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Paper short abstract

I will examine female subjectivity and Tanizaki’s use of sapphic titillation to construct the novel Manji. Tanizaki exploits the allure of female-female sex in the service of heteronormative male desire and the male gaze. The conspicuous allusions to Yoshiya's tales support the lesbian ambiance.

Paper long abstract

Representation of same-sex desire between women in Japanese literature has historically played second fiddle to that of men. This presentation will examine female subjectivity and Tanizaki’s use of sapphic titillation to construct the novel Manji (1928-30). Reinforcing the pinwheel of sex among the four characters, as emblazoned in the manji symbol, the narrative uses the word “fushizen” (unnatural) to describe lesbian sex. Although denigrating the sexual practice, the term simultaneously renders it salaciously enticing.

In short, Tanizaki exploits the allure of female-female sex in the service of heteronormative male desire and the male gaze. The allusions to shōjo bunka (girls’ culture), s kankei (Class S) relationships, and Yoshiya Nobuko’s world of Hana monogatari (Flower Tales, 1916-24) are conspicuous, as evidenced in Yoshiya’s Yellow Rose and Sweet Pea.

Coincident with the obvious, “sensational” sex, is the framing of this epistolary narrative. An implied reader called the “sakusha” (author) has the last word in the recording of this story and the edits and descriptive comments along the way. The author’s (rational, patriarchal) voice contrasts with the emotionality of Sonoko, who is driven by her passion for Mitsuko. Additionally, it seems that the four major characters, including Sonoko, are all liars. Therefore, absent confirmation of what actually happens or any possibility of sincerity, the reader of this novel can only be certain of one thing–we were baited by the exoticism of lesbian sex. Is it the author or Tanizaki who capitalizes on this boobytrap?

The epistolarity of Manji accomplishes three important constructs: it mimics/alludes to Yoshiya Nobuko and associations with her Flower Tales; it implies that the letter writer is speaking honestly in a confessional manner; and it gives the author the opportunity to comment and edit the letters, revealing that the author has the final word. In addition, it establishes a covenant between the sakusha and the reader of the novel and assumes we’re in agreement on the sakusha’s conclusions. To be clear, when I use the word author/sakusha, I am referring to the character-author and not to Tanizaki.