Tag Archives: Food Demon

Two novellas about young male creators by Okamoto Kanoko

Okamoto Kanoko (née Ohnuki Kano, 1889-1939) was a scholar of Zen Buddhism and a tanka poet who wrote fiction during the last three years of her life. Being of upper-class origin, her fiction tends to focus on resentful working-class males. Whether males from lower classes of the early Showa-era idealized her peers as she portrays them as doing is a question I can’t answer, though I am suspicious.

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The protagonist of her novella Riot of Goldfish (Kingyo Ryōran), Mataichi is the son of a goldfish-seller who is enchanted by Masako, a shy girl whose rich father (Teizô) underwrites Mataichi’s fishery studies. Though distant glimpses of Masako, up the hill above his family’s fishponds, enchant him, he has no chance of wedding her and sublimates his desire into trying to breed a goldfish as beautiful as (he thinks) Masako is. The breeds he engineers (life he creates) keep being washed away in floods. Masako has no idea he is trying to recreate her in piscine form, or, for that matter, that he has been in love with her for most of their lives.

“The Food Demon” (Shokuma), Besshirô, is also smitten by the beautiful daughter of his patron, Okinu, and desperate to be regarded as a master artist, to be addressed with the honorific “sensei.” He alienates those who had admired his knowledge of and skill at painting and calligraphy, though what he produces is dismissed as “tasteful,” lacking the spark of genius.

His genius is for the less exalted “art” of cooking, which has lower prestige but gives very tangible pleasure. He gives cooking lessons to the pampered Okinu and her drudge sister Ochiyo, but only the latter really notices how handsome and gifted he is.

Their father provides Besshirô and the meek wife he has been pressed by the aunt of his dead painter/restaurant-owner friend, Higaki, to marry a small house and a small stipend, and Besshirô takes out his frustrations mostly on his wife, Isuko (Higaki’s only cousin).

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There are no female characters developed at all in either novella. The only one who is not a drudge or an impossible fantasy is a female Buddhist scholar (what Okamoto was) who delivers the “no more than tasteful” verdict on his paintings, but genuinely appreciates his culinary skills. Even she is little developed.

The protagonists bring Zola (especially L’ouevre) to my mind with his fatalism in the traditional Buddhist guise of karma. Mataichi is more focused (beyond the point of obsession!) than Besshirô, who writhes in disappointment and resentment of his social superiors.

Goldfish has something of a plot, Food-Demon fills in the background of its protagonist, including the harrowing cancer death of Higaki). In the story’s present Besshirô gives a demonstration of handling endive, leaves his female students in their mansion, goes home, rails at his wife, and drinks a lot of beer as he watches hail fall, and while his wife keeps their son quiet in the bedroom.

Food-Demon is more about attempts to integrate Eastern and Western art and aesthetics than the aesthetic of Mataichi, though he is even more intent on creating beauty than Besshirô is.

The two novellas, translated by J. Keith Vincent were published in 2010 by Hesperus with an enthusiastic foreword by David Mitchell (Cloud Atlas).

©2017, Stephen O. Murray

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