No Longer an Object of Consumption

Traditionally, diaries have been known to document and record a person’s daily activities and experiences. But over time, this literary genre has evolved and diverged from its original purpose to being utilized to portray and communicate varying emotions, ideas, and relationships. For example American novelist Ruth Ozeki utilizes the genre of the diary in My Year of Meats to define and explore the powerful, complex relationships that people have fostered with food.

            Through the use of the genre of the diary, My Year of Meats narrates a story of two contrasting female protagonists struggling in a world heavily impacted by food. By presenting the respective stories of the protagonists Jane and Akiko through a firsthand account, readers are able to step into the shoes of both characters and clearly observe each respective woman’s perspective and relationship with food. By allowing readers to explore the minds of both protagonists, Ozeki effectively emphasizes the complex relationship humans have developed with food. As time has progressed, food is not only a literal substance required to maintain life and growth or a simple object of consumption, but also as an element that has defined cultural traditions in addition to shaping social hierarchies and relationships.

The novel begins with the story of Jane Takagi-Little, a Japanese American journalist working for a Japanese television show known as My American Wife. The basic narrative of the show portrays the daily life in the kitchen of an American housewife to a Japanese audience. Through Jane’s story, her perspective portrays the dynamic relationship between food and society. In the television show, food serves to symbolize and demonstrate the prosperity of American culture to the program’s audience. But outside of the show, in Jane’s personal life, her decision to become a vegetarian because she lacks the funds to consume meat emphasizes food’s role in establishing a social hierarchy.

On the other side of the globe, the diary of Japanese housewife Akiko Ueno reveals a contrasting relationship with the food industry. As the wife of the producer of My American Wife, Akiko is immersed in the program’s fabricated perspective of American food and culture. But internally, Akiko has defined her own relationship with food. Suffering from bulimia, food impacts several aspects of Akiko’s life, harming her physically and psychologically as well as externally with her deteriorating marriage with her husband and My American Wife.

            By providing a firsthand account of the personal relationships established between people and food, the diary genre in My Year of Meats effectively serves to expose the impact food has had on several different levels outside of the traditional food sphere. While food is normally seen as a biologically necessary substance required for nutritional support, over time, it has evolved a complex and dynamic relationship with humans, affecting not only physical health, but also other varying and integral aspects including psychological health, cultural tradition, and social status. By allowing readers to catch a glimpse of this unexplored world of food and varying connected networks and relationships it cultivates, the diary allows the audience to view contrasting perspectives of food and how food ultimately permeates all aspects of life.

Momotaro’s Sea Eagles: Utilizing Tradition to Promote Patriotism

In the midst of World War II, relations between the United States and Japan had become increasingly tense. As a result of the American declaration of an embargo on crucial exports to Japan, the eastern Asian nation realized that it is had no other option but to declare war, and in 1941, Japan launched an attack on the American naval base at Pearl Harbor. Soon after the attack, Mitsuyo Seo’s Momotaro’s Sea Eagles was released in Japan. Directed at the nation’s youth, the animated propaganda film’s use of cultural tradition served to incite patriotism and garner support for the global crisis at hand.

The three animals present in the original folk story

In the original, historical folk tale, Momotaro or “Peach Boy,” is a young boy sent from the gods to save Japan from the beasts of Ogre Island, with the help of animal companions that Momotaro encounters on the way. The oral of tradition of the folkloric Momotaro, passed down from generation to generation in Japanese culture, has become an integral aspect of Japanese youth. The courageous nature of Momotaro has consistently served as a role model and idol to young children, engraining in them a sense of national pride. By using the culturally significant figure of Momotaro as the protagonist of his animated film, director Mitsuyo Seo successfully assembled support for World War II with his connection of the war with the folk story.

The animated film used as propaganda to garner support for the war

While World War II was taking place, life in Japan, especially for its youth, remained relatively unaffected by the crisis. In order to gain support for the military strike on Pearl Harbor, Momotaro’s presence in Momotaro’s Sea Eagles justified the nation’s actions. Because the traditional story of Momotaro is such a significantly defining feature and symbol of Japanese culture, the use of these characters in such a diverging narrative from the original is enough to convince viewers that Japanese participation in the war is justified and praiseworthy, even though the only similarities in the propaganda film seem to be the protagonist and his group of animal comrades. Because Momotaro led this air strike, Japanese youth were convinced that if Momotaro advocates the war, then it is only just to support the effort as well.

Momotaro preparing the animals for the strike

For example, at the beginning of the film while the animals are on the ship preparing to take off, Momotaro first appears as the leader of the strike, dressed in an authoritative uniform. Momotaro gathers all the animal soldiers, giving them a fervent pep talk before they embark on their mission to Demon Island. Reminiscent of the original story where Momotaro and the animals courageously journey to Ogre Island, this parallel in the propaganda film serves to unite the wartime story to the original, emphasizing the importance of nationalism and patriotism.

As an iconic symbol of historical culture and tradition, the character and story of Momotaro is widely recognized in the Japanese community. And during World War II, Momotaro appeared in several propaganda films and cartoons, including Momotaro’s Sea Eagles, promoting the war overseas. By tying together the roots of Japanese culture with the attack on Pearl Harbor, the film’s use of Momotaro served to associate Japanese culture with the war ultimately uniting Japanese youth while patriotically supporting the nation’s efforts in the global war.

Moving Towards a Virtual World

In the broad spectrum of visual entertainment targeting a younger audience, the personification of nonhuman entities is a frequent and recurring motif. As evident in popular forms of media entertainment aimed towards children, such as cartoons and anime, the application of human feelings and actions to animals or inanimate characters has successfully established a large fan base.

For example, in the Japanese propaganda film, Momotaro’s Sea Eagles, a multitude of charming, floppy-eared animals serve as patriotic soldiers preparing for an attack. Likewise, in the Japanese anime series, Astro Boy, the protagonist is a captivating crime-fighting robot with large, glassy eyes. In both Momotaro’s Sea Eagles and Astro Boy, the use of cute and lovable nonhuman characters successfully appeals to a large audience, while simultaneously emphasizing the contrasting relationships that these characters have established with humans.

Similar to the original folk tale, the group of animals consisting of a monkey, dog, and bird, in Momotaro’s Sea Eagles, comes together under the authority of Momotaro to raid Ogre Island. Although the animals represent the Japanese pilots that attacked Pearl Harbor, the film’s use of a multitude of animals directed by one central human leader demonstrates the unequal relationship between humans and animals. As the plot of the film unravels, the protagonist, Momotaro, safely remains on the ship while all the animals risk their lives by obediently loading onto fighter pilots and carrying out an air strike on Ogre Island.

Momotaro safely on the ship, watching the animals return from Ogre Island

As evident through the subservience of the animals to Momotaro, the film highlights the concept of human superiority over animals. The film’s depiction of the inequality in status between Momotaro and his crew of animals reflects society’s perception of animals as inferior creatures that have been domesticated and utilized to better human welfare.

While Momotaro’s Sea Eagles emphasizes human superiority over animals, the Japanese anime series Astro Boy demonstrates the growth of human fascination and dependence on machines and technology. In the pilot episode of the anime series, Astro Boy is introduced when a scientist creates him to replace his recently deceased son. Although the scientist proceeds to abandon the robot for lacking human traits and characteristics, the perspective of machinery and technology quickly shifts when Astro Boy utilizes his technologically advanced innovations including incredible strength and the ability to fly, to save a large group of people from a catastrophic fire.

Several robots accompany Astro Boy in saving the humans from a fire

This initial rescue sets up the premise for the rest of the series, creating an image of Astro Boy as a futuristic hero and role model for Japanese youth. By establishing the protagonist of the series as a technologically forward and lovable character who courageously fights crime, the series ultimately serves to reflect the modern growth of human fascination and dependence on technology.

As evident in Momotaro’s Sea Eagles and Astro Boy, human relationships with animals and technology are highly dynamic. Presently, humans are shifting away from animals, perceiving them as inferior creatures available for manipulation and exploitation to better human welfare. On the other side of the spectrum, humans are increasingly gravitating towards the technological world. This shift away from animals towards machines and technology ultimately reflects the concept that in this modern day and age, the global growth of technological innovation has spurred a dramatic transition from reality to an obsession with the virtual world.

Astro Boy: Closing the Gap

As a pioneer of Japanese manga and anime, Osamu Tezuka is possibly most renowned for his ever popular anime series, Astro Boy. Although it had its beginnings as a manga series, by 1963, Astro Boy rocketed into the world of television where it proceeded take the world by storm, penetrating and influencing all aspects of Japanese society and culture.

The pilot episode of the television program begins the series with the birth of Astro Boy. Created by a scientist to replace his recently deceased son, Astro Boy is quickly abandoned by his father when he realizes that Astro Boy is unable to live and grow like a human boy. The basic narrative of the series, depicting Astro Boy as a heroic figure, is established when Astro Boy is sold to a circus and readily saves all the victims when the circus tent catastrophically burns down.

Astro Boy saving the circus ringleader from the fire

The creation of this heroic, futuristic robot served as an admirable role model to the youth of Japan and quickly attracted a large fan base. The popularity of Astro Boy skyrocketed, exhibiting an exponential growth in popularity. Initially, Astro Boy seemed to be taking the manga and anime world by storm, but the series continued to grow, infiltrating all media outlets and aspects of society, eventually making its way into the food industry. When the series began, its first sponsor was Meiji Seika, a leading chocolate manufacturer in Japan. Although the sponsoring of Meiji and Astro Boy ultimately served to mutually increase the popularity and sales of both partners, it was the appeal and attraction of Astro Boy that allowed the sponsorship to achieve such prosperity.

From Astro Boy opening credits: Astro Boy fighting evil

By no means was Astro Boy the first manga or anime character. But what set the series apart from all its predecessors is its combination of strong aesthetic attraction and appealing characteristics of the protagonist. Creating an eternally youthful yet futuristic robot adorned with big, glassy eyes and drawn with rounded shapes, Tezuka created a universally appealing aesthetic in Astro Boy. Coupled with his kind, and selfless acts of heroism, Astro Boy quickly became a popular idol for children. This combination was enough to create a high demand for Astro Boy in all aspects of daily life. As the sponsor, Meiji sold their products with supplementary Astro Boy stickers, and with the mobility and portability of these stickers, Astro Boy seemed to be taking over society. Astro Boy had such a large impact on Meiji that they further diminished the gap between the entertainment and food industry when the company released chocolates shaped like Astro Boy.

The strong ties established between Astro Boy and Meiji have had such a historically significant impact that the two names have become increasingly synonymous. And over time, Astro Boy has grown to become much more than a popular anime series. While the television series itself left its mark in the manga and anime world, Astro Boy’s ability to penetrate and diffuse through Japanese culture served to close the gap between contrasting elements of society and ultimately creating a cohesive unit tied together by one sole character.

Momotaro’s Sea Eagles: Uniting the Past and the Present

The animated Japanese film, Momotaro’s Sea Eagles, was released in 1943 as a propaganda film during World War II, shortly after the Japanese attack on the American naval base at Pearl Harbor, just two years prior. In order to garner support for the war, Japanese director and writer Mitsuyo Seo incorporates elements of the popular Japanese folkloric tale of Momotaro into the inciting and patriotic film. As the film begins, various dogs, birds, and monkeys, also present in the original tale, prepare for battle on a naval ship under the command of Momotaro.

The animals gather around an authoritative Momotaro

Within the first few minutes of the film, all the respective animals scurry about the ship as they line up in formation upon the entrance of Momotaro. As the commander of the ship, Momotaro is initially introduced in a position of power; the scene begins with a panoramic view of the ship as the animals line up around Momotaro, and slowly proceeds to zoom in towards Momotaro at the center of the crowd. In this pivotal shot, in which the entirety of the film is set up, Momotaro is the central authoritative leader amongst all these animals, effectively stirring up patriotism and nationalism in order to defend the country from Demon Island. It is in this scene, embodying the sole purpose of the film, that Momotaro’s large presence and strong leadership incite the determined and proud animals, foreshadowing the success of the eventual attack later on in the film. The established authority and influence of Momotaro in the film resembles that of the character’s leadership in the folk tale as he and the other animals take on Ogre Island. The characteristic similarities of Momotaro as a hero in both stories bring a relevancy of the folk tale into the present war at hand, effectively serving as a true propaganda film.

Diaries: Bringing the Past into the Present

Illustration of Sei Shonagon, author of The Pillow Book

            As Japanese author Sei Shōnagon once remarked in her renowned Pillow Book, “I put things down as they came to me” (Ozeki 1). In My Year of Meats, Ruth Ozeki utilizes Sei Shōnagon’s historic Pillow Book diaries to create a compelling narrative, unraveling a story about the dynamics of cultural realities. Focusing mainly on two contrasting protagonists, Jane and Akiko, My Year of Meats explores and uncovers cultural similarities and differences between Japanese and American culture. Ozeki’s use of The Pillow Book diaries, full of spontaneous jottings, unites the two narratives into one cohesive unit by inspiring the choices and actions of both respective protagonists while simultaneously revealing contrasts between historic realities and perspectives with those of a more modern era.

            The novel begins with Jane Takagi-Little, a Japanese-American documentarian directly inspired by Sei Shōnagon’s raw and uncensored perspective on life. At the start of the novel, Jane is hired by a Japanese company as the creative producer of a new television show, “My American Wife,” aimed at portraying the daily activities of stereotypical all-American housewives. Because the show broadcasts an illusory portrayal of happy American households to a Japanese audience, Jane detests the artificiality of the program. While the show focuses on upholding appearances, Jane imagines Shōnagon, “the master thief…watching [her] slipping in and out of darkened rooms and steal from people’s lives” (Ozeki 32). Like Sei Shōnagon, who defies social norms as “the sort of person who approves of what others abhor and detests the things they like” (Ozeki 1), Jane is an advocate of documenting life as is. As a documentarian, Jane prefers to reveal the undersides of situations and events, raw and unedited.

On the other side of the globe, Akiko, the wife of “My American Wife’s” producer, is a Japanese housewife who essentially serves as a foil to Jane’s anti-mainstream, artistic nature. Although she was once a manga artist, she became a housewife after marriage, dominated by her demanding husband. Unlike Jane, Akiko is rather meek, never “at all sure of anything, even of her likes and dislikes” (Ozeki 39). But like Jane, Akiko finds inspiration in Shōnagon’s Pillow Book. Akiko believes that “Shōnagon was so sure of herself and her prescriptions” (Ozeki 38) that she found comfort in reading her multitude of spontaneous, insightful lists. Although Akiko often attempts and fails to create her own lists, Shōnagon’s certainty ultimately serves to empower Akiko, giving her a sense of independence and authority.

Completed in 1002, the observations and thoughts displayed in Sei Shōnagon’s Pillow Book serves to inspire the lives of both Jane and Akiko, nearly ten centuries after the diary was completed. As a diary portraying the thoughts of a Heian court lady as they flowed from her mind to the pages of the notebook stored under her pillow, Shōnagon’s certain and realistic thoughts empower and unite the two main protagonists and their narratives. Through the use of observational diaries, Ruth Ozeki brings together two highly contrasting personas to create one cohesive narrative that ultimately reflects the cultural and inspirational connection between the past and the present.

Dynamics in the Foodscape: Democracy versus Distinction

As Josee Johnston and Shyon Baumann stated in Foodies: Democracy and Distinction in the Gourmet Foodscape, “Cultural consumption allows foodies to negotiate a fundamental ideological tension between democracy and distinction”. In the 1985 Japanese film, Tampopo, director Jûzô Itami experiments with this evolutionary perspective of food through the elevation of western populist foods and mannerisms while deflating traditional, elitist approaches to food. While the majority of the film focuses on the protagonist, Tampopo’s journey to reinventing herself as a proficient ramen chef, Itami plays with the different views of food by interspersing the film with shorter narratives. For example, in one subplot, a Japanese woman instructs a group of young women on the proper etiquette when consuming spaghetti, a popular western dish.

Etiquette instructor demonstrating the proper technique to eating spaghetti

While the instructor lectures on and demonstrates the customary technique of eating spaghetti by carefully twirling it on a fork and spoon and silently consuming it, a Caucasian man sitting nearby ravenously and audibly devours his dish. By juxtaposing the woman’s etiquette class with the Caucasian man’s mannerisms, Itami blatantly emphasizes the concept of democracy and distinction in food. Itami’s use of the Japanese instructor and her careful demonstration utilizing a western dish symbolizes the traditional elitist view of food by asserting the concept of food as an indication of status and self-established arrogance.

The cuisine used in the scene further emphasizes the view of food as a display of pretentiousness. By demonstrating proper etiquette through the use of the western dish of spaghetti as opposed to a common Japanese dish, Itami highlights the belief that western and European cuisine is reserved only for the elite.

Pupils ravenously devouring their noodles

As the scene unfolds and progresses, the dynamic of the scene shifts dramatically. Once the instructor correctly demonstrates the manner in which spaghetti is consumed, the pupils are instructed to follow suit. Instead of imitating the Japanese instructor, the large group of young women begins to mimic the Caucasian man, loudly and voraciously ravaging their noodles. It is at this point in the scene that food transitions into a democratic concept. Here, even the instructor begins to loudly slurp on her spaghetti. In the democratic perspective, food is meant to be inclusive and enjoyed by all. As evident in this scene, the women’s rejection of proper etiquette successfully and figuratively destroys the traditional hierarchical view of food and replaces it with a more modern, egalitarian take.

Spaghetti is initially used to represent western and elitist foods, but it simultaneously symbolizes the equalizing effects of a democratic foodscape. Recently, spaghetti has transitioned from being a historically gourmet European specialty to a commonplace, western populist food. In modern times, spaghetti is an easily and financially accessible cuisine that anyone can enjoy. By using this specific fish, Itami is able to successfully assert the dynamic shift of food between democracy and distinction.

Although Tampopo consists of several side-stories weaved into a main plot, this short three-minute subplot serves to express the many different dimensions of food. Through this scene, director Jûzô Itami is able to clearly and playfully provide insight on the dynamics of food throughout history, as it shifted from an elitist commodity to a democratically inclusive fare.