Fumiko Hayashi (林芙美子, Hayashi Fumiko, December 31, 1903 – June 28, 1951) was a Japanese writer of novels, short stories and poetry, who has repeatedly been included in the feminist literature canon.[3] Among her best-known works are Diary of a Vagabond, Late Chrysanthemum and Floating Clouds.[1][2][4]
Biography
Hayashi was born in Moji-ku, Kitakyūshū,[a] Japan,[1][2] and raised in abject poverty.[5] In 1910, her mother Kiku Hayashi divorced her merchant husband Mayaro Miyata (who was not Fumiko's biological father) and married Kisaburo Sawai.[4] The family then worked as itinerant merchants in Kyūshū.[4]
After graduating from high school in 1922, Hayashi moved to Tokyo and lived with several men, supporting herself with a variety of jobs,[5][6] before settling into marriage with painting student Rokubin Tezuka in 1926.[4][7] During this time, she also helped launch the poetry magazine Futari.[4][7] Her autobiographical novel Diary of a Vagabond (Hōrōki), published in 1930, became a bestseller and gained her high popularity.[1][2][4] Many of her subsequent works also showed an autobiographical background,[8] like The Accordion and the Fish Town or Seihin no sho. In the following years, Hayashi travelled to China and Europe.[1][4]
Starting in 1938, Hayashi, who had joined the Pen butai ("Pen corps"), war correspondents who were in favour of Japan's militarist regime, wrote reports about the Sino-Japanese War.[9] In 1941, she joined a group of women writers, including Ineko Sata, who went to Manchuria in occupied China. In 1942–43, again as part of a larger group of women writers, she travelled to Southeast Asia, where she spent eight months in the Andaman Islands, Singapore, Java and Borneo. In later years, Hayashi faced criticism for collaborating with state-sponsored wartime propaganda, but, unlike Sata, never apologised or rationalised her behaviour.[3][10]
Writer Yoshiko Shibaki observed a shift from poetic sentiment towards harsh reality in Hayashi's post-war work, which depicted the effects of the war on the lives of its survivors, as in the short story Downtown.[3] In 1948, she was awarded the 3rd Women Literary Award for her short story Late Chrysanthemum (Bangiku).[4] Her last novel Meshi, which appeared in serialised form in the Asahi Shimbun, remained unfinished due to her sudden death.[11]
Hayashi died of myocardial infarction on June 28, 1951,[4] survived by her husband and her adopted son.[6] Her funeral was officiated by writer and friend Yasunari Kawabata.[10] Hayashi's house in Shinjuku Ward, Tokyo, was later turned into a museum, the Hayashi Fumiko Memorial Hall.[2] In Onomichi, where Hayashi had lived in her teen years, a bronze figure was erected in her memory.[12][13][14]
Themes and legacy
Many of Hayashi's stories revolve around free spirited women and troubled relationships. Joan E. Ericson's 1997 translations and analysis of the immensely popular Diary of a Vagabond and Narcissus suggest that Hayashi's appeal is rooted in the clarity with which she conveys the humanity not just of women, but also others on the underside of Japanese society. In addition, Ericson questions the factuality of her autobiographical writings and expresses a critical view of scholars who take these writings by word instead of, as has been done with male writers, seeing a literary imagination at work which transforms the personal experience, not simply mirrors it.[3]
In Japanese Women Writers: Twentieth Century Short Fiction, Noriko Mizuta Lippit and Kyoko Iriye Selden point out that, other than her autobiographical portrayals of women, Hayashi's later stories are "pure fiction finished with artistic mastery".[15] Hayashi herself explained that she took this step to separate herself from the "retching confusion" of Diary of a Vagabond.[3]
1986: Wandering Days (anime short, based on Diary of a Vagabond)
Hayashi's biography also served as the basis for theatre plays, notably Kazuo Kikuta's 1961 Hourou-ki, about her early life, and Hisashi Inoue's 2002 Taiko tataite, fue fuite, based on her later years, including her entanglement with the militarist regime.[27]
^ abcdeEricson, Joan E. (1997). Be a Woman: Hayashi Fumiko and Modern Japanese Women's Literature. Honolulu: University of Hawai'i Press. ISBN9780824818845.
^ abSchierbeck, Sachiko (1994). Japanese Women Novelists in the 20th Century: 104 Biographies, 1900-1993. Museum Tusculanum Press, University of Copenhagen. p. 82.
^ abMiller, J. Scott (2021). Historical Dictionary of Modern Japanese Literature and Theater (2 ed.). Honolulu: Rowman & Littlefield. p. 43. ISBN9781538124413.
^Ericson, Joan (2003). "Hayashi Fumiko". In Mostow, Joshua S. (ed.). The Columbia Companion to Modern East Asian Literature. Columbia University Press. pp. 158–163.
^Horton, William Bradley (2014). "Tales of a Wartime Vagabond: Hayashi Fumiko and the Travels of Japanese Writers in Early Wartime Southeast Asia". Under Fire: Women and World War II. Hilversum (Netherlands): Verloren Publishers.
^Mizuta Lippit, Noriko; Iriye Selden, Kyoko, eds. (2015). Japanese Women Writers: Twentieth Century Short Fiction. London; New York: Routledge. p. xviii.
^Janna Kantola (2008). "Ezra Pound as a Persona for Modern Finnish poetry"(PDF). In Massimo Bacigalupo; William Pratt (eds.). Ezra Pound, Language and Persona. Genova: Università degli studi di Genova. p. 138. Archived from the original(PDF) on 13 July 2020.
