Up on the Guardian website, my article about Masakado, the malevolent spirit said to be haunting modern Tokyo.

“Wary of his influence, in 1874 the new government officially proclaimed him an ‘enemy of the emperor’, ending his semi-divine status. Then the finance ministry burned to the ground in the 1923 earthquake. Masakado was blamed. Rumours then spread that the replacement building, too, was cursed: accidents, falls and mishaps claimed 14 lives in five years – including that of the finance minister himself.”

Announced on 1st April, to give calendar makers a whole month to scramble to integrate it into their files, the new Japanese reign era will be: Reiwa (a subject first remarked up on on this blog here). 2019 will bridge the last four months of the outgoing Emperor’s Heisei era, as well as the first eight months of Emperor Naruhito’s reign, which is sure to be a colossal pain in the arse for lawyers trying to read Japanese copyright dates hereafter.

Previous era names have been drawn from Chinese classics, at least officially, although nobody dares to point out what a colossal fudge this is. The last era name, Heisei, was supposedly drawn from two, which is to say, one word from each. That’s such a half-hearted, hand-wavy justification that it doesn’t surprise me in the slightest that Naruhito’s reign should begin with a statement that lifts a phrase from a medieval Japanese poetry book, the Manyoshu, or Collection of Ten Thousand Leaves.

The words rei and wa crop up in the preface to a cycle of thirty-two poems about plum blossoms, translated by Edwin Cranston in A Waka Anthology as: “It is now the choice month of early spring; the weather is fine, the wind is soft.” Choice here doubles for proclamation, as an archaic term for the moon that proclaims the new season; soft for peace – I suppose we should count ourselves lucky that the selected words weren’t “old geese” and “winecup”, which could have been the new era’s Boaty McBoatface.

This isn’t the first time that the Manyoshu has cropped up in NEO’s transom. The sadly obscure sci-fi series Blue Submarine No. 6 came spattered with quotes from it, and Makoto Shinkai’s Garden of Words drew its title from another of the poems. I spent most of April Fool’s Day manfully resisting the temptation to offer fake explanations online. Reiwa, written with different characters, also means “illustration”, which manga creators are sure to have fun with for the next few decades. Somewhat more ominously, it also means “zero-sum”, an apt but rather chilling portent of the struggles ahead in the 21st century, as nations get increasingly bullish over the allocation of resources in times beset by climate change and energy crises. Although one more chance pun probably has them doing the Macarena in celebration at Gainax, since their iconic anime character Rei Ayanami probably just got a whole bunch of new merchandise opportunities.

Jonathan Clements is the author of A Brief History of Japan. This article first appeared in NEO #185, 2019.

Lady Murasaki’s Tale of Genji appears to have been patched together over the course of a couple of decades, serialized in episodic chapters for a small circle of intimates. Its titular hero is a minor princeling, the son of one of the emperor’s lesser concubines, doomed to a life of genteel idleness and forced into several soap-opera situations involving unwelcome betrothals, doomed love affairs, and court scandals. It is likely, but impossible to prove, that some of the situations in which he finds himself were thinly disguised allusions to real goings-on in the capital.

“I have a theory,” Murasaki wrote, “about what this art of the novel is…It does not simply consist in the author’s telling a story.” Instead, she argued for writing as a true vocation—an insurmountable urge to communicate with others.

“On the contrary, it happens because the storyteller’s own experience…even [of] events he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart. Again and again, something in his own life…will seem to the writer so important that he cannot bear to let it pass into oblivion.”

Murasaki’s depiction of court life is an idealized world of courtiers dueling with witty poems, and of lovelorn princesses waiting for their Prince Charming to sneak into their bedchamber for a midnight tryst. She presents a view of an idle, timid coven of women diverting themselves with guessing games and literary competitions, largely at the mercy of a society of rapacious or dismissive men. Sometimes it’s difficult to tell what’s worse for one of Murasaki’s women: attracting the attention of a nobleman who will force himself on her in a midnight visit, or realizing that such attentions are waning, that he has found another diversion in another palace courtyard, and that she is left literally holding the baby.

The attitudes of Murasaki’s characters make it abundantly clear that women in in her world are second-class citizens, “creatures of sin” in Genji’s words, regarded by the menfolk as idle, ditzy decorations. Such attitudes are a world away from the ancient legends of Japan, which are thickly populated with queens and warrior-women, and seem to imply that the indigenous people accepted a power structure that regarded women and men as complementary equals. In The Tale of Genji, we catch a glimpse of the damage that may have been done by several centuries of immigrants from the mainland, infusing the Japanese with another Chinese import—chauvinism.

Entire shelves of books have been written about The Tale of Genji, and the adroit, oblique way that it purports to be about its title character, the “shining prince,” while actually being about the women in his life. An early chapter features Genji and his friends idly and somewhat cluelessly discussing the types of women that exist, setting up dozens of later chapters in which he blunders into relationships with their real-world manifestations.

From A Brief History of Japan by Jonathan Clements, available now in the UK and the US.

One of our most valuable records of life in the Heian court comes from a chatty, contrary, vulnerable lady-in-waiting whose habit of writing topical lists and musings often makes her come across like a modern blogger. Common to the etiquette of the day, her true name remained unspoken in public and is hence lost, although she is usually referred to by her nickname, Sei Shōnagon (Lesser Councillor of State Kiyo’s [Woman]). Some of her diary entries even appear to be what we might now call memes—snickering about a cat treated as a royal personage, or a long-forgotten in-joke about a spindle tree, enduring today as nothing but an unintelligible punchline.

Sei Shōnagon loves getting letters; she derives a nerdy joy at finding books she hasn’t read before. Rude people piss her off. She can never find a truly good pair of tweezers. She hates that moment when you splash ink on a book you are copying out; that moment when you wait up all night for a man who doesn’t show; or when he does and then snores loud enough for your neighbors to know what’s going on.

She doesn’t like going to bed alone, and burning fine incense that makes her feel like she is a class act if there is no man to notice. When she looks in her Chinese mirror and the burnished bronze is a little cloudy, it makes her fret that she, too, is losing her looks. When an evening letter arrives from her lover, she can’t wait to find a lamp, and uses tongs to snatch a lump of red charcoal from the nearby brazier, squinting in the half-light, heedless of the fire hazard.

Sei Shōnagon gets annoyed when she hires an exorcist to deal with someone’s spirit possession, only for the guy to turn out to be a drowsy charlatan. She swells with childish pride when the empress addresses her and she accidentally says the right thing in response.

When her carriage travels down a narrow woodland lane, she reaches out to touch the trees.

Haters still hated. Murasaki Shikibu (the “Wisteria Girl of the Ministry of Ceremonies ), a fellow court lady who also kept a diary, couldn’t stand Sei Shōnagon, but had to put up with her scribblings. A thousand years later, we are immensely fortunate to have access to the writings of both these remarkable women, who not only wrote beautifully and evocatively about their lives, but did so at the same time and place. Somewhere, sitting in a bar not far from you right now, there is a pair of frenemies just like them—one bubbly, chatty, and sensual; the other shy, plainer, but smarter. Sei Shōnagon is the hot, flirty one with a ready comeback; Murasaki Shikibu is the wallflower who thinks of something cleverer, but only on the way home. Widowed at a young age, Murasaki was introverted, introspective, icily witty but faintly repulsed by human contact, particularly with Sei Shōnagon, whom she regarded as insufferably smug, airheaded, and with an inflated sense of her own literary merits.

“If we stop to examine those Chinese writings of hers that she so pretentiously scatters about the place,” Murasaki wrote, “we find that they are full of imperfections.” By far the smarter one, Murasaki tried and largely failed to keep her intellect secret from her fellow court ladies, whom she rightly suspected would be at first curious, and then jealous. Murasaki, who dismissed Sei Shōnagon for her flighty interests and empty opinions, had the last laugh, being remembered as the world’s first novelist for writing The Tale of Genji around the turn of the eleventh century.

From A Brief History of Japan by Jonathan Clements, available now in the UK and the US.