吉本ばななの読者とその時代- Excerpts from John Whittier Treat (1993)-

- Readers are attracted to her books because they are easy to understand, written in a style both colloquial and “real.” (p. 360)

- (Banana’s stories) have an idiomatic kinship with billboards, television commercials, pop songs, and fashion magazines, appear to those critics as an unconditional capitulation to the forces of commercialization. So often cited as the nefarious agent behind the production of popular culture (p. 360).

- Banana has defined her generation as that age cohort that “came into contact with exactly the same kinds of consumer products” (全く同じような商品に触れてきた). These commodities, in other words, define what is particular about the generation induced to consume them (p. 361).

- Banana authorizes a place from where the popular, consumer capitalist culture that articulated the shojo can be reiterated and potentially reread (p. 360).

- (Banana’s stories) represent the vacuous (何もない)sense of life (p. 360).

 

 吉本ばななの作品の中の死- Excerpts from John Whittier Treat (1993)-

- Banana's stories are always full of deaths and near-deaths --- indeed, it has been argued that they are her pincipal theme --- but they seem to function less as important topics in themselves than as the means for dramatically punctuating "youth" not from "adulthood" but from what is "not-youth," thus making the shojo jidai a neatly self-contained, self-referential object of Maria (in Tsugumi) (p. 379).

-たしかに吉本ばななの世界はいつも死に囲まれているが、主人公の少女や少年は孤独の底から自分を立て直して行きていこうとする健康な向日性に輝いている。しかしもちろんそういう健全なモラルの存在だけが作中人物の特徴ではない。それ以上に注目しなければならないのは、彼らが生に向かって起ち上がる、その起ち上がり方だ。彼らは頭のなかで観念的にそうすべきだと考えるのでもなければ、誰かの教えに従って道徳的にそうするのでもない。精神よりむしろ肉体の自然にしたがってそうするのである。食べたり、眠ったり、泣いたり、笑ったりすることで生きる元気を取り戻そうとするのだ。真に頼もしいのは、いかにも若々しいその健康性なのである。(曽根博義「キッチン」解説p. 231)

 

 吉本ばななの作品の中の家族- Excerpts from John Whittier Treat (1993)-

- There are no stereotypically “perfect” families in any Banana’s stories, unless they exist as images, dreams, copies, or untrustworthy memories (p. 369).

- The complement to the mythical or lost family is the unconventional − the so-called “dysfunctional” − family, of which there is a plenitude in Yoshimoto Banana (p. 369).

- The father is always distant, or missing entirely in Banana’s stories (p, 370).

- Banana’s work typically describes the experience of a non-biological pseudo-family created by a young girl otherwise parentless (p. 369).

- Sociologist Sodei Takako notes “major shifts, from around 1965, in the attitudes and behavior of the Japanese with respect to marriage and the family,” and Banana, born at just that critical moment, has observed in an essay that the conventional household (家庭)”is completely disappearing.” (p. 370)

 

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Reference
Treat. J. W. (1993). Yoshimoto Banana Writes Home: Shojo Culture and the Nostalgic Subject. Journal of Japanese Studies, Vol 19, No. 2, pp. 353-387