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Lifeblood

Tamura Toshiko

From Words to a Mental Motion Picture
cetrillard@middlebury.edu
Descriptive imagery paints a story, turning words on a page into a movie. In Tamura Toshiko’s Lifeblood, written in the early 20th century, acute attention to garments, colors, smells, and physical states paints a clear and emotional illustration of the internal distress Yuko felt from the loss of her virginity, inducing the reader with her ... read more

Descriptive imagery paints a story, turning words on a page into a movie. In Tamura Toshiko’s Lifeblood, written in the early 20th century, acute attention to garments, colors, smells, and physical states paints a clear and emotional illustration of the internal distress Yuko felt from the loss of her virginity, inducing the reader with her pain and suffering.

Lifeblood takes place in Asakusa (“the park”), a popular amusement center during the Meji era located in the heart of Tokyo. The story commences at an inn just outside the park where the author introduces a young girl, Yuko, who is dressed in a brightly colored kimono observing goldfish swimming around in a bowl. The story begins with a picturesque description of Yuko’s beautiful kimono and the environment that surrounds her but takes a sudden and dark turn when she notices Akiji’s “smell” (349). Yuko’s mental state immediately shifts to one of immeasurable anger. She suddenly assumes a sinister ethos and violently kills the goldfish. The sudden switch from descriptors such as “a silky breeze” to “raw smelling water” on page 349 indicates the degree to which Akiji’s presence vexed Yuko. Yuko runs back into the inn overcome by uncontrollable crying, thinking “as long as she had breath left in her, she would go on crying indefinitely” (350).

The second chapter introduces Yuko and Akiji, also referenced as “the couple,” strolling around the town, visiting the Matsuyama Shoden Temple and later attending a performance. The baking sun, persistent references to sweat, and illustrations of distressed clothing from the heat are some ways Toshiko highlights Yuko’s discomfort and anxiety during her time with Akiji. Moreover, Yuko’s internal dialogue with regards to escaping Akiji is another way the author suggests Yuko’s distress and mania. Moreover, Yuko’s jealousy towards the pure virgin geishas, hints at self-harm, uncontrollable crying, and impulses to escape Akiji suggest that Yuko is not only in grief of the loss of her virginity to this man but that there’s a possibility that she never consented to have sex with him in the first place. This hint at rape was made clear by Toshiko’s use of the word “assailed” in the closing remarks of the story.

            Overall, I would rate this story a 10/10. I enjoyed the descriptive imagery which embedded the scenery in my mind and kept me interested. Toshiko’s deep dive into Yuko’s psychological battle gave me a sense of empathy toward Yuko. I find myself relating to Yuko in many ways, despite not having shared a similar experience. The way Yuko overanalyzes, creates these internal battles, and is acutely aware of her physical state deeply resonated with me. This text would require an older audience to understand Yuko’s situation and there are hints of self-harm that could be disturbing to young audiences. Nonetheless, I would recommend this text as it not only tells the story p\of a girl who lost her virginity but how that forever altered her perspective on the world.

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“Lifeblood:” A Story of Emotion and Sorrow
egavin@middlebury.edu
In “Lifeblood,” Tamura Toshiko (1884-1945) writes in ways that allow the main character Yuko’s emotions to pour off the page. The unique usage of metaphors and internal dialogue allows the reader to understand a very complex emotional experience, especially one that male readers often may not personally experience. In the story, a young woman (Yuko) ... read more

In “Lifeblood,” Tamura Toshiko (1884-1945) writes in ways that allow the main character Yuko’s emotions to pour off the page. The unique usage of metaphors and internal dialogue allows the reader to understand a very complex emotional experience, especially one that male readers often may not personally experience. In the story, a young woman (Yuko) struggles with the negative emotions elicited by regretfully losing her virginity. In the story, it is implied that Yuko is coerced by a man into having sexual intercourse. The next day, Yuko is a shell of her former self, distraught over how she was so severely mistreated by the man the night before.

Through “Lifeblood,” Tamura tells a story that accomplishes two things. Primarily, it allows the reader to have a greater understanding of a challenging experience that women went through during the late 19th century in the Meiji period (1868-1912), but it also tells a story that is unfortunately still applicable today. Understanding Yuko’s experience may help inform readers of the challenges and commonality of sexual coercion and therefore shape the readers into individuals who will stand up against this horrible mistreatment of women. 

Reading Tamura Toshiko’s “Lifeblood” is worthwhile not only for its plot but also for its style. Tamura Toshiko’s works are unique because of her background. Before her writing career, Tamura Toshiko was a part of the theater industry, where she acted in several plays. Her experience in the industry in many ways informs her writing. This is most evident through her use of movement and gestures in her writing. The addition of the movements and gestures to Tamura Toshiko’s stories allows the reader to easily understand what the characters are feeling in the moment, resulting in a more moving experience for the reader. An example of this can be seen at the beginning of the story, where Toshiko writes on page 349: “The thought made her shudder. Whereupon she felt something pulse through her body and leave her trembling from fingertips to toes.” This inclusion of physical descriptions creates a more emotional, full-body experience for the reader that makes an already moving story much more powerful. 

Tamura Toshiko’s background in theater is also evident through her use of stage building in her writing. The settings of her stories often resemble that of a set on stage filled with props and attention to lighting. This emphasis on the visual aspects of her writing creates a reading experience that is worthwhile because not many other writers put this much effort into these aspects of their writing. 

In conclusion, I would recommend Tamura Toshiko’s “Lifeblood.” My only caveat is that the reader must be emotionally mature enough to comprehend the concepts of the story. Many people of younger ages may not be able to grapple with the idea of sexual coercion, so it may not be a good idea for them to read this story. With that said, anyone who is interested in the topics of this story or the style of writing should take the time to read the story. 

 

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A Tale of Rage and Violence
sabrinak@middlebury.edu
Written by Tamura Toshiko, “Lifeblood” was a published story in the inaugural issue of Seito, a Japanese women’s rights magazine, that was censored by the Japanese government.  The text focuses on two characters, Yûko and Akiji, who spend the night together.  Yûko is a violent, raging girl, who shows these manic qualities by piercing her ... read more

Written by Tamura Toshiko, “Lifeblood” was a published story in the inaugural issue of Seito, a Japanese women’s rights magazine, that was censored by the Japanese government.  The text focuses on two characters, Yûko and Akiji, who spend the night together.  Yûko is a violent, raging girl, who shows these manic qualities by piercing her goldfish’s eye with no regret.  Akiji, on the other hand, is Yûko’s acquaintance, yet much is not known about him in the story.  However as Akiji can be seen more as a background character, as a reader, I wish I could see more action with him and how that would affect Yûko’s character and the overall plot.  As “Lifeblood” was censored because of how Toshiko emphasizes the topic of virginity loss during a communist Japan, it still connected to women around Japan as they related to Yûko’s pain.

As Toshiko portrays Yûko as a raging character, it made me think of how I used to “violently” fight with my brother about the most absurd things.  However, with this similarity aside, this does not change the fact that “Lifeblood” felt very one-sided as anyone can easily see the power imbalance that is shown through Yûko and Akiji’s unusual relationship.  However, with the abrupt spurts of random violence from Yûko, there is enough action in the story to not bore me to the least.  But Toshiko displays very gory details when describing Yûko’s actions, such as when she writes, “Scooping the goldfish out of the water, Yûko removed the gold pin that secured her kimono… Taking careful aim, Yûko jabbed her pin into it.  The fish’s tail flapped violently against her wrist… She thrust the pin all the way through the goldfish, piercing the tip of her forefinger” (Pg. 349).  This describes Toshiko’s writing in a nutshell, very descriptive, yet alarming and disturbing.  But therefore, this would only mean that this text is aimed toward a specific age group.

 

Personally, I would not recommend this book to younger audiences, instead, I would recommend this text to an older audience.  This text is the best fit for adults because of the many symbols and metaphors of a young woman’s relationship with a man.   Overall, throughout “Lifeblood”, Toshiko focuses on the topic of losing one’s virginity and how Yûko copes with the situation.  She portrays the angriness and confusion that Yûko feels really well.  Toshiko’s writing style is very selective, yet seducing.  Therefore, this is why the ending is one of my favorite parts of the story because of how Toshiko leaves Yûko’s ambivalence about her sexual experience unresolved, it makes the reader wonder what happens next.  Despite the fact that "Lifeblood" was censored due to Toshiko's emphasis on the theme of virginity loss in a communist Japan, it still resonated with women all around Japan as they identified with Yûko's sorrow.

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Lifeblood: A Woman in a Questionable Relationship
mmflores@middlebury.edu
Tamura Toshiko. “LifeBlood,” “The Vow.” In The Modern Murasaki: Writings by Women of Meiji Japan. Ed. by Rebecca L. Copeland and Melek Ortabasi. New York: Columbia University Press, 2006. pp. 348-375. “Lifeblood” is written by Japanese writer Tamura Toshiko. Tamura Toshiko was born in Tokyo on April 25, 1884, and was known as a female ... read more

Tamura Toshiko. "LifeBlood," "The Vow." In The Modern Murasaki: Writings by Women of Meiji Japan. Ed. by Rebecca L. Copeland and Melek Ortabasi. New York: Columbia University Press, 2006. pp. 348-375.

“Lifeblood” is written by Japanese writer Tamura Toshiko. Tamura Toshiko was born in Tokyo on April 25, 1884, and was known as a female writer who paved the way for women's recognition in the male-dominated literary field.

The main character of “Lifeblood” is named Yuko, she is introduced after the first night with her partner. The story then describes an outing with her partner during a festival. Tamura uses vivid imagery to help the reader get a look inside Yuko’s head. You can feel the passion for what she wants to do without Tamura bluntly spelling it out. As a reader, you can insert your own meaning into the story and interpret it according to your own emotions and feelings, regardless of the content. 

My favorite part of the story is when Yuko is watching koi fish swim in a pond. Tamura describes the scene in great detail, lingering on each fish, the flowers in the garden, the time of day, and Yuko’s actions. For example, “The fish’s tail flapped violently against her wrist. Drops of raw-smelling water splashed onto her pale blue-gray sash. She's thrusted the pin all the way through the goldfish” (Tamura 349). This gives the reader context that Yuko is distressed without the author verbalizing it. Instead, she provides descriptive actions to convey Yuko’s feelings.

My least favorite was the scene of Yuko staring at her partner falling asleep in the theater. For instance, “Yuko could only stare silently at the figure before her. She, too, felt herself drifting into a dream world, in search of something that eluded her grasp” (Tamura 356). She could have left Akiji and joined the theater group as a worker to gain the freedom to control her life, but she stayed. The understandable disappointment I had while reading this scene made me want to comfort Yuko. Yuko had every right and reason to leave her partner but stayed because of societal pressures on women in late 1800s Japan.

The text never explicitly says nor describes acts of sexual assault, but depending on how one interprets certain actions can be seen as sexual assault. At the beginning of the book, we are introduced to Yuko in her messily worn kimono in an equally messy room with Akiji in the shower. This implies sexual activity between Akiji and Yuko, but this scene's ending paragraph hints toward coerced sex. Furthermore, when Yuko and Akiji are walking through the festival, we see Yuko’s inner turmoil; “I need to be alone for a while and think carefully about what happened last night... Her mind was racing, but she could not bring herself to say a word to him” (Tamura 352). Depending on the context in which you think about this book, viewers' discretion is advised. 

I recommend this short story to non-fiction readers. The story may be written as fiction, but the mundane tasks on summer days in Japan and the societal pressures of women make the story real. The raw emotion I experienced while reading this text made me connect to issues that women like Yuko face then and now.

I would rate this book a 10 out of 10.

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cetrillard@middlebury.edu
Daily question 2/23: Tamura Toshiko certainly lived a very unique life in that she actively ignored traditional gender norms and lived her life as she wanted it, not how society wanted it. I was curious to read that she had a short-lived acting career, and I wonder how that impacted her writing style and approach to dialogue. Moreover, acting and writing are two modes of story telling that are very different as one is expressed in writing and the other is physically performed. I am also interested to know how her acting career impacted the way in which her writing was received, especially as some of her readers might have seen her perform.
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jayhoc@middlebury.edu
How was "Lifeblood" received by her contemporary male critics? It certainly did not fit into their chauvinistic standards. However, some male critics did treat some female authors are "exemplary" (another problematic standard). Did male critics treat her as an author capable of actually literature or did they demonize her as well?
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alinas@middlebury.edu
I noticed multiple mentions of the neck or the nape of the neck in "Lifeblood". What is the symbolism behind the neck in Japanese culture/why is it mentioned so often in the text?
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nlara@middlebury.edu
  1. Do you think Seiko’s threats/actions are justified? Why/why not?
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sgregory@middlebury.edu
Toshiko writes characters in ways that make them seem independent to begin with but as the story goes on it feels the characters shift to a different persona in which they are willing to give up who they are to please the man they love - I am wondering if this dichotomous style of writing reflects in Toshika's life and if so, if the time she grew up in influenced this mindset?
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mmflores@middlebury.edu
Toshiko did not have the best childhood growing up. Her father was a rice dealer that left them and her mother was more interested in men than her children. Do you think that the bad relationships in Life Blood and The Vow were influenced by her parent's relationship with each other and the family?
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swittig@middlebury.edu
What intrigued me most about "Lifeblood" was the heavy usage of color descriptors, which lead me to wondering weather the symbolism of each color is the same in Japanese literature as western gothic styles. I can see where red symbolizing passion would be the same in both, as the fish and some of the flowers were red and directly contrasted the purity of the white flowers and the loss of color as she murdered the fish. But Tamura's choice to emphasize the deep violet of Yuko's kimono is what puzzled me. It is my understanding the purple typically symbolizes wealth, richness and royalty but I don't see how that is relevant to Yuko's feelings (unless it is there to indicate that Akiji was at least providing well financially). Similarly, the girl in the play was dressed in light blue, which usually means tranquility. I could be reading way too far into this, but I just thought it would be interesting to look into whether Japanese literature has similar or different color symbolisms.
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nquizon@middlebury.edu
Much of Tamura Toshiko's work contains sexual undertones and plot points, which is most evident in the work "Kuko no mi no yuuwaku." How did such content affect her popularity and reception? Were such topics frowned upon socially?
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egavin@middlebury.edu
 I am interested in how the author appears to be disappointed in how Tamura Toshiko slipped through the literary cracks. Considering the norms of the time that Tamura Toshilko lived in, is it better that she went almost unnoticed during her life time? Fowler describes her as "neither the 'good wife' nor 'wise mother,' and I wonder if it was better that she avoided the harsh criticism she would have received had she been in more of the spotlight during her lifetime.
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ttanchanco@middlebury.edu
In the two pieces that cover Tamura Toshiko's life, it appears that she was a woman who did not follow societal norms; she was apparently a bad wife, had scandalous affairs with married men, and overall lived a life unlike that of more traditional japanese women of her time. Aside from much literary praise for her pieces which talk about homosexuality, women's sexuality, and feminist topics, did she ever face lashback or controversy for producing texts with ideas "too progressive" for her time, specifically from male critics
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ayepizmedina@middlebury.edu
 

We have seen how Higuchi Ichiyo and Tamura Toshiko both implemented parts of their own personal life struggles into their literary pieces but dealt with different topics since they had very different lifestyles. Despite their literary differences, do you think Tamura's writing still falls into the typical women writer topics of the Meiji period? Does her explicit writing keep her away from that label?

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cetrillard@middlebury.edu

Annotated Bibliography

Akuphone, director. VA - Seitō: In the Beginning, Woman Was the Sun (Album Preview). YouTube, 4 June 2019, https://youtu.be/EQYsXIG8GPE. Accessed 14 Apr. 2022.

This album preview, featuring female artists from various electronic and experimental music styles pays an homage to Seitō, a feminist magazine started by a group of female Japanese writers in 1911. The album features music from seven different female artists with styles ranging from folk, to electroacoustic, to oriental psych blend. The reference to the 1910’s feminist magazine shows its persevering impact on Japanese feminist history and how feminist literature from the early 20th century enabled the development of women’s rights to what they are currently. Japanese artists reference this significant part of history to this day, continuing and further engraining its legacy in Japanese history and pop culture.

Copeland, Rebecca, and Melek Ortabasi. “Tamura Toshiko.” ˜The Modern Murasaki Writing by Women of Meiji Japan, Columbia University Press, New York, New York, 2012, pp. 339–347.

In this biography, Copeland and Ortabasi discuss the life story of Tamura Toshiko. Tamura was born in Tokyo on April 25th, 1884 and lived until 1945 when she died suddenly from a stroke. The authors describe Tamura as an author, wife, and traveler who was successful from a young age. They also described her as a violator of norms and a bad wife and mother. Tamura was among the first women to write in vernacular, the new syntax of gender relations in the early 20th century, making her a leading female author of her time. The authors describe Tamura’s evolution to her success, highlighting her childhood absent of good parents and early spark for literature at a young age. Tamura married at a young age, but later divorced and remarried. The authors discuss Tamura’s travels to the United States and China throughout her writing career. Moreover, the authors briefly mention her potential bisexuality as hinted at in her literature, but which remains uncertain. This text is intended for readers of Tamura’s literature as an informational background on the author’s upbringing and how that influenced her writing approach. Reading Tamura’s biography helps readers understand her literature, including “Lifeblood.” Understanding her upbringing allows readers to pick up on her voice in her stories and her stylistic choices. One unique feature of this literature is the in-depth discussion of Tamura’s explorations with theatre as an influential career path that had a significant impact on her stylistic choices in her writing. Another interesting feature is the authors’ emphasis on Tamura’s departure from societal norms including her divorce and remarriage, hints at bisexuality, and poor parenting as significant factors of her identity as a female writer.

Laskow, Sarah. “The Banned 1910s Magazine That Started a Feminist Movement in Japan.” Atlas Obscura, Atlas Obscura, 2 Mar. 2022, https://www.atlasobscura.com/articles/bluestockings-feminist-magazine-japan-sassy.

This article discusses Seitō a feminist magazine that started in the early 20th century and remains a critical turning point in Japanese women’s rights. Laskow, the author of this article, uncovers the history and lasting impacts of the feminist magazine. This magazine was started by a group of women to feature literature written by women for a female audience. Moreover, Tamura Toshiko’s “Lifeblood” was published in the first issue of the controversial magazine. Laskow argues that this magazine was daring for its time as it was a risk for a woman to publish her writing under her name, especially if it was a controversial piece of literature. The magazine’s name was inspired by an unorthodox group of English women during the 18th century who secretly met and discussed radical topics for their time including politics. Laskow underlines that this magazine was not intended for radical and political conversations, but as a platform for women to express their suppressed voices. Still, it was highly controversial and quickly became a political controversy. Public distaste for their work didn’t silence the Seitō members, but only strengthened their voices. As the magazine gained popularity, a society of women began to grow, known as the “Seitō Society.” One and a half years after their first publication, the government banned their 1913 issue for being “disruptive of public peace and order.” Multiple issues of the magazine were censored thereafter for their radical articles that opposed traditional marriage and gender role narratives. Seitō remains a significant part of the history of women’s rights in Japan and remains highly studied and discussed. Tamura Toshiko wrote for the Seitō magazine during her career and faced heavy criticism for her radical pieces and literature by Japanese society and the government.

Stannard, Polly. “'In the Beginning, Woman Was the Sun' and the Foundation of Japan's First Feminist Journal.” Bluestocking Oxford, 18 Mar. 2016, https://blue-stocking.org.uk/2009/12/01/%E2%80%98in-the-beginning-woman-was-the-sun%E2%80%99and-the-foundation-of-japan%E2%80%99s-first-feminist-journal/.

This article written by Polly Stannard discusses Hiratsuka Raicho’s famous inaugural essay, “In the Beginning, Woman Was the Sun” and the history of the Seitō feminist magazine. Hiratsuka Raicho was among the group of women that founded the magazine in 1911. In her inaugural essay, Raicho advocates for the need for female self-awakening. Although unscientific, Raicho made several pseudo-religious references and painted detailed images to deliver her important message to her female audience. She also referenced her personal experience, surprised with the overwhelming appeal from her readers. Since its publication, Raicho’s inaugural essay became a feminist manifesto, a unifying symbol for women, and a critical piece of the feminist liberation movement in Japan. Stannard also discusses the story of the magazine, highlighting its long-lasting impacts on the Japanese feminist movement despite its short-lived existence of only five years. Stannard points out the evolution of the types of articles published by the magazine, which started off mostly producing poems and short stories, later shifting to focus on women’s issues and controversial topics such as abortion, birth control, chastity, prostitution, and marriage. Stannard highlights that Seitō provided women with a platform to explore, educate, and express themselves as Japanese society at that time shamed women who spoke up for themselves. The coalition of the Seitō magazine and literature produced by female writers such as Tamura Toshiko and her “Lifeblood” enabled the development of women’s rights in Japan to what they are today. They forced the discussion of long-suppressed issues of traditional gender roles and sparked the necessary evolution towards the freedom of Japanese women.

UNWomen. “Timeline: Women’s Footprint in History.” Timeline: Women's Footprint in History, 17 Dec. 2016, https://interactive.unwomen.org/multimedia/timeline/womensfootprintinhistory/en/index.html.

This interactive website published by UN Women displays a timeline of significant women throughout history who had an impact on the evolution of women’s rights. The timeline starts as early as 400 BC and ends as recently as 2016. One of the twelve highlighted events was 1911 and the founding of the Seitō magazine by Hiratsuka Raicho. The timeline focuses on women from all over the world, ranging from Greece, Japan, Guatemala, the United States, India, Botswana, and more. Including Hiratsuka Raicho in this timeline shows the significance of the Seitō magazine and other publications of Japanese female literature on the evolution of women’s rights to the present day. Literature like the essay “'In the Beginning, Woman Was the Sun” and “Lifeblood” ignited the push for female self-expression, independence, and open criticism of suppressive traditional gender expectations. One of the highlights of this website is its highly dynamic and engaging design resulting in an effective deliverance of its message. Another strength of this website is its inclusion of women from all parts of the world, not solely focusing on Western-European historical figures who often take the spotlight.

 

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