2009-07-29

The metanarratives of today

I am re-watching Sailor Moon with my two-years old daughter, an episode per night, before sleeping. Sailor Moon is so good it hurts. I can only imagine what it must have felt like, to be involved in the production of something that’s so awesomely spot-on, so correct (in the sense of Wittgenstein’s æsthetics). There has been nothing like this in anime for a long time; perhaps it cannot ever happen again, because we lost the innocence — we cannot go back to not being ironic about anime; today’s Sailor Moon is, inevitably, Puni Puni Poemi.

One thing Sailor Moon got me thinking about are metanarratives. There is some variation in the metanarratives employed for male education; Jump-style is, of course, “becoming strong”, while Western-style is “being strong” — a subtle but very important distinction; Spider-man and Superman and He-man don’t get their powers through arduous training like Goku or Ryū or Naruto; they’re either born with them, or receive them magically, but in any case it’s a gift. The Western boy-fiction often requires the help of godlike authority figures (Gandalf, the Sorceress, the Dungeon Master), while the Japanese substitute this for the importance of friends or “comrades” (nakama). Social implications of these differences are left as exercise. In any case, both the Japanese and American boy-narratives boil down to fighting; to killing dragons.

The female metanarrative is different, and, in both cultural contexts, reflects an earlier era where women were supposed to make products out of themselves and market the result to the best bidder — to “score a good husband”. So the fiction for young females everywhere is about finding true love. Boy fiction: if you just win the battle, everything will be fine. Girl fiction: if you could just get him to like you, everything will be fine.

It’s interesting that the female metanarrative is carried pretty much intact to adult life, while its male counterparts undergo metamorphosis. The themes of struggle and victory have, necessarily, to be abstracted, because almost no one is actually a warrior or a hunter. (I suspect this metamorphosis doesn’t happen with, say, children of religious guerrillas; they can carry on the wars of childhood heroes verbatim). The literal dragons of boyhood become Chesterton’s dragons (“Fairy tales are true, not because they tell us that dragons exist, but because they tell us that dragons can be killed.”) But what are the dragons, exactly? In post-capitalist society, it is marginality. You’re supposed to be mainstream. Being a wino or a bum is obviously a contemporary sin, but so is being a NEET. The mystique of marginality, as celebrated by the beats and the hippies, now falls short; you’re allowed to identify as a “punk” or “artist” just as long as you keep being “mature” and “responsible” and “law-abiding” —.i.e. you’re allowed to deviate just as long as the deviation is fake. As Pink Floyd puts it, the metanarrative of our era is “get a good job with more pay and you’re OK”. People voluntarily strive for “self-improvement” — not to empower themselves in the Stoic sense, but to get a good job. It’s like slaves started to train themselves to better please their masters.

The problem with these narratives is, it’s all lies.

Both the male and female metanarratives are empty promises. Find the perfect Other, get in a prestigious university, buy a big house and life will stop sucking. But if you do it, you’ll find life will keep on sucking, about as much as it does right now. Go on a stroll with your soulmate, and you’ll meet the Buddha’s three men in the park—the sick, the old, the dead, Nature’s way of reminding you of your own death clock. Sleep in your big new house, and Sartre’s nausea will be waiting for you 2AM with a cup of insomnia. What are you supposed to do then? Improve your relationship, buy a larger house. Only the ever-flashier distractions we created for ourselves prevent us of seeing the obvious folly of all this striving-for.

As a parent, what can I do about this sorry, pedestrian state of affairs? Philosophy, for starters. Go to a library and find any “introduction to philosophy” book. Don’t read it; they all suck. But browse the table of contents. Mainstream society is still entangled in the first chapter. The best parts of it stopped at Descartes. We need more Rousseau, more Goethe, more Hegel, Kierkegaard, Nietzsche, Sartre, Foucalt, Lacan, Baudrillard, Dogen, Zhuangzi (not trying to be exhaustive or to brag here, just to give a sampler of what’s lacking in the worldview described above). It would be silly to try to preach society about what they’re losing, so the best we can do is to help individual people to find their own calling. The most important thing to teach children is thus how to not bow down to social pressure, and the most important virtue is egoism.

Another important task is to deconstruct the work/husband narratives from early on; say, by exposing data on suicide by the rich and how romantic infatuation burns off quickly.

2009-07-21

List reviews

A comparison of fantasy books:

  • Lord of the Rings (LotR): good story, bad philosophy.
  • His Dark Materials (HDM): bad story, good philosophy.
  • Harry Potter (HP): good story, good philosophy.
  • Narnia (CoN): bad story, bad philosophy.

  • Books of Magic (BoM; the comic book series): better story, and better philosophy (when compared to its successor, HP).

Coming-of-age stories: HDM, HP, BoM.
Not-coming-of-age stories: LotR, CoN.

Knows What Storytelling Is: LotR, BoM, HP.
Painfully Proselytizing: CoN, HDM.

Actually Tries, With Varying Success, to Create an Immersible World:

  • LotR.

Do Not Even Try, Only Skimming the Surface of Verisimilitude:

  • Everything else.

Enlightened about Sex: HP, HdM, BoM.
Irritatingly Puritanical (non-)Approach to Sex: LotR, CdN.

Condescending to Children and Teenagers: LotR, CdN.
Understands Children and Teenagers: HP, HdM, BoM.

Is Sexist:

  • LotR, CdN

Pretends Not To Be Sexist But When You Look Closely Is Actually Quite Sexist:

  • HP, HDM

Actually Has Women Outside Male-Supporting Roles:

  • BoM

Racist:

  • LotR, CdN.

Enlightened about Race:

  • HP, BoM.

Understand what Magic and Mythology is All About:

  • LotR.
  • BoM and its predecessor, Hellblazer.
  • Tokyo Babylon and XxxHolic.

Pedestrian, Literal, Uninteresting, Unmagic Portrayal of Magic:

  • HP.
  • CdN.
  • Dungeons & Dragons (&, Consequently, Every Videogame Ever, the Most Notable being World of Warcraft, which Fed Back into D&D, thus Creating a Loop of Uncreative Bore).

2009-07-14

Bashō’s Oku no Hosomichi, print version

I decided to do something very stupid. I decided to translate the most famous Japanese poetic diary, Bashō’s Oku no Hosomichi.

(This is particularly stupid because I’m still around 3kyū level. I can barely translate a Sakura Card Captors manga with several hours of concentrated effort and hundreds of trips to dictionaries and grammar books. I definitely shouldn’t be messing with bungo and kyūkanazukai at this point. But I’m an idiot, so I’ll try.)

I hate computers, and I especially hate reading on computers, so I typeset a version for print. It is based on the digitalization by the University of Virginia’s Japanese Text Initiative. I do not have permission to reproduce it (no one returned my emails). If someone at UVa thinks this is a problem, please contact me.

I figured perhaps people could use this, so I’m putting it online. I’m not a typesetter, much less a Japanese typesetter, so don’t expect professional-quality work (it’s done on openoffice, of all things; I couldn’t even figure out how to do vertical layout on TeX). Nonetheless, it has a few advantages over simply printing UVa’s website:

  • Vertical right-to-left layout.
  • Large kanji with plenty of whitespace to write furigana and notes.
  • No notes on variations, and no English text (I kept it simple for study).
  • Set in Meiji-era Dejima (Tsukiji) type. (Yes, I know that’s an anachronism, but at least it’s less anachronistic than using a modern type. After all, the historically appropriate way would be reading it in handwriting, but that’s, of course, impossible. The truth is, I love the Dejima font and wanted to do something with it.)

Get The Narrow Road to the Deep North (Oku no Hosomichi おくのほそ道), print version (PDF file, A4, 60 pages).

2009-07-07

Todas as cantigas infantis tradicionais são tristes, violentas, ou ambos

se esta rua, se esta rua fosse minha
eu mandava, eu mandava ladrilhar
com pedrinhas, com pedrinhas de brilhante
para o meu, para o meu amor passar

nesta rua, nesta rua tem um bosque
que se chama, que se chama solidão
dentro dele, dentro dele mora um anjo
que roubou, que roubou meu coração

o cravo brigou com a rosa
debaixo de uma sacada
o cravo saiu ferido
e a rosa, despedaçada

o cravo ficou doente
e a rosa foi visitar
o cravo teve um desmaio
e a rosa pôs-se a chorar

ciranda cirandinha vamos todos cirandar
vamos dar a meia-volta, volta-e-meia vamos dar
o anel que tu me destes era vidro e se quebrou
o amor que tu me tinhas era fraco e se acabou

cai-cai balão, cai-cai balão, na rua do sabão
não-cai-não não-cai-não não-cai-não
cai aqui na minha mão

cai-cai balão, cai-cai balão, aqui na minha mão
não-vou-lá não-vou-lá não-vou-lá
tenho medo de apanhar

a barata diz que tem sete saias de filó
é mentira da barata, ela tem é uma só
ahaha, óhóhó, ela tem é uma só

atirei o pau no ga-to-to
mas o ga-to-to
não morreu-reu-reu
dona chi-ca-ca
adimirou-se-se
do berrô, do berrô que o gato deu

pirulito que bate-bate
pirulito que já bateu
quem gosta de mim é ela
quem gosta dela sou eu

pirulito que bate bate
pirulito que já bateu
a menina que eu gostava
não gostava como eu

dorme neném
que a cuca vem pegar
papai foi pra roça
mamãe foi trabalhar

roda-cutia
de noite–e de dia
o galo cantou
e a casa caiu

três patinhos foram passear
pelas montanhas para brincar
a mamãe chamou, quá quá quá quá
mas só dois patinhos voltaram de lá

dois patinhos foram passear
pelas montanhas para brincar
a mamãe chamou, quá quá quá quá
mas só um patinho voltou de lá

um patinho foi passear
pelas montanhas para brincar
a mamãe chamou, quá quá quá quá
mas nenhum patinho voltou de lá.