Kodansha International - Manga Bookshelf

Author: Frederik L. Schodt
Publisher: Kodansha
ISBN: 9781568364766
Released: January 2013
Original release: 1983
Awards: Japan Cartoonists Association Award

Initially released in 1983 and then again in 1986 in a slightly updated and revised edition, Frederik L. Schodt’s groundbreaking Manga! Manga!: The World of Japanese Comics was one of the first, and remains one of the best, surveys of the history of manga and the manga industry available in English. Written and published at a time when manga was virtually unknown to the average comics reader in the West and when only a very few examples of manga had been translated, Schodt was hoping to provide an introduction to the art form, garner interest in manga, and share his love and excitement for the medium. Manga! Manga! was received very well both in Japan where it earned special recognition from the Japan Cartoonists Association as well as in markets focused on English-reading audiences. Although Schodt would follow up Manga! Manga! with his work Dreamland Japan: Writings on Modern Manga in 1996, his initial foray is considered a classic in its subject area and is still well worth reading.

Manga! Manga! opens with a forward by Osamu Tezuka, who Schodt personally knew and worked with. From there Schodt takes over with the first chapter “A Thousand Million Manga,” providing an overview of manga and its readership in Japan. “A Thousand Years of Manga” addresses the history of manga, tracing its origins and development from 12th-century narrative art traditions through its more contemporary influences. “The Spirit of Japan” looks at the portrayal of the bushidō ethic in manga, ranging from historical fiction to the yakuza and sports genres, while “Flowers and Dreams” reveals the significance of comics created for and by girls and women. Other genres, such as salaryman, specialty career-oriented manga, and mahjong manga are explored in the chapter “The Economic Animal at Work and at Play.” Subjects like censorship, violence, and eroticism are the focus of “Regulations versus Fantasy.” Schodt closes his research with a chapters specifically devoted “The Comic Industry” and “The Future.” (Granted, that future is now in many cases the past, but the chapter is still illuminating.)

The editions of Manga! Manga! printed after 1997 also have a short introduction by Schodt but otherwise are nearly identical content-wise to those that were published earlier. In addition to Schodt’s main text, Manga! Manga! also includes an index divided by general subject, creators, and title as well as a bibliography of both English-language and Japanese-language resources. As is appropriate for a work about manga, Schodt incorporates artwork and photographs throughout the volume–rare is the page which isn’t accompanied by some sort of visual component. Particularly noteworthy is the inclusion of translated excerpts selected from four manga: Osamu Tezuka’s Phoenix, Reiji Matsumoto’s Ghost Warrior, Riyoko Ikeda’s The Rose of Versailles, and Keiji Nakazawa’s Barefoot Gen. These examples are among some of the earliest manga in translation readily available to a general English-language audience. Brief biographies of the four mangaka are provided as well.

Manga! Manga! is a fantastic work. Even decades after it was first published it remains an informative and valuable study. And, as I have come to expect, Schodt’s writing is very approachable and easy to read. Manga! Manga! explores the history of manga within the context of Japanese culture and history, ultimately showing that the two cannot be completely separated. Manga and its development reflect, is influenced by, and emphasizes the changing state of Japanese culture, politics, and social mores. It is an art form and a source of entertainment, but it can also be used for educational and informational purposes and even as propaganda. Schodt outlines the importance of manga in Manga! Manga!, both culturally and historically, and what it has to offer to Japan and to the world at large. Manga! Manga! is very highly recommended to anyone interested in learning more about manga, its history, its creators, or the manga industry as a whole.

Author: Ivan Morris
Publisher: Kodansha
ISBN: 9781568360294
Released: June 1994
Original release: 1964

Several years ago I read the entirety of The Tale of Genji, a novel written by Murasaki Shikibu in the eleventh century. It was a pretty big undertaking, but absolutely worth it. I love the novel. Ever since finishing The Tale of Genji for the first time, I’ve been meaning to read Ivan Morris’ The World of the Shining Prince: Court Life in Ancient Japan. The volume takes its title from the hero of The Tale of Genji who is referred to as the shining prince due to his exquisite visage and exceptional character. In many ways, The World of the Shining Prince serves as a companion to The Tale of Genji as Morris explores the historical reality of the aristocracy of Heian-era Japan. The World of the Shining Prince was originally published in 1964. Beginning in 1994, later editions of the work also include an introduction by Barbara Ruch. I recently read and was rather impressed by another of Morris’ works, The Nobility of Failure: Tragic Heroes in the History of Japan, and so was looking forward to reading The World of the Shining Prince even more.

In addition to the introductions, preface, appendices, bibliography, and topical index, The World of the Shining Prince examines a number of different aspects of tenth-century Japan, Heian court society, and The Tale of Genji within it ten chapters. Morris begins with a broad overview of the era in the first chapter, “The Heian Period.” Though the Heian Period lasted from 782 to 1167, The World of the Shining Prince largely, but not exclusively, focuses on the 900s. The next chapter, “The Setting” looks at Heian architecture, city planning, and geography. From there Morris delves into more detailed analysis of Heian culture in the chapters “Politics and Society,” “Religions,” and “Superstitions.” Next, attention is specifically turned to the Heian nobility and aristocracy. “The Good People and Their Lives” details day-to-day activities, amusements, and ceremonies while “The Cult of Beauty” looks at the particular aesthetics of the era. The eighth chapter, “The Women of Heian and their Relations with Men” outlines household and family structures as well as the place of romantic liaisons. The World of the Shining Prince concludes with chapters devoted to Murasaki Shikibu and to The Tale of Genji itself.

Although written more than five decades ago, The World of the Shining Prince has held up remarkably well. Admittedly, it is nearly impossible to write a completely objective cultural study–Morris’ analysis is informed and influenced by his own cultural subjectivity. In the half-century since The World of the Shining Prince was written, Western thought and scholarly approaches to cultural analysis have also changed. (For example, as Ruch mentions in her introduction, views on gender politics and the relationship between religion and superstition has shifted over the years.) The World of the Shining Prince is a product of its time, but that doesn’t at all diminish its value as a resource on Heian-era Japan, and more specifically on Japanese court life in the tenth century. Additionally, the volume is written with a general audience in mind. It is quite approachable, even for the average reader, and is engagingly written. Granted, the subject mater of The World of the Shining Prince is fascinating to being with.

Although Morris does provide some important general context within which he situates The World of the Shining Prince, the volume’s scope is relatively narrow, concentrating on a very specific part of Heian society. However, this specificity also allows him to explore that subject from several different perspectives. Information about the Heian Period is somewhat limited, especially in regards to the lower classes, which is another reason that The World of the Shining Prince is so focused on the era’s nobility. The Tale of Genji is a major source for Morris’ study of the Heian-era Japan, as are other works of contemporary literature–The Pillow Book of Sei Shōnagon especially features prominently–as well as diaries and court records from the time period. The World of the Shining Prince is an extremely informative and absorbing work. It’s more than just a companion to The Tale of Genji and reaches beyond its literary connections. The volume should appeal to anyone interested in learning more about classical Japanese history.