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An Influential Anne in
Japan The following article was originally written in 1996-1997, and a shorter version was published in The Lucy Maud Montgomery Album (compiled by Kevin McCabe, edited by Alexandra Heilbron, published by Fitzhenry & Whiteside, ISBN 1-55041-386-4) in 1999. Because I was born in Japan and work for a library in Toronto, Canadians often ask me why Japanese, particularly young Japanese women, are so fond of 'this Anne' created by Lucy Maud Montgomery more than ninety years ago. The phenomenon of young Japanese tourists rushing to visit Prince Edward Island puzzles the people of Canada. Why are Japanese so taken with Anne? One answer might simply be that they are attracted to the character of Anne. Anne has been charming Japanese readers for nearly fifty years. And Anne has a place in Japanese as well as Canadian history. The very first Japanese reader to fall in love with Anne is Hanako Muraoka (1893-1968). She was educated at Toyo Eiwa Jyogakuin, a Canadian mission school in Tokyo, and later became a well known radio personality, translator, Children's writer, and a commentator on issues relating to women and children. In 1939, Muraoka was given a much-loved 1908 copy of Anne of Green Gables by her friend, Canadian missionary Miss Loretta L. Shaw. Muraoka was charmed by Anne, and also she felt a sense of closeness to the story which was full of Canadian cultural atmosphere. She decided to translate the book into Japanese and introduce it to new readers as an oath of friendship to her Canadian friends who were expelled from Japan at the outbreak of World War II. In 1952, the first edition of Akage no An (Red-haired Anne), as Anne of Green Gables is known, was published. It had been translated by Muraoka during the war. Her skillful translation, remaining faithful to the spirit of Anne, instantly captured early Japanese readers. Muraoka wrote, in 'the Idol books' edition of Akage no An published by Popura-sha, that she was utterly crazy about Anne. Montgomery scholar, Professor Yuko Katsura, points out that Muraoka's influential translation and her leading roll as a public figure and intellectual may have strongly influenced Anne's popularity in Japan. Anne is a lucky character who was introduced into the foreign land by the skilled translator who loved Anne and was familiar with Canadian culture. During the war period, children's books in Japan were mainly didactic, filled with lessons from Confucianism and Buddhism. The government wished that children learn to obey their elders and respect the Emperor. However, this situation changed drastically after the defeat of the military government. A new Japanese Constitution was promulgated in 1946 under the supervision of General MacArthur. He encouraged Japanese publishers to introduce American juvenile books like the Little House series by Laura Ingalls Wilder to give hope to young readers in Japan as they rebuilt their devastated nation. At the war's end, the Japanese children's publishing industry republished important prewar Japanese texts. After this had been started, publishers considered foreign literatures. Beginning around 1950, they started to translate not only American children's books but also other foreign books containing positive, imaginative, and peaceful themes. New fantasy and adventure books were introduced to young Japanese readers. Works of Hugh Lofting, C. S. Lewis, Erich Kastner and Arthur Ransome all sold well. However, there was a lack of texts of the genre then described as 'domestic fiction' or 'romance', and few female protagonist stories were available. Born in Canada in 1908 and landing in Japan in 1952, Anne filled this gap. Earlier readers of Akage no An in the 50s and 60s strongly identified with the orphan's difficult situation, as the war produced many orphans. And in the 60s, as baby boomers became teens the demand for books for young readers grew in proportion with the improvement in economic conditions. However, the domestic publishing industry for young readers did not respond to this demand. Researcher, Yoshiko Takenaka wrote in 'Country Survey: Japan (II)', "most children's books simply incorporated the new ideology into the traditional framework of children's fiction, failing to capture the imaginations of children themselves, and so were soon eclipsed in popularity by 'manga' (comic books) and entertainment magazines" in Japan (Bookbird, IBBY, Vol. 33, No. 2, 1995). 'Shojo-zasshi' (magazines containing stories for girls) also eventually disappeared in the 60s with the rise in popularity of comic books and the influence of popular TV animation programs. This situation has endured into the 90s. Because of the lack of literary novels for youth in Japanese, readers must find satisfaction in translated foreign classics such as the Anne series. Since Anne's debut in Japan, she has been one of the most popular protagonists, alongside Carroll's Alice, Spyri's Heidi, Burnett's Sara Crewe, Porter's Pollyanna, and Alcott's four sisters. However, Anne also seems to be a most suitable and profitable pop culture icon, and her optimistic character remains in the viewer's mind. She became an original animated character in 1979, and a musical version of Akage no An, produced by Gekidan Shiki, toured all over Japan in the 80s and into the 90s. Recently, Sullivan Entertainment's movies and the TV series, Road to Avonlea, were broadcast, continuing her rise in popularity. Nowadays, the vivid character of Anne lives in many varieties of Akage no An, such as complete translation, digest and annotated versions. According to the 'Montgomery Book List', thirteen translators have presented their own visions of Akage no An (Kiuchi, Kazuya. Buttercups Tsushin, May, No. 111, 1996.). As well, Hanako Muraoka revised her translation numerous times to suit different audiences, and a selection from her translations even appeared in government-authorized junior high school textbooks. Anne is introduced to the reader as a wholesome reading. As well, comic book and CD versions of Anne are available. Many people in Japan have read Akage no An in one form or another, and readers of all ages can easily find an Anne suitable for them. Episodes focusing on female culture in P.E.I. especially appeal to female readers in Japan. The character of Anne develops through her reactions to daily life experiences in Avonlea such as her strong desire to go to a Sunday school picnic and eat an ice cream, her excitement when having Diana for tea, and her efforts to bake a cake for the new minister's wife. As a result of this interest, aside from the novels, modern magazines for these readers often focus on 'Learning Anne-ish Lifestyles,' exploring topics such as cooking, quilting, having tea, picnicking, and developing an imaginative appreciation of nature. Learning about these activities through episodes from the Anne books and beautiful photographs of P.E.I., readers feel close to Anne and her world. Magazines containing these themes appear periodically, usually in the Spring in accordance with Anne's first arrival on P.E.I. There are some fans who have not actually ever read the series at all, learning about Anne through these 'Anne Atmosphere' books and magazines which introduce the reader to her character through an exploration of her daily activities. Many readers in Japan have been charmed by Anne's complex character. Anne fans love her many-sided personality, created from Montgomery's actual experiences and love for her creation. Anne says of herself, "If I was just the one Anne it would be ever so much more comfortable, but then it wouldn't be half so interesting" (Anne of Green Gables, ch. 20). She is an interesting character, bright, imaginative, inquisitive, talkative and thoughtful, but also stubborn. She quite often makes mistakes. Maud gives Anne both admirable virtues and common shortcomings so that readers tend to sympathize easily with her. Anne appeals to readers looking for a rich and dynamic character. Maud writes in her journal, dated August 16, 1907, that writing Anne of Green Gables was "a labour of love... [I] made my 'Anne' a real human girl.... There is plenty of incident [sic] in it but after all it must stand or fall by 'Anne'. She is the book" (The Selected journals of L.M. Montgomery, Vol. 1, p. 331). As her creator says, Anne is truly a 'character' protagonist, not stereotypical but full of imagination and the radiant beauty of her character which is symbolized by "spirit and fire and dew" (AOGG, ch. 22). Anne has the rare ability to find the beautiful side of 'ordinary' scenes and things, and give hope to other people. One of the reasons that, over the generations, Anne's appeal to readers is that she gives them hope. Regardless of nationality, Anne definitely appeals to a certain type of readers. Carolyn Polese writes in ' Resilient Readers: Children's Literature in the Lives of Abuse Survivors' that many adult survivors of child abuse find escape in reading, and children's books are "a window into a different way of life, a second childhood" (School Library Journal, March, 94, Vol. 40, Issue 3, p. 156). Polese's survey indicates that "By far the most cited character for adult survivors is Anne in L. M. Montgomery's Anne of Green Gables" and that Anne gives readers a hint of survival. Polese comments that Anne "uses her inner resources to find solace and strength.... Anne takes control of her life and excels scholastically and socially." One abuse survivor told to Polese, "as an orphan, she [Anne] experiences the separation and isolation that many abused and neglected children feel, even when adults are physically present." Polese's observations reflect equally on Japanese and Western experiences. This is an interesting point when I think of Anne's popularity in present day Japan. The trend towards the nuclear and double income families has caused many Japanese youth to feel abandoned by parents and relatives. Even though they have parents, they are 'mentally orphaned,' not having the opportunity to communicate with their family. As educational background and large incomes are all-important in modern society, parents and teachers pressure youths to study hard to achieve higher education goals. Many young people live in an 'examination hell,' and they need some sort of place to escape from their daily life and they want a place which offers them both consolation and survival skills. Having a personal relationship with Anne, helps young readers learn things they need to live in their society, which they do not feel that they get from their parents or teachers. Anne gives readers comfort and courage. As if Anne were Browning's Pippa who passes by someone in low spirits unconsciously brightening their spirits by singing "God's in His heaven--All's right with the world," Anne whispers this exact phrase at the end of Anne of Green Gables giving hope to her readers. Anne leaves an indelible impression not only on readers who seek comfort but also readers who appreciate Anne's other qualities. Juvenile author, Erika Tachihara wrote in an article how Anne taught her new ways of imagining, dreaming, and working (Tachihara, Erika. 'Kusousuru', pp. 14-15, Moe, April, 1995, Hakusensha). Akiko Kumai, who popularized potpourri in Japan, wrote that she was impressed with Anne's strong imagination, and also first learned about potpourri from Anne books (Kumai, Akiko. 'Yumemiru', p. 20, Moe, April, 1995, Hakusensha). Popular cartoonist Sanpei Sato who first read Akage no An when he was over forty felt refreshed by the imaginative Anne who melts obstinate feelings of adults (Sato, Sanpei. 'Shabetto-taun', p. 25, Yappari 'Akage no An' ga suki, Sekai Bunkasha, 1994.). These middle-aged Anne fans, regardless of gender, appreciate Anne and Montgomery's influence that helped them to imagine a better life and fullfil their dreams. Anne's popularity in Japan continues in part because these older readers introduce her to younger generations through 'Anne Atmosphere' magazines, just as mothers pass their Anne books to their daughters. Nowadays 'philosophy of life of Anne' books for young readers are available. The concept of 'Anne' is becoming deep-rooted in the Japanese publishing market. Japanese readers have been as impressed with the outstanding character of Anne as Mark Twain was. In a letter to Montgomery dated 3 October, 1908, Twain writes that Maud had created "the dearest, and most lovable child in fiction since the immortal Alice" of Alice's Adventures in Wonderland. Unlike Alice, however, Anne is a multi-faceted girl with whom young readers quickly identify, and unlike wonderland, it is actually possible for the reader of Anne to emulate her, and follow her steps through P.E.I. The impact of Akage no An on Japan is similar to that of Pilgrim's Progress on England and North America in the past. Akage no An has become a Japanese girl's rite of passage, visiting P.E.I. her pilgrimage. One of the first significant pilgrimages to Green Gables was undertaken by twenty-three Anne enthusiasts in1981. On their return they decided to establish a fan club. The fan club Buttercups was organized two years later. Since then it has published a monthly journal titled Buttercups Tsushin, and a yearly academic journal. Nowadays approximately 200 members from an astonishing diversity of backgrounds belong to the club, and they are willing to help and participate in activities which preserve the memory of L. M. Montgomery and her works. In 1988, a donation of over $3000 CDN from the members of Buttercups helped renovate the Lower Bedeque School in P.E.I. where Maud taught less than a year. On Maud's birthday, November 30th 1996, they donated more than $1700 CDN to help restore the manse at Leaskdale, Ontario, where Maud lived with her family, into a Montgomery Museum. The members appreciate Anne and Maud so much that they eagerly support these important Canadian heritage sites, along with their other activities. To Buttercups members, Anne's spirit is a catalyst. Former editor of Buttercups Tsushin, Minoru Saitoh, is also one of the male members who was charmed by the character of Anne. Saitoh graduated from Tokyo University, and unlike most of the graduates from his university who traditionally get top positions in national government offices and banks, he established his own consulting company. Saitoh said that he followed Anne by choosing his own future career, despite the difficulty of this path. Anne's independent spirit lives in his mind. Miki Okuda, a devoted fan of Anne and a former member of Buttercups writes in her first book that she believed that if she could go to P.E.I., she could become Anne herself. In the 1995 book Akage no An no niwade--Delightful Days at Anne's Field: A recount of my fifteen months [sic] stay on P.E.I. Okuda writes about her dream-like life on P.E.I, emulating Anne in activities such as making handmade ice cream, quilting, baking bread, visiting a one-room school and Christmas activities. These are things that most Japanese would never experience. Okuda's stay on P.E.I. led her to become a writer. Like Anne, Okuda accepted her new career as a "bend in the road" of her life. Her second book Kikou, Akage no An is a journal describing the life of the islanders and the culture of P.E.I. Her interests have grown beyond those of Anne into the world of Anne. Another lifelong fan of Anne and a member of Buttercups, Emiko Kanemichi, moved from Tokyo in 1995 to live on a P.E.I.farm for a year. Her experience resembles that of Anne, adopted by Mr. and Mrs. Veinot who live in the community of Vernon. Unlike Anne, who helps Marilla's domestic chores, Kanemichi did farm work to help her 'Matthew.' Kanemichi told me that she overcame the burden of her heavy farm duties by reminding herself of Anne, who was always a positive and ambitious character even in difficult times. Kanemichi now works as an accountant in Tokyo, and publishes her own newsletter, sharing her experiences and memories of P.E.I. with her friends. Both Okuda and Kanemichi did not travel to P.E.I. as tourists, as do most Japanese. Because they love Anne dearly, these women flew to P.E.I. to explore their images of self and Anne. They both earned countless memories and seemed to build their own 'Green Gables.' It is not possible for serious Anne fans to have such experiences by merely visiting 'Canadian World.' This is Japan's Anne of Green Gables and 19th-century Canada theme park situated in the northern island of Hokkaido. Opened in 1990, the park has a replica of 'Green Gables', actually built by P.E.I. carpenters, as well as a 'red-haired Anne' transplanted from P.E.I. The girl dresses up as Anne and responds to tourist's questions about Canada. There are also Canadian staff in the park who demonstrate activities such as log-house construction and quilting. The 48 hectors park, as vast as Tokyo Disney Land, is divided into six zones. The entrance to the Anne's world is called Kensington Zone. Colts Zone has demonstrations of Canadian woodcraft and the life of native Canadians. The Craft Village Zone shows visitors about quilting and patch-work, while the events space is named Bright River Zone after the station at which Anne arrives at the beginning of the novel. The open picnic space is Terrasse Dufferin Zone. And, of course, the village in which this Anne lives is named Avonlea Zone. Here visitors can walk through 'Lover's lane' and 'Haunted Wood.' This theme park was built for the purpose of rescuing the dying city of Ashibetsu which once prospered from coal mining. The city tried to build on Japanese images of Anne and the beauty of Canada. However, Canadian World, managed by the city and Sapporo Beer Co., unfortunately shows a loss. An article in the Mainichi Shinbun (January 9, 1995) suggests that the park does not represent 'Akage no An' (Anne with red hair) but 'Akaji no An' (Anne into the red). Some say that the park's inconvenient location has led to fewer visitors than expected. Although the park is neatly designed and seems to be a perfect replica of Cavendish, P.E.I., there is something different, something missing. Did the managers of the park experience Anne's spirit through reading the series? And are there any imaginative space for visitors to become like Anne or another characters in the books during their visit at the park? In Canadian World, you find Anne sitting at Green Gables, but in P.E.I. (real or literary) you can become like Anne yourself. It seems that Anne has not taken root in the soil of Hokkaido as of yet. She is, on the other hand, a successful educator on Japan's main island of Honshu. There is a college of social work and nursing in Okayama called, under the agreement with the provincial government of P.E.I., 'The School of Green Gables' which was established in 1992. The school building actually has green gables. Soichiro Fukutake, the chairman of the school, writes that the educational philosophy of his college is to educate students to be like Anne. He said: "I would like to make my school the place where students grow like Anne, who is free and easy. Also Anne is humane and warm-hearted." (Ando, Hitomi. 'The School of Green Gables, Buttercups Tsushin, March, No. 109, 1996). It is true that Anne develops her warm-heartedness through her life with the couple that adopt her. Later, she chooses her way of living, caring for the aging Marilla instead of leaving home to pursue higher education. And she grows, fitting herself in as a member of society. Anne has a free soul but she never goes far beyond the limitations that her society sets. Ikuko Katanabe gave a questionnaire to the sixty-three of the school's students (Katanabe, Ikuko. 'To the School of Green Gables,' Buttercups Tsushin, June, No. 112, 1996). Typical impressions about the school are: clean, warm, open, joyful, homey, individual, free, friendly, charming school environment, and as if we were in an actual 'Green Gables.' As expected, most of the students' dream to become a professional nurse and caregiver. Some students state that they would like to be positive and bright like Anne. In this school, both educator and student encounter Anne through their daily school life, making an idol of Anne. Japanese readers and fans have been charmed by Anne since 1952. She has left a strong impression on those who met her, and she is immortalized in Japan. Novelist Hiroshi Takada, who read Akage no An when he was sixty-two, wrote that it was lucky to have met Anne during his life time, and that to him, Anne sits in his mind next to Dostoyevsky's Alyosha, and Stendhal's Fabrizio. Professor Yoshiko Akamatsu who teaches L.M. Montgomery's work in her English literature courses at Notre Dame Seishin University notes that the popularity of Anne in Japan has prompted Canadian scholars to reconsider the value of the author and her work. They are creating a literary image of Anne to the next generation. Over the generations, readers seem to be attracted to the complex character of Anne. She can offer each reader a different side of her personality. Once people meet Anne, they tend to read and reread the entire Anne series, adoring her, wishing to become like her, wanting to become her "bosom friend," and consequently hoping to see the actual island which Anne describes as "the prettiest place in the world" (AOGG ch. 2). They would love to know the world of Anne, the world of a character who is an influential friend to her Japanese readers. ----- copyright Yuka Kajihara 2001 |
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