Masks

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Enchi Fumiko

Duplicity and Deceit in Enchi Fumiko's Masks

Masks, a novel first published in 1958 by Japanese author Enchi Fumiko (1905-1986), is a tale of deceit and manipulation. Primarily written in the perspective of two men, Mikame and Ibuki, the novel details their interactions with a mutual love interest, Yasuko, and her mother-in-law Mieko as they study the concept of spirit possession, a ... read more

Masks, a novel first published in 1958 by Japanese author Enchi Fumiko (1905-1986), is a tale of deceit and manipulation. Primarily written in the perspective of two men, Mikame and Ibuki, the novel details their interactions with a mutual love interest, Yasuko, and her mother-in-law Mieko as they study the concept of spirit possession, a belief that women’s frustration and vengefulness could be channeled into supernatural phenomenon. Once the group ventures deeper into their research, the men experience similarly mysterious occurrences and it becomes clear to the reader that they are mere pawns of a larger scheme.

The novel is heavily inspired by Noh theater, a form of traditional Japanese theatre characterized by the masks worn by the actors, and classical Japanese literature such as The Tale of Genji, an 11^th century novel set in the Heian period (794-1185) with a similar motif of spirit possession and vengeful female characters. While there is background given within the novel, some prior knowledge of these subjects is necessary to truly appreciate the different references and parallels throughout the text.

For the most part, I found the male characters to be more relatable as we witness the events of the novel through their eyes; their passive roles in the plot also connect them to the audience, who learns with them. The subversion of the expectation that male characters should be active and dominant figures in the plot was quite interesting as it puts the female characters into an uncommon position of empowerment and control. The mystery throughout the novel is the motivations of our female characters and exactly how much control they have, which was very interesting to try and unravel as the plot progressed. In this context, Mieko was one of the more interesting characters and personally my favorite. The way relationships between different characters were written also shows a great deal of depth that helps the audience understand and connect to them.

Overall, Masks is an enjoyable read that keeps the audience guessing, supported by Enchi’s expressive dialogue and descriptions. It provides an uncommon approach to female empowerment by criticizing certain parts of stereotypes, like the expectation of subservience, while simultaneously embracing others, such as the power that comes from their emotions. Enchi’s ability to intertwine that with references to classical Japanese art and literature provides unique insight to the audience; however, while this book is accessible without extra context, I would strongly recommend this to those with prior knowledge of these subjects. For its engaging plot and character dynamics, Masks is definitely worthy of a recommendation.

Work Cited

Enchi, Fumiko. Masks. Translated by Juliet Winters Carpenter, Vintage, 2019.

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Masks, a novel first published in 1958 by Japanese author Enchi Fumiko (1905-1986), is a tale of deceit and manipulation. Primarily written in the perspective of two men, Mikame and Ibuki, the novel details their interactions with a mutual love interest, Yasuko, and her mother-in-law Mieko as they study the concept of spirit possession, a belief that women’s frustration and vengefulness could be channeled into supernatural phenomenon. Once the group ventures deeper into their research, the men experience similarly mysterious occurrences and it becomes clear to the reader that they are mere pawns of a larger scheme.
The novel is heavily inspired by Noh theater, a form of traditional Japanese theatre characterized by the masks worn by the actors, and classical Japanese literature such as The Tale of Genji, an 11th century novel set in the Heian period (794-1185) with a similar motif of spirit possession and vengeful female characters. While there is background given within the novel, some prior knowledge of these subjects is necessary to truly appreciate the different references and parallels throughout the text.
For the most part, I found the male characters to be more relatable as we witness the events of the novel through their eyes; their passive roles in the plot also connect them to the audience, who learns with them. The subversion of the expectation that male characters should be active and dominant figures in the plot was quite interesting as it puts the female characters into an uncommon position of empowerment and control. The mystery throughout the novel is the motivations of our female characters and exactly how much control they have, which was very interesting to try and unravel as the plot progressed. In this context, Mieko was one of the more interesting characters and personally my favorite. The way relationships between different characters were written also shows a great deal of depth that helps the audience understand and connect to them.
            Overall, Masks is an enjoyable read that keeps the audience guessing, supported by Enchi’s expressive dialogue and descriptions. It provides an uncommon approach to female empowerment by criticizing certain parts of stereotypes, like the expectation of subservience, while simultaneously embracing others, such as the power that comes from their emotions. Enchi’s ability to intertwine that with references to classical Japanese art and literature provides unique insight to the audience; however, while this book is accessible without extra context, I would strongly recommend this to those with prior knowledge of these subjects. For its engaging plot and character dynamics, Masks is definitely worthy of a recommendation.
 
Work Cited
Enchi, Fumiko. Masks. Translated by Juliet Winters Carpenter, Vintage, 2019.

How does Mieko represent the energy of a shamaness?

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I am interested in learning more about many aspects of this book. The first pressing question I have is about the different masks they represent each chapter - I am wondering what each mask represents as a whole to each chapter ?

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Furthermore, I am very interested in Yasuko's relationship with Mieko. Particularly, Mieko seems to strip Yasuko of all independence she has and this plays an interesting role in this story as it is one woman taking the independence of another. In terms of how this plays into a feminist novel I think this is all interesting to think about as well as the fact that in the end, despite Yasuko's loyalty to her step mother they are still turning against the men together in the end.

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Does Masks portray female characters in a positive or negative light? Furthermore, is Masks a feminist text in regards to how it portrays the female characters?

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Question 3/30: I am mainly interested in Mieko's relationship with Yasuko. Ineko questions whether they are lesbian lovers, and Yasuko, though her actions suggest otherwise, thinks that Mieko is stripping her of her independence. Why is it that Yasuko wants to pull away from Mieko's grasp while simultaneously drawing closer?

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Question 3/30: I was curious about the societal perspective regarding divorce in Japan at the time setting this book was written. To what extent was divorce looked down upon by society and how does Fumiko Enchi challenge that in Masks?

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I found the parallels between Mieko and the Rokujo lady interesting, along with her secretiveness. One question was why does Harume end up pregnant? And what form of vengeance was Mieko planning? Was her goal to have Harume give birth to have a newborn Akio (the housekeeper notices the child resembles Akio)?

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When I first read the book, the love triangle between Mikame, Ibuki, and Yasuko. I immediately had to pick which dude was the best for Yasuko, but I am interested to see if the mask is connected to Mikame and Ibuki. Furthermore, how Mikame and Ibuki view Yasuko as a widow. The major influence on their thinking is due to the time period. Therefore, does this create a false love from both men for Yasuko?

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My question pertains to the possession taking place between Meiko and Yasuko. The final chapter seems to make it evident that Yasuko is Meiko's medium as well as the resolution, but I wonder how much of the story Yasuko is under Meiko's influence. Particularly when she tells Ibuki that she needs to get away from her, but then proceeds to help get her sister in law pregnant later in the story. Was she under Meiko's influence all along or did she actually break free part of the time making the conversation with Ibuki on the train genuine? I also wonder at what point in the character's timeline Yasuko becomes Meiko's medium, was it before she even married Akio or bet Ibuki and Mikame or after?

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I also wanted a little more insight about the topic of abortion in Japan. How has acceptance of the practice changed over time, and are there any notable contributions to the subject from women's literature aside from Masks?

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The stories are clearly inspired by Nō plays, which are known to demonize women and victimize men, however the men in the stories are hardly innocent bystanders and so are the women. Often times I came back to a question we discussed last week, is this a feminist text? Is the author trying to reclaim Nō plays by questioning what makes a women beauty or an undesirable or is she contributing to the established idea that women are scheming demons? The story is filled with so many symbols, but Harume’s mimicry to the Nō women is one I find most interesting and I think more meaningful, was wondering if anyone had a favorite part of either story.

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Daily Question 3/30: As Masugami means "young madwoman", I feel as if a lot of the characters in the story wear this Masugami mask, not just Harume. However, is the only reason why Harume is said to be wearing the mask because she has a handicap?

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I was just wondering how people read into how women or shamanesses are depicted as jealous as they wreak havoc on their women rivals in Tale of Genji, and how Fumiko turns that on its head by showing how women instead turn against men. Is Masks a reclamation and rewriting of female identity in literature? What do others think about how despite Tale of Genji being written by a woman, it depicts women in such a negative light?

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Because of the immersive style of her writing, such as writing of intense suffering and exploring deep feelings of sexuality, I wonder to what extent has Fumiko's experience in theatre helped her writing have this characteristic?

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How did society in Japan view being a widow at the time? Do you think Yasuko's choices were influenced by this perspective?

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Brownstein, Michael C. “The ‘Devil’ in the Heart: Enchi Fumiko’s ‘Onnamen’ and the Uncanny.” The Journal of Japanese Studies 40, no. 1 (2014): 29–55. http://www.jstor.org/stable/24242625.

This article gives an alternate Western interpretation to Enchi Fumiko’s Masks (1905-1986) by viewing it from the context of “Das Unheimlich,” an essay by Sigmund Freud. Brownstein contrasts the common focus on the character Togano Mieko, a shamaness who manipulates others by channeling her frustrations against oppressive patriarchal forces, by emphasizing the role of Ibuki Tsuneo, a central but passive male character in the novel. The article argues that the audience’s understanding of the novel’s female characters hinges on the male perspective of Ibuki. Additionally, the paper draws several parallels to the work of Sigmund Freud, stating that both works channel “primitive beliefs” that illicit the feeling of uncanniness within the audience. Such beliefs include the return of the dead and the existence of doppelgangers.

This secondary source provides an alternative, unique approach to interpreting the novel that may benefit the reader. The narrative constantly draws the readers’ eyes to the actions of the women, so it’s interesting to see a critique that brings attention to the male characters which at first glance seem to be mere pawns in the plot. The analogies to Freud’s work are also interesting since the unique plot of Masks makes it seem alien and incomparable, but the background to Freud’s work could be better developed. Additionally, the idea of devils of the heart was a bit abstract and hard to understand.

Cornyetz, Nina. “Bound by Blood: Female Pollution, Divinity, and Community in Enchi Fumiko’s ‘Masks.’” U.S.-Japan Women’s Journal. English Supplement, no. 9 (1995): 29–58. http://www.jstor.org/stable/42772084.

This article delves into the significance of blood as a symbol both inside and outside of Masks. It emphasizes the duality in blood’s meaning, referencing health and disease in addition to fertility and miscarriage. Applying these connotations to the novel, Cornyetz argues that the inclusion of blood in Enchi’s work is meant to act as “an index of female identity;” menstrual blood, often considered a patriarchal marker of pollution and impurity, is reinterpreted as a measure of divinity and sisterhood among the female characters of the novel, who she describes to be modern shamanesses. Overall, the paper illustrates that the themes of blood in Masks are meant to subvert and resist the male-centered beliefs of lineage and impurity.

The article is significant when it comes to understanding the connotations of blood in the novel. It also provides a more female-centered interpretation that contrasts Brownstein’s, which may provide deeper insight for the audience. The cultural and literary background provided regarding femininity and spirituality may also aid the reader in better understanding some of the cultural significance of the novel’s themes. However, some of the more abstract arguments in the paper, such as the distinctions between solid and liquid, could have been made easier to understand.

Lee, Edwin. “’The Spirit of Noh 能’ – Oldest surviving form of theater in the world.” YouTube video, 8:46, July 6, 2018, https://www.youtube.com/watch?v=108d4KnZPxo.

This video essay provides a look into the cultural context behind Noh theater as an enduring and symbolic Japanese artform. Lee presents this information through the narrative of Noh theatre actor and mask craftsman Michisige Udaka, who delves into the history of Nohgaku and the significance behind the masks, which play important roles in Enchi Fumiko’s own novel. Michisige describes the masks as a way for the actors to channel their character while also allowing the audience to use their imagination to deepen their connection to the character. From a thematic standpoint, these masks act as vessels for the supernatural entities and Buddhist philosophies they represent.

This background into Noh theatre is important for the audience to truly understand the significance behind the masks in Enchi Fumiko’s story, as they are important symbols used throughout the work. Each section of the novel corresponds to a specific mask that represents a particular theme or aspect of a character, so it is important to learn the meanings behind them. The video essay’s ability to convey this through testimonies and clips of Noh theatre gives the reader a much better insight into the tradition than any article could. However, it is limited as it only presents the perspective of a single actor, which may not be accurate to Nohgaku and Enchi’s intentions.

Pounds, Wayne. “Enchi Fumiko and the Hidden Energy of the Supernatural.” The Journal of the Association of Teachers of Japanese 24, no. 2 (1990): 167–83. https://doi.org/10.2307/488952.

In this paper, Pounds argues that Enchi uses Masks to criticize Japanese culture’s female stereotypes by illustrating their shortcomings in representing women. Specifically, the article discusses the female image of the shamaness and its use to demonize and inscribe jealousy in women. Pounds delves into the supernatural genre of Japanese literature and how Enchi subverts the image of the shamaness by distorting the negative energies associated with the image of vengeful witches. This analysis focuses on Mieko, who the article believes to be a way for Enchi to reclaim the spiritual connotations of the shamaness without the negative patriarchal pretext. The paper references Enchi’s unique, fantastical approach to subjects such as eroticism and the gendered energies that male and female authors provide, emphasizing Enchi’s novelty regarding feminine images.

The article is important to the primary source as it adds depth to the stereotypes on femininity that Enchi addresses and subverts in her novel. Pounds does this by providing background to the supernatural genre as well as other authors who address similar topics, providing great insight into the Enchi’s intentions with Masks. Additionally, the paper does this in a concise yet informative manner, which adds to the value this secondary source gives the reader.

Scrogin, Katy. “Episode 1: Masks (Fumiko Enchi).” YouTube video, 8:06, April 17, 2020, https://www.youtube.com/watch?v=_JxUkW7sF3A&t=7s.

In her video essay, Scrogin reviews the broader themes of Enchi Fumiko’s Masks such as power dynamics, revenge, and manipulation. Given the rise of COVID-19 in 2020, the essay also attempts to connect the novel to the timely rise of mask-wearing in the pandemic. Aside from the plot summary, Scrogin goes into the literal meanings of the masks, as Noh theatre props, but also the metaphorical ones, which connote mystery and duplicity amongst the characters. Duplicity seems to be the focus behind this video as it emphasizes how the novel encourages the reader to self-reflect on their own metaphorical masks and how they present themselves to the world.

The video is unique in its attempt to apply the novel’s themes to more timely topics, such as how the surgical masks used in the pandemic have changed the way we express and repress ourselves to others. It is the most recent secondary source in this bibliography, so it provides unparalleled insight to how the novel is relevant to the reader in the present. However, the analysis itself is quite shallow in comparison to the other sources, but it benefits from the easily digestible qualities of video media and a short run-time.

Edit

Brownstein, Michael C. “The ‘Devil’ in the Heart: Enchi Fumiko’s ‘Onnamen’ and the Uncanny.” The Journal of Japanese Studies 40, no. 1 (2014): 29–55. http://www.jstor.org/stable/24242625.
            This article gives an alternate Western interpretation to Enchi Fumiko’s Masks (1905-1986) by viewing it from the context of “Das Unheimlich,” an essay by Sigmund Freud. Brownstein contrasts the common focus on the character Togano Mieko, a shamaness who manipulates others by channeling her frustrations against oppressive patriarchal forces, by emphasizing the role of Ibuki Tsuneo, a central but passive male character in the novel. The article argues that the audience’s understanding of the novel’s female characters hinges on the male perspective of Ibuki. Additionally, the paper draws several parallels to the work of Sigmund Freud, stating that both works channel “primitive beliefs” that illicit the feeling of uncanniness within the audience. Such beliefs include the return of the dead and the existence of doppelgangers.
            This secondary source provides an alternative, unique approach to interpreting the novel that may benefit the reader. The narrative constantly draws the readers’ eyes to the actions of the women, so it’s interesting to see a critique that brings attention to the male characters which at first glance seem to be mere pawns in the plot. The analogies to Freud’s work are also interesting since the unique plot of Masks makes it seem alien and incomparable, but the background to Freud’s work could be better developed. Additionally, the idea of devils of the heart was a bit abstract and hard to understand.
Cornyetz, Nina. “Bound by Blood: Female Pollution, Divinity, and Community in Enchi Fumiko’s ‘Masks.’” U.S.-Japan Women’s Journal. English Supplement, no. 9 (1995): 29–58. http://www.jstor.org/stable/42772084.
            This article delves into the significance of blood as a symbol both inside and outside of Masks. It emphasizes the duality in blood’s meaning, referencing health and disease in addition to fertility and miscarriage. Applying these connotations to the novel, Cornyetz argues that the inclusion of blood in Enchi’s work is meant to act as “an index of female identity;” menstrual blood, often considered a patriarchal marker of pollution and impurity, is reinterpreted as a measure of divinity and sisterhood among the female characters of the novel, who she describes to be modern shamanesses. Overall, the paper illustrates that the themes of blood in Masks are meant to subvert and resist the male-centered beliefs of lineage and impurity. 
            The article is significant when it comes to understanding the connotations of blood in the novel. It also provides a more female-centered interpretation that contrasts Brownstein’s, which may provide deeper insight for the audience. The cultural and literary background provided regarding femininity and spirituality may also aid the reader in better understanding some of the cultural significance of the novel’s themes. However, some of the more abstract arguments in the paper, such as the distinctions between solid and liquid, could have been made easier to understand.
 
Lee, Edwin. “’The Spirit of Noh 能’ – Oldest surviving form of theater in the world.” YouTube video, 8:46, July 6, 2018, https://www.youtube.com/watch?v=108d4KnZPxo.
            This video essay provides a look into the cultural context behind Noh theater as an enduring and symbolic Japanese artform. Lee presents this information through the narrative of Noh theatre actor and mask craftsman Michisige Udaka, who delves into the history of Nohgaku and the significance behind the masks, which play important roles in Enchi Fumiko’s own novel. Michisige describes the masks as a way for the actors to channel their character while also allowing the audience to use their imagination to deepen their connection to the character. From a thematic standpoint, these masks act as vessels for the supernatural entities and Buddhist philosophies they represent.
            This background into Noh theatre is important for the audience to truly understand the significance behind the masks in Enchi Fumiko’s story, as they are important symbols used throughout the work. Each section of the novel corresponds to a specific mask that represents a particular theme or aspect of a character, so it is important to learn the meanings behind them. The video essay’s ability to convey this through testimonies and clips of Noh theatre gives the reader a much better insight into the tradition than any article could. However, it is limited as it only presents the perspective of a single actor, which may not be accurate to Nohgaku and Enchi’s intentions.
 
Pounds, Wayne. “Enchi Fumiko and the Hidden Energy of the Supernatural.” The Journal of the Association of Teachers of Japanese 24, no. 2 (1990): 167–83. https://doi.org/10.2307/488952.
            In this paper, Pounds argues that Enchi uses Masks to criticize Japanese culture’s female stereotypes by illustrating their shortcomings in representing women. Specifically, the article discusses the female image of the shamaness and its use to demonize and inscribe jealousy in women. Pounds delves into the supernatural genre of Japanese literature and how Enchi subverts the image of the shamaness by distorting the negative energies associated with the image of vengeful witches. This analysis focuses on Mieko, who the article believes to be a way for Enchi to reclaim the spiritual connotations of the shamaness without the negative patriarchal pretext. The paper references Enchi’s unique, fantastical approach to subjects such as eroticism and the gendered energies that male and female authors provide, emphasizing Enchi’s novelty regarding feminine images.
            The article is important to the primary source as it adds depth to the stereotypes on femininity that Enchi addresses and subverts in her novel. Pounds does this by providing background to the supernatural genre as well as other authors who address similar topics, providing great insight into the Enchi’s intentions with Masks. Additionally, the paper does this in a concise yet informative manner, which adds to the value this secondary source gives the reader.
 
Scrogin, Katy. “Episode 1: Masks (Fumiko Enchi).” YouTube video, 8:06, April 17, 2020, https://www.youtube.com/watch?v=_JxUkW7sF3A&amp;t=7s.
            In her video essay, Scrogin reviews the broader themes of Enchi Fumiko’s Masks such as power dynamics, revenge, and manipulation. Given the rise of COVID-19 in 2020, the essay also attempts to connect the novel to the timely rise of mask-wearing in the pandemic. Aside from the plot summary, Scrogin goes into the literal meanings of the masks, as Noh theatre props, but also the metaphorical ones, which connote mystery and duplicity amongst the characters. Duplicity seems to be the focus behind this video as it emphasizes how the novel encourages the reader to self-reflect on their own metaphorical masks and how they present themselves to the world.
            The video is unique in its attempt to apply the novel’s themes to more timely topics, such as how the surgical masks used in the pandemic have changed the way we express and repress ourselves to others. It is the most recent secondary source in this bibliography, so it provides unparalleled insight to how the novel is relevant to the reader in the present. However, the analysis itself is quite shallow in comparison to the other sources, but it benefits from the easily digestible qualities of video media and a short run-time.