Book review: Bodies of Memory
Nov. 21st, 2011 00:24Bibliographic Data: Igarashi, Yoshikuni. Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945-1970. Princeton: Princeton University Press, 2000.
Main Argument: Igarashi, in trying "to examine how the past is signified and forgotten through the mediation of history" (3), argues that after the war Japan remembered its past through discursively constructed bodily tropes, and furthermore that after the war the bodies of Japanese people became "sites for national rehabilitation, thus overcoming the historical crisis that Japan's defeat created" (5). A complex movement between memory and forgetting eventually weighed down on the side of forgetting, such that twenty-five years after the war, in Igarashi's view, Japanese society had managed to naturalize forgetting the losses of the war, such that the loss itself was lost.
( A book more of forgetting than of laughter )
Conclusion: Argument, Sources, Examples "After struggling with its conflicting desire both to re-member and to forget its loss, postwar Japan managed to restore nationhood through a teleology of progress and the country's newly acquired material wealth. This recuperation of nationhood as an integral part of re-membering the past." (199) The chapter concludes with an examination of the effect of the 1970s oil shocks on Japanese society and its war amnesia before the obligatory mention of Kobayashi Yoshinori's Sensôron manga, which Igarashi considers to be a failed attempt "to hold the crumbling postwar paradigm together by emphasizing the utility of the war's deaths," which "conceals the historical trauma of 1945" (206).
Critical assessment: Bodies of Memory begins, in the Acknowledgments, by stating that "This book is a personal endeavor to make sense of Japan's postwar history" (ix), and in some sense, though Igarashi advances other arguments, the book's great strength and great weakness is that it never rises beyond that fact.
This is a meaty book that, if it never quite coheres, surveys a vast territory that other scholars have since begun to fill in with greater depth and clarity (Godzilla studies, Olympic studies, to name but a few). For my own taste, I have to admit that I found Igarashi's interpretations to be consistently too informed by a kind of subjugated Freudianism (complete with the total disregard for queerness that accompanies much Freudian critique)--at times he clearly seems to be over-reading various historical texts and incidents. Similarly, the central conceit of "bodies" is excessively vague, and under-theorized; Igarashi never says what he means when he uses the term, which of course allows him to have "bodies" just about every which way he wants.
Igarashi doesn't offer very many new interpretations, but he was the first or at least the earliest notable person to lay out the so-called "foundational narrative" of Japan's postwar, which is certainly something. At the same time, his interpretation of Maruyama Masao in particular is highly questionable, particularly in light of the fact that (unlike many other books I thought of while reading this) Andrew Barshay had already published on Maruyama and modernism long before this book was published--an article that, significantly, is not to be found in Igarashi's bibliography.
Still, if later scholarship has substantially revised various aspects of Igarashi's narrative, there is certainly something to be said for getting in first, and Igarashi has done so with an unusually synoptic survey. That he still manages to ignore manga (!) is symptomatic as well as my personal good fortune.
Further reading: Christopher Ross, Mishima's Sword; Sebastian Conrad, The Quest for the Lost Nation; Mishima: A Life in Four Chapters
Meta notes: David Mitchell's Cloud Atlas was apparently strongly influenced by Mishima. Spoilers: Mitchell does it better.
Main Argument: Igarashi, in trying "to examine how the past is signified and forgotten through the mediation of history" (3), argues that after the war Japan remembered its past through discursively constructed bodily tropes, and furthermore that after the war the bodies of Japanese people became "sites for national rehabilitation, thus overcoming the historical crisis that Japan's defeat created" (5). A complex movement between memory and forgetting eventually weighed down on the side of forgetting, such that twenty-five years after the war, in Igarashi's view, Japanese society had managed to naturalize forgetting the losses of the war, such that the loss itself was lost.
( A book more of forgetting than of laughter )
Conclusion: Argument, Sources, Examples "After struggling with its conflicting desire both to re-member and to forget its loss, postwar Japan managed to restore nationhood through a teleology of progress and the country's newly acquired material wealth. This recuperation of nationhood as an integral part of re-membering the past." (199) The chapter concludes with an examination of the effect of the 1970s oil shocks on Japanese society and its war amnesia before the obligatory mention of Kobayashi Yoshinori's Sensôron manga, which Igarashi considers to be a failed attempt "to hold the crumbling postwar paradigm together by emphasizing the utility of the war's deaths," which "conceals the historical trauma of 1945" (206).
Critical assessment: Bodies of Memory begins, in the Acknowledgments, by stating that "This book is a personal endeavor to make sense of Japan's postwar history" (ix), and in some sense, though Igarashi advances other arguments, the book's great strength and great weakness is that it never rises beyond that fact.
This is a meaty book that, if it never quite coheres, surveys a vast territory that other scholars have since begun to fill in with greater depth and clarity (Godzilla studies, Olympic studies, to name but a few). For my own taste, I have to admit that I found Igarashi's interpretations to be consistently too informed by a kind of subjugated Freudianism (complete with the total disregard for queerness that accompanies much Freudian critique)--at times he clearly seems to be over-reading various historical texts and incidents. Similarly, the central conceit of "bodies" is excessively vague, and under-theorized; Igarashi never says what he means when he uses the term, which of course allows him to have "bodies" just about every which way he wants.
Igarashi doesn't offer very many new interpretations, but he was the first or at least the earliest notable person to lay out the so-called "foundational narrative" of Japan's postwar, which is certainly something. At the same time, his interpretation of Maruyama Masao in particular is highly questionable, particularly in light of the fact that (unlike many other books I thought of while reading this) Andrew Barshay had already published on Maruyama and modernism long before this book was published--an article that, significantly, is not to be found in Igarashi's bibliography.
Still, if later scholarship has substantially revised various aspects of Igarashi's narrative, there is certainly something to be said for getting in first, and Igarashi has done so with an unusually synoptic survey. That he still manages to ignore manga (!) is symptomatic as well as my personal good fortune.
Further reading: Christopher Ross, Mishima's Sword; Sebastian Conrad, The Quest for the Lost Nation; Mishima: A Life in Four Chapters
Meta notes: David Mitchell's Cloud Atlas was apparently strongly influenced by Mishima. Spoilers: Mitchell does it better.