“Takekurabe” by Ichiyō Higuchi

Ichiyō Higuchi wrote short stories she was one of the first representatives  of Meiji Era. She didn't write much, sadly she died at the age of 24. Her family was not well-off, she decided that she will support it by writing ( her brother and father, a samurai died), it was her turning point and she became a writer. She took lessons of Japanese poetry and literature. She liked studying, yet, she didn't like the atmosphere at school, she felt discomfort being among children richer and wealthier than she was. She kept diary, she was very devoted to it, described poverty, inferiority and a difficult situation of her family. She was full of despair knowing there was so little to do to change it. Her stories are mature, naturalistic, described women without hope for better tomorrow. Her very simple style shaped classical Japanese literature. It is very lyrical, elaborate and sensible. The economical situation females had to face with made them stronger, they made harsh choices but eventually won. 1880s are marked by the wave of changes in Japan society, its cultural and mental life, the West factors that appeared in Japan worried, intrigued, brought fear and anxiety.

Higouchi concentrates on the woman as a subject, submerged in conveyances, shy, modest, not independent, unhappy and often poor. To change their situation they often became geisha, courtesans, mistresses, the motion of geisha changed thought out the epochs, yet, all nouns stood for one purpose. The situation influences their psyche, their perception of people, they notice different classes, the classes they will not breakthrough as someone else or at all. Many characters of Higoushi have her features of demeanor, represents bravery, courage, compromise (between who they were and what they had to do). In Europe and US Higoushi was an object of admiration, feminists put her as an example of up-streaming, she was a representative of “Old Japan”- she belonged to patriarchal system and now, here she is, describing “Modern Woman” a total contradiction of her. She described modernism, a modern approach of “new life style”. Her heroines reflects her personal life. Higoushi describes what needs to be done to implement women’s rights, to make it all better. The novel “Takekurabe” is complex,  it was published gradually in the magazine, it describes children, their time during the festive time, they play, they have fun surrounded by one thing – the place. One of the heroine is Midori a teenage girl. Midori is in love with Shin’nyo – a son of a priest. Her older sister is a courtesan, highly respected one. All is settled in Shitaya Ryūsenji-chō, a place filled with pleasure cottages. One day she was only supposed to visit her sister but all turns a bit different.  She becomes a courtesan as well. She doesn't fully understands the "profound" impact of the place she found herself in.

Midori’s love will never be fulfilled, she cannot marry Shin’nyo, the diversification of their origin are irreversible. Midori lives in two worlds, in the world of adults and is courtesan and with a world of children – in this world she doesn't grow up but plays with children, daydreams all the time. But in the world of sex business – there is no childhood, Midori fights with it – loosing a final battle. It must be said, her novel at the time it was about to be published – had been forbidden,  the vivid descriptions of sex-trade were shocking, unthinkable and obnoxious. Metaphorical expressions and images hunted in letters burnt like fire. After the Second World War the image of the book – its perception changed, it was no longer forbidden, the social aspects changed, Japan was after the war, 1945 marked Japanese defeat, it was a broken country, shattered into pieces, with no hope of tomorrow. Suddenly Japan has to wake up, has to change and children of Japan must be taught,  they must mark the future, the common origin and the common background;

“…For some reason, Shin’nyo was not his usual, composed self; he had kneeled down under a pine-tree near the lake, with his hands in the red dirt. Midori couldn't stand looking at him get his clothes dirty, so she went up and offered him her handkerchief: “Use this, please, to wipe yourself”, she said…”

The children only play together, they share the common background but their future will be entirely different, Midori will never be that fortunate, she will not breakthrough to a better world. Not in this life. The differences teach children respect and distance. At the moment Midori is about to become a courtesan, she hate being adult, she hated growing up, her hairstyle, her fate.

‘…“Poor Midori, she’s going to be a courtesan…”, and his friend Sangorō replies: “That’s good, isn't it? If she becomes a courtesan then… (he stops) Oh… yes… well, Shō… you and that girl…”

The novel tries to explain the reader the necessities of certain behavior, something that cannot be avoided because it is circumstantial. Under any circumstances  can it be reverted. Japan changed its feudalistic roots, the Imperial Japan eased to exists, the Emperor is no longer the Sun and the God but a human being. The family was the “system” of society, the family followed the given patterns, the novel eventually reflected post-war Japan.