee]

So almost all of us know that Bsd characters are based off of irl poets writers and playwrights and or books (ex:Naomi based and tanizakis book called Naomi) right? And that their ability’s are based on there books or are just based on the real life person. What if Higuchis ability is based off of one of the irl higuchis books, like

The Thirteenth Night, Nigorie, Takekurabe, On the Last Day of the Year, Yuko Kumo, In The Shade Of Spring Leaves, or Warkara

I hope Asagiri decides on what to make her ability soon because I really want to see it in the manga I feel as though it might have something to do with her guns because she is very skilled with them I can’t wait to see what her backstory on joining the pm is as well. Anyways I hope you enjoy this ramble of Higuchi she is a very underrated character and I want to see more of her in the future.

[biblio-bungosd]

Ichiyō ya había conseguido afianzar su posición como escritora de talla y contaba con un nutrido grupo de admiradores, entre los que se encontraban literatos de la envergadura de Mori Ōgai o Kōda Rohan —los cuales no dudaron en alabar Takekurabe desde su primera publicación— y a los que habría que sumar una larga lista de renombradas figuras de las letras, especialmente Saitō Ryokū, gran admirador de Ichiyō.

[imissthembutitwasntadisaster]

Anyway, I tried

[perhaps-mr-collins-has-a-cousin]

“The day will come when I go walking with my pretty wife. I always like things to be pretty. If I had to marry someone like that pock-marked Ofuku at the cracker shop, or the girl at the firewood store with the bulging forehead—no thank you. I’d send her home. No pockmarks for me!”

“How good of you to come then,” the shop wife laughed. “Haven’t you noticed my spots?”

“Oh, but you’re old. I’m talking about brides. Once you’re old, it doesn’t matter.”

“I shouldn’t have said anything,” the woman sighed.

This exchange is so funny to me, but what’s even funnier is how she immediately turns it back on Shota and embarrasses the living daylights out of him:

“Well, let’s see now. There’s Oroku at the flower shop. She has a pretty face. And Kii at the fruit stand. And who else? Who else, I wonder? Why the prettiest one is sitting right next to you. Shota, who will it be? Oroku with those eyes of hers? Kii and her lovely voice? Tell us who.”

“What are you talking about? Oroku, Kii—what’s so good about them?” Shota’s face turned scarlet, and he backed away from the light, into a corner.

“Does that mean it’s Midori, then?”

“How do I know?” He looked away, tapping out a song against the wall. “The water wheel goes round and round.”

Midori and the rest had begun another game of marbles. Her face was not flushed in the slightest.

[miyoshichiai]

NHK Eテレ「知恵泉」 〜樋口一葉の青春　“どん底”から抜け出すには？〜

[jailhouse41]

Press photo for Growing Up Twice (Takekurabe, たけくらべ), 1955, directed by Heinosuke Gosho (五所平之助) and starring Hibari Misora (美空ひばり)

[ochoislas]

Hay un largo paseo hasta la entrada delantera del arrabal, donde las decaídas ramas de los sauces despiden a los juerguistas y las luces del burdel guiñan en el foso, negro como la laca que tiñe las sonrisas de las bellezas de Yoshiwara. Desde los cuartos del segundo piso de las altivas casas se derrama a los callejones la música y el jolgorio, casi tangibles. ¿Cómo prosperan tales negocios? El caso es que los calesines no paran de llegar día y noche.

Al vecindario detrás del arrabal lo llaman compás del templo Daion. Por muy pío que suene, sus vecinos le dirán que es un lugar muy descocado. Doblando la esquina del santuario de Mishima no se ven residencias señoriales, solo cuadras de diez o veinte casas con aleros vencidos hace mucho y postigos desvencijados que cierran a medias. Aquí no medra el comercio.

Ante las maltrechas casas todos se afanan recortando curiosas piezas de cartón, pintorreándolas de colores y espetándolas en unos extraños palitroques. Familias enteras por todo el barrio están entregadas a la confección de estas raras y abigarradas banderillas. Ponen a secar los recortes por la mañana y a la noche los montan. ¿Qué son estos cacharros en los que todos andan atareados? «¿No lo sabe usted?  —exclamaría un comerciante atónito— ¡Rastrillos de la buena suerte! ¡Tendría que ver cómo se los llevan los señorones en el festival de Otori!»

Cada año sin falta, nada más bajar el ramo de pino de Año Nuevo del portal, todos los comerciantes que se precien se dedican al mismo negocio, y para el verano manos y pies están todos manchados de pintura. Cuentan con la ganancia para comprar ropa nueva para las fiestas. Si los dioses conceden la fortuna a los que compren estos amuletos, los que los confeccionan se imaginan que serán ellos quienes recojan el maná. Lo curioso es que por aquí nadie sabe de ningún vecino que se haya hecho rico.

Casi todos acá, de hecho, tienen algo que ver con el arrabal. Los hombres hacen chapuzas para las casas de menos categoría. Oigan a éste jugueteando con un manojo de tarjas de guardarropa antes de salir a la tarea, poniéndose el tabardo cuando los demás se lo quitan. Su mujer choca pedernales en la puerta para guardarlo de la mala fortuna. ¡Quién sabe si volverá mañana! Es un oficio peligroso. Inocentes circunstantes mueren en las reyertas de los burdeles. ¡Y cuídate mucho de frustrar el doble suicidio de una cortesana y su amante! Pero allá van los maridos cada noche a jugarse la vida, como si fueran colegiales que salen de merienda.

Las hijas de la casa también tienen quehacer con el barrio: aquí una es camarera en una de las grandes casas; allá, otra una trotona, trajinando como lanzadera entre el burdel y la casa de té. Van patullando linterna en ristre, anunciando a todos el nombre del establecimiento. Ahora su trabajo les parece de mucho rumbo y gala, como si actuaran sobre un noble tablado. Pero, a punto ya de acabar su aprendizaje, ¿qué les espera a todas estas chicas? Allá va una, cumplidos los treinta, muy peripuesta con su capa de algodón, vestido a juego y sus prudentes medias azul oscuro. No hace falta decir qué lleva en el atadillo bajo el brazo. Plon, plon, plon, hacen los tacones de sus zuecos —no tiene un minuto que perder— y la frágil pasarela se descuelga sobre el canal. «Aquí se lo dejo —dice poniendo en el suelo su fardo—, hay que dar una vuelta enorme hasta el frente.» Así que es costurera, al parecer.

Las costumbres aquí son muy particulares. No se encuentran muchas mujeres que se aten la faja pulcramente detrás. Una cosa es una mujer de cierta edad que se pirra por los estampados chabacanos o las fajas demasiado anchas, otra muy distinta ver a todas estas descaradas niñas de quince vistiendo las prendas más llamativas, chupando alquequenjes para evitar la preñez. Pero este barrio es así. Una furcia que ayer atendía bajo el nombre de no sé qué heroína del Romance de Genji en una casa de tercera junto al canal, se ha escapado con un hampón. Abren un figón, cuando ninguno tiene la menor idea de cómo llevar un negocio. Pronto se arruinan. La bella empieza a añorar su antiguo oficio. Sus activos fueron a la basura con los huesos del pollo servido anoche, pero la ninfa sí puede volver al nido. La gente por aquí encuentra atractivo el tipo, quién sabe por qué.

¿Cómo no va a influir tal atmósfera en los niños? Las mojigangas de otoño, por ejemplo. La madre de Mencio habría puesto el grito en el cielo si hubiera visto lo pronto que aprenden a imitar a los mimos famosos. ¡Vamos, que no hay uno que no sepa remedar a Rohachi o a Eiki! Oyen cómo los alaban y esa misma noche los despabilados golfillos andan tras sus pasos haciendo la ronda de las casas. Así empiezan con siete u ocho, ¡y para cuando tienen quince...! Miren a éste, que vuelve a la tarde de los baños con la toalla al hombro, graznando groseramente con la boca torcida la última coplilla. En la escuela la clase de música desemboca al primer descuido en las cadencias del barrio. Las tonadas de las geishas animan los encuentros deportivos, ¡sobran los hurras de la escuela! No se puede más que simpatizar con sus profesores de la Ikueisha aquí cerca. Será una escuelilla abarrotada —de hecho es particular—, pero hay hasta un millar de estudiantes y los profesores que triunfan aquí pronto son famosos. Aquí decir escuela es decir la Ikueisha.

Escúchenlos a la salida de clase: «Tu padre no pasa una en la casa de té junto al puente ¿no?», le gritan al hijo del bombero. La sabiduría de la calle; los niños están al tanto de lo que se cuece en el arrabal. Trepan por las cercas de los jardines, imitando a los bomberos: «¡Oye, que has quebrao los pinchos pa que no entren los ladrones!». El hijo de un tinterillo de poca monta inicia el hostigamiento: «Tu viejo es un mulo del burdel ése, ¿no? ¡Di!». El acusado se pone como un tomate. El pobrecillo moriría antes que reconocer que su padre cobra las facturas de cierto burdel. Y luego están los consentidos hijos de los peces gordos del arrabal, que crecen apartados del lugar, para poder pasar por bien nacidos. Lucen gorra de secundaria a la última con aire desenfadado y llevan la indumentaria europea con mucho caché. Divierte ver a los otros hacerles la pelota: «¡Señorito! ¡señorito!», llaman, cuando mejor dirían niñato malcriado.

Entre los muchos escolares de la Ikueisha está Nobuyuki del templo Ryūge. A su debido tiempo la tonsura segará su apretado pelo negro y endosará el hábito de sacerdote. Bien podría haberlo decidido él, pero también puede ser que se haya resignado a su suerte. Su padre era clérigo y, siguiendo sus pasos, Nobu es ya un erudito. Chico callado por naturaleza, sus compañeros lo consideran un muermo y se meten con él. «Mira, esto es lo tuyo: ¡un parroquiano! —gritan izando un gato muerto en un palo— ¡Adminístrale los últimos sacramentos!» Pero todo eso pasó, ya nadie se burla de él, ni por error. Tiene quince años, estatura media y el oscuro cabello cortado a cepillo al modo escolar; con todo tiene un aire que lo distingue de los demás. Aunque todavía lleva el ordinario nombre de Fujimoto Nobuyuki, ya hay algo en su porte que hace barruntar al eclesiástico.

Higuchi Ichiyō

[jellicoelodge]

SPECIAL NOTICE: Takekurabe was adapted into a film in the 1950′s and into an animated short film in the series Animated Classics of Japanese Literature. If anyone should happen to find a reliable link for viewing, please reblog and include! 

[forgotten-daydreamer]

me: ok im depressed, im gonna focus on studying

meiji lit: hello we are more depressed than you actually

[thebirdandhersong]

well today is turning out wonderful

[flower-of-darkness]

OKAY BUT I HAVE A QUESTION FOR YOU AZURA-CHAN

i was thinking of who else M*ri could make executive, when I realized we never got a backstory for how Higuchi ended up joining the PM in the first place 👀any theories 👀

Istg you’re only a month older than me mf 💀 DON’T EXPECT ME TO CALL YOU MARA-SAN 😭/lh

Anywho. I originally never really thought about it, but your ask got me thinking for two days straight so uh, enjoy this analysis I made about it 💃

How Higuchi might have joined the PM

There are actually two possibilities of how Higuchi might have joined the PM, in my opinion. As we know, Asagiri-sensei loves slipping in subtle references of the irl authors into their BSD counterparts, so I did a bit of research on one of the irl Higuchi’s works : Takekurabe, directly translated to “Growing Up” or “Child’s Play”.

Her backstory is most likely inspired by Takekurabe, because : 1), It’s probably Higuchi’s most well-known work, and 2), its plot centers around two rival street gangs in an underworld setting, which is a direct parallel to the ADA and PM.

First off, Takekurabe is about a group of youths assuming their family professions and losing the freedom they enjoyed as children. This includes one of the main characters - 14 year old Midori - who’s a daughter of a family living in a brothel. She starts off as a tomboy and playful child, but after a few years, once she’s old enough to become a prostitute, she transforms into an elegant lady, losing her carefree and childish nature completely, and embracing her job as a prostitute in her parents’ brothel even if she doesn’t actually want to.

What if Higuchi is, in a way, like Midori? A child who’s forced into adulthood and taking after her parents’ job against her will?

What if her parents were PM members, and Higuchi was forced into joining the organization as well to maintain their family profession?

Let’s recall how Higuchi was repeatedly told by members of the PM that she’s not suitable to be a mafioso. The Black Lizard threatened her by saying that they only follow her orders out of respect and fear for Akutagawa (Although they grew to respect her as well after seeing her determination and kindness), and even Mori himself directly expressed that he doesn’t think she’s suitable for her job.

Then how did she get such a high position? How is she not fired yet after failing all her missions to capture Atsushi, and defying the mafia’s code by saving Akutagawa despite Mori being against it?

Because her parents are/were mafia members, and the organization keeps her out of respect for them.

Now, for the second possibility.

I've always wondered why Higuchi is so attached to Akutagawa if she only met him in the PM, because even if you’re “nOt LiKe oTHeR GirLS”, you do not just take one look at an emo traumatized very rude boy and go “him. I want him.”

Let’s go back to analyzing Midori - she has a crush on another main character, Nobu, who’s a son of a Buddhist priest and doesn’t express his emotions that much, in contrary to Midori. Although Nobu cares deeply about Midori, he still distances himself from her, going as far as joining the gang lead by a boy who regularly bullies Midori.

THE. THE. THE MF PARALLELS. Higuchi is Midori, who expresses her feelings to Nobu a lot, while Akutagawa is Nobu, who ignores Midori despite caring about her as well.

In the end, Midori and Nobu never got a chance to be together because of their conflicting backgrounds and family professions. But since Asagiri-sensei loves reversing aspects from the irl authors, (*cough cough* Akutagawa & Dazai and Ranpo & Poe *cough cough*), what if that’s the case with Higuchi? What if, in the bsd version, Higuchi managed to join the same profession as Akutagawa?

What if, Higuchi knew Akutagawa since they were kids, took a liking to him, and decided to join the PM for him?

No, I’m serious, it’s actually possible. Look at the cover for the chapter where Higuchi sets out to rescue Aku :

The chapter title - “An occupation that does not suit her”, just further proves the point that Higuchi joined the PM not because of her own will.

Now, look at the art. There are bandages wrapped around Higuchi’s leg, and they’re tied to Akutagawa’s body. Perhaps symbolism that Higuchi doesn’t truly belong in the PM, but her loyalty to Akutagawa is restricting her, trapping her in the organization?

In conclusion, someone give Higuchi a big hug. Especially any of these theories are true - she deserves it.

[ckjbun]

Higuchi/Akutagawa Art – a reference to “Takekurabe”? (no manga spoilers)

I was asked by one of my lovely followers, @nameless-nowhere​, what I think about this art that you see here below. They were telling me about a tiktok user interpreting this art as a reference to one of irl Higuchi-sensei’s work. So for the sake of completeness, I will also reproduce the summary of that interpretation, add my thoughts to it and then my own interpretation. Let’s start! :)

First of all, where does this art come from? (skip this, if you’re not interested)

It was quite difficult to find sources in English, so please do correct me if I am wrong. According to Tokyo Otaku Mode News, there was a collaboration between the Ichiyo Memorial Hall and BSD in 2017, exhibiting manga and anime panels where Higuchi is in focus. This art above is a special illustration drawn by Harukawa35-sensei for this event. 

Therefore, it is very likely that it might be a reference to one of the works of irl Higuchi-sensei. Before we get into the two possibilities I’d like to present, there’s another thing I want to talk about first, namely

the symbolism of pinwheels

As you have probably noticed, besides Higuchi and Akutagawa in kimonos, there are also many pinwheels depicted. Again, I’m not very well versed in Japanese culture, so please correct me. I will link all the sources down below.

Pinwheels in general are often a beautiful symbol for childhood and childhood innocence. Just like a light breeze is enough to make the pinwheel spin, it doesn’t take much for a child to be excited, to run and to spin around.

However, in Japan, pinwheels are often associated with children’s death, especially early children’s death.  

© Ars Benevola Mater

The picture above shows Jizo figures on a graveyard/temple site. Each figure looks the same, wears a red-knitted cap and has a colorful pinwheel at its side. Jizo is one of the most popular bodhisattvas in Japan. His function has been altered and expanded over time. Nowadays, he also serves as a special guardian of the souls of children, guiding them through the other world. These Jizo figures represent the popular bodhisattva as well as the soul of the deceased children. (If you’re interested in this, I’d recommend you to look up Mizuko kuyō which is the ceremony associated with Jizo for people that experienced stillbirth, miscarriage or abortion)

As a side note, in China pinwheels symbolize “to turn one’s luck around”. 

With this in mind, which story could this art be a reference to? (under the cut)

Note that I’m not an expert, my knowledge about Higuchi-sensei and her works is very limited. Based on what I do know and my own interpretation, I’d say it’s most likely a reference to the story “Takekurabe”. However, the tiktok user mentioned at the beginning, amaliya_park, was linking it to “The 13th Night”. Since I think it’s definitely worth a consideration, I wanted to elaborate on that as well. 

The 13th Night

A more detailed summary of the first part of the story can be found in this post of mine. 

To keep it short, the protagonist, Oseki, visits her parents in order to ask them to let her divorce her abusive husband. The parents reminded her though that their family owe a lot to her husband and that she also must think of her son, who she would need to leave behind. Oseki then agrees, decides to stay with her husband for her son’s sake and says that she will consider herself as dead, a spirit that watches over her son. 

Later, when she goes back, she gets onto a rickshaw which was pulled by a childhood friend called Roku. They talk for a bit which causes her to reminisce about the past. He had been in love with her, and she herself had been imagining becoming his wife. At the end, they part their ways.

amaliya_park’s interpretation was that Higuchi represents Oseki and Akutagawa her childhood friend Roku. While they were talking, Roku mentions that his wife left him and took their child with him. He heard that it died though. You remember the symbol for child death? Yes, the pinwheels. 

At the end, when they part, it is said that Roku heads east and Oseki south. As you can see in the art, Aku is facing right which is often associated with east. Higuchi is facing south-ish. 

I thought this was quite a nice and clever observation and analysis of the art. That’s why I shared it too, so you guys get different perspectives. The way Higuchi kind of “smells” at the pinwheels could also be a symbol that she is “reminiscing about their childhood”. And the way that Aku seems unfazed by the pinwheels could reflect how Roku wasn’t really bothered by the death of his child.

Overall, I like this interpretation a lot. But there’s another thing that catches my eyes. Don’t you think Higuchi looks quite young? She looks like 14 to me? Plus, all the pinwheels representing childhood, made me first think of “Takekurabe” since this is a story about childhood.

Takekurabe

Again, a more detailed summary of the story can be found in this post of mine.

In short, the story is about a group of children growing up who are separated into 2 gangs. It follows their childhood, depicting how they play, fight and rival each other. 

A big theme is how all the children have unchangeable fates and had to grow up too soon. For example, Midori must follow her sister’s footsteps and become a prostitute. Nobu, her love interest and son of a Buddhist priest, is sent off to be trained as a priest and Shōtarō, who has an interest in Midori, has come to accept the responsibilities of his family’s shop.

The pinwheels, in my opinion, could very well represent the early death of these children’s childhood. Plus, the cap that Aku wears reminded me of those hats that were sometimes worn as part of the school uniform in the 1900s. On this website, it says that in the late 19th century (which is around Higuchi's time) students often wear military style cadet caps. 

(© LIVE JAPAN)

Additionally, in Takekurabe, the children prepare and attend the Senzoku Shrine Festival. It is said that the boys would match their kimonos.

Since both, Higuchi and Aku, are wearing pretty kimonos, and looking quite young, I assume they are representing two of those children on the day of the festival. 

Higuchi could stand for the young girl, Midori, and Aku her love interest, Nobu. The thing is that Midori and Nobu were never able to confess their love for each other because of their positions in life. Nobu, being the son of the priest and in the rival group of children, is in a higher position than Midori who is destined to become a mistress.

This is also reflected in the art. There is this barrier separating Higuchi and Aku. It’s like they can’t get to each other because they are standing on different sides. Just like Midori and Nobu are in different gangs, different sides that are enemies. Plus, Aku is slightly higher positioned than Higuchi which could reflect Nobu’s position as a son of a priest (ehhh or maybe he’s just much taller than her). 

There is also some kind of incident that happened during the festival which causes Nobu to feel guilty and embarrassed. In the art above, Aku looks kind of concerned and as if he feels sorry.

Despite her young looks, Higuchi’s eyes aren’t those of a child anymore. They look quite empty and distant, like Midori at the end of the story.

In conclusion, I love both interpretations. But considering how young they both look and the fact that Takekurabe is seen as Higuchi-sensei’s masterpiece, I’d say it’s a reference to Takekurabe. 

Thank you so much for reading until so far T^T I always tend to write too much, my apologies. Thank you again @nameless-nowhere​ for asking me this, it was a pleasure to think about this. Also @nameless-nowhere​ is translating tumblr analyses/theories into Russian, mine included. You can find most of them on tiktok, @/beatimortui !! So if you know Russian or learning Russian (good opportunity to improve it), please check them out :)

Please feel free to share with me what your interpretation is and which points you agree or disagree with! I'd love to hear!! Also, if you know more about clothes in the late 19th century, Higuchi-sensei's work etc., please don't hesitate to broaden my tiny brain knowledge.

As a last personal note, I really recommend you guys to read Takekurabe. I was just rereading a few excerpts and yeah, it broke my heart a bit, I feel so sorry for these kids. 

Significance of the Pinwheel

Anyways, thank you again and I hope you enjoy the rest of your day/evening!

sources

Bungo Stray Dogs x Ichiyo Memorial Hall Collaborative Exhibition Opens!

Mizuko kuyō (Wikipedia)

"Mizuko Kuyō" and Japanese Buddhism – by Anne Page Brooks

The Thirteenth Night – translated by Robert Lyons Danly (I was able to read this online when I was on mobile but not when I was on my desktop)

In The Shade Of Spring Leaves: The Life Of Higuchi Ichiyo, With Nine Of Her Best Stories, translated by Robert Lyons Danly (if you don't have the means to buy it and still want to read it, DM me)