Namiko- Book Three

Book Three of Hototogisu, commonly known as Namiko, by Kenjiro Tokutomi is the third part to story that contains action, the hope of love reigniting, and of survival, with an ultimately tragic ending.

There are many aspects of melodrama that we see continued in this story. One prominent example of this is the idea that Ito suggests that a release of class structure and family creates negative coincidences for characters, thus allowing for this melodrama to occur. Ito suggests that the “institution” that is responsible for Nami’s misfortune is the ie. Nami’s illness threatens the continuation of Takeo’s ie, and the marriage must be terminated to prevent this. Ito also suggests that the book is a comment on family and gender in the Japanese society, and how the characters are introduced and “framed around the context of their social positions.” With this whole change in Japanese society during this wartime, perhaps Ito is commenting on the discourse that this changing class structure has brought to society and the negative effects it has.

Ito also brings up the idea of the “dokufu.” Through Book Three we see this appearance of the “dokufu”, or “poison woman” and the consequences to others characters that this “dokufu” causes. For example, we see Takeo’s mother as a “dokufu,” and how her ending of her son’s marriage ultimately causes all of these hardships for her son and Nami. One can say that Takeo’s mother subsequently causes Nami’s death from heartbreak. Takeo’s mother seems to take on this role of both that has both masculine and femine characteristics, maybe in part because of the fact that she is a widow. However, as readers, we sometimes may sympathize with the “dokufu” because of the way they are presented to us.

I think there is some symbolism in the sea, the stars, and dreaming. I have read other stories where the sea has often represented suicide, or been a place where people go to die. I thought it was interesting when Takeo was on the military ship, fighting, and he says he feels "nothing" while fighting and subsequently becomes insensible when he is injured. Here, on the sea, it almost feels like he has become hopeless; regardless of winning or losing, Takeo does not feel. Similarly, when Nami goes to the ocean she looks out at it and thinks that her only way to be free is to let the water sweep her away to her death. Again, we see the sea as a sense of a final destination, where all hope has been lost.

The stars on the other hand connect the two- they are something that both Nami and Takeo can look at, and often do, wondering where the other is and if he or she is thinking of the other. Similarly, we see that Nami and Takeo are often dreaming in Book Three. These protagonists are dreaming of past happiness in their lives, only to suddenly and unexpectedly be awaken. It is almost as if the dreams they are having are supposed to give the audience hope, and then the rude awakening seems to draw us back down to reality.

I thought the interaction of this actual war going on and this internal and family "war" going on. On page 237, there is a line that states "...the relations between Toyo and the Widow Kawashima had reached a crisis more imminent than even the struggled between Japan and China." This again may be a comment on this change in structure and the repercussions that it has had. While some men are enjoying the changes that have come to them, we see that some members of the family are left behind in the more typical Japanese family setting. Not all members of society are reaping the benefits of this social change.

We see two lovers wanting to live and die together. If these two lovers, Takeo and Nami, cannot be together in this life, then death is all that they seem to want. Timing also plays another huge role in determining the outcome of the story. We see the instance where Takeo ultimately saves Nami's father's life, an instance that seems to ultimately heal their relationship in the long run. Kiyo Ogawa's suprise meeting with her father and then the untimely death of her mother in law, father, son, and husband all in a short period of time. And finally, when Nami and Takeo see each other on the train, but are going opposite ways, and only see each other for a brief moment.

Nami is constantly being denied, up until the very end when only death finally accepts her. She craves a release that she feels she can no longer find in life. We see that even death makes her struggle, as she doesn't suffer death from a quick sickness, but rather dies of a broken heart- long and drawn out.

Together, the many different aspects of melodrama seem to tie this story together, especially with the quick and tragic ending that we experience as readers.

Questions:
Does the repetition of symbols or experiences evoke more feeling from the audience? (reappearance of the man with the red mole, the rock at Fudo Shrine that Nami and Takeo had sat on)
How do you feel about Nami dying? Did you think she was going to live?
Why do you think this theme of wanting to live and die together is so prominent in melodramatic works?
Do you think that this story (mostly in Book Three), broke down more of the barriers of the family, and thus the ending was doomed from this?