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Book Reviews
IGARASHI Yoshikuni/Vanderbilt University
Kamikaze, Cherry Blossoms, and Nationalism: The Militarization of Aesthetics in Japanese History,by Emiko Ohnuki-Tierney. Chicago: University of Chicago Press, 2002, xviii+411 pp., $20.00
(ISBN 0226620913)
doi:10.1093/ssjj/jyh031 Published online September 3, 2004
Emiko Ohnuki-Tierney’s book is conceived as a project to find intersections between the political
and cultural histories of modern Japan by analysing discourses on a single cultural symbol, the
cherry blossom. The book argues that the Japanese modern state manipulated the symbol in order
to naturalize its demand for the imperial soldiers’ self-sacrifice. They were supposed to fall beautifully
like cherry petals for the nation’s sake; and the state presented the kamikaze pilots as the pinnacle
of this aesthetic of self-sacrifice. The first half of the book traces Japan’s history from the ancient period
to the 20th century to demonstrate the ways in which the symbol gained cultural currency in
Japanese society and to show how the state later redefined it in its effort to distil its nationalistic
ideology in the minds of the Japanese. In the second half, Ohnuki-Tierney offers close readings of
five kamikaze pilots’ writings in order to instantiate a claim about the historical affinity between
cherry blossoms and state ideology. Although the book is noteworthy for its effort to humanize the
Kamikaze pilots by documenting their intellectual struggle with the political situation of wartime
Japan, a number of factual errors and totalizing claims greatly reduce its value as a historical analysis.
Despite the effort to engage with recent cultural theories, the book in effect reproduces a problematic
interpretation of the Asia Pacific War which has historically promoted the victimhood of the Japanese.
Many in the early post-war years, particularly the left, eagerly embraced the self-serving version of
history that they had been coerced into an unwanted war by the state and the military. The present
book under review in effect reproduces a similar view by emphasizing the totality of the state ideology
and the powerlessness of the young kamikaze pilots in their intellectual resistance.
The author attempts to refashion the clichéd history of the war through the cultural symbol of the
cherry blossom. Her argument seems to work backward from the modern to antiquity. In order to
foreground the completeness of the state ideological operation in appropriating the meaning of the
symbol, the book produces an essentialist interpretation of the history leading to the modern era.
Despite its insistence on the multivalence of the cherry blossom’s symbolic meaning, the book ends up
making a surprisingly totalizing claim: ‘Cherry blossoms’ first occupation of a space in the Japanese
cultural landscape took place as an important emblem of the Japanese. Ever since the Japanese continued
to reify the uniqueness of cherry blossoms as an expression of their own uniqueness’ (emphasis
added, p. 57). Ohnuki-Tierney is insistent that a total symbolic connection had existed between
cherry blossoms and ‘the Japanese’ prior to the mid-nineteenth century. Examination of the historical
evidence, from Kojiki to Edo courtesans, may demonstrate that cherry blossoms emerged as an
important cultural symbol in the geographical regions that are today known as Japan in historical
Social Science Japan Journal Vol. 7, No. 2, pp 283–323 2004
© Institute of Social Science, University of Tokyo 2004
284 Book Reviews
time; however, the book offers no effort to historicize the concept of ‘the Japanese’ (there is no dis-
cussion about the historical process in which this concept was constructed). The author disregards the
historical and anthropological insights of recent criticism that problematizes the totality of Japan as
such. Who historically constituted ‘the Japanese’? Does the author include the historically marginalized
populations in this category? (The author gestures that she is not unaware of the problematic nature
of the concept by marking it with quotation marks [p. 282]. Yet she offers no discussions about the
term, while liberally using it.) Though the book is ostensibly about the manipulation of the past for
nationalistic causes, its totalizing claims inadvertently replicate the 19th and 20th centuries’ national-
istic discourses that retroactively discovered and constructed cherry blossoms as a national symbol.
The totality of the symbolic field posited in the book is the sine qua non for the author to prove
the completeness of the state’s manipulation of the cultural symbol. Similar to the designation of
‘the Japanese’, the term ‘the state’ appears in the text numerous times without a single explanation
as to what actually constituted it during wartime. The state (the term interchangeably used with ‘the
power holders’) was deemed singularly responsible in coercing the Japanese into accepting the ideology
of self-sacrifice. In the final sections of the book, the author discusses the historical embeddedness
of agents in order to reinforce the point that the kamikaze pilots were not active reproducers of
imperial nationalism. Ohnuki-Tierney insists: ‘The examples in this book testify beyond doubt that
historical agents are localized in a particular socio-economic milieu at a particular moment in
history’ (p. 294). This fine theoretical caution does not apply to the group of people whom she calls
‘the power holders’ or to ‘the state’ that they controlled. The examples in the book seem to testify
that the state single-mindedly imposed imperial nationalism by appropriating the pre-existing cultural
field; therefore, it exercised full agency in its coercive project. By positing the state as the ultimate
embodiment of an evil will and reducing it into an abstract entity, the book naturalizes the history
of wartime Japan and takes the kamikaze pilots and other Japanese off the hook. The framework of
the book excludes the possibility that the masses internalized (and even exceeded) the state ideology
in modern Japan as their own. By reifying the state’s will, the book perpetuates the postwar myth
that the Japanese somehow ‘fell prey’ to the state’s canny ideological tactic.
In Ohnuki-Tierney’s description, the state’s will is so ubiquitous and naturalized in wartime Japan
that its effects are compared to that of rain: ‘Like fine but continuous rain, the imperial ideology
penetrated primarily under the disguise of patriotism’ (p. 241). In this passage, the state is compared
to a natural phenomenon which humans own no means to change or challenge. The contrast between
‘imperial ideology’ and ‘patriotism’ which appears in the passage is also a key device in the book to
isolate the state’s intent from the general populous. That is, using the Latin terms, the author arbitrarily
distinguishes ‘the patriotism of pro patria mori—to die for one’s country—that was espoused by
individual [kamikaze] pilots, from the political nationalism that was fostered from above and that
promoted pro rege et patria mori—to die for emperor/king and country’ (p. 7). The author’s primary
concern in this distinction is to prove that the kamikaze pilots may have reproduced the political
nationalism through their action, but they did not embrace and reproduce it in their thought; and, in
order to prove this point, she engages in rather questionable readings of the texts left by five pilots.
In the section where she subjects the texts to her analyses, the author refuses to recognize pro regeet patria mori in them unless it is presented in toto. None of the pilots explicitly announce that
they would die for the emperor; therefore, she claims, they did not embrace imperial nationalism.
When she detects traces of imperial nationalism in their writings, Ohnuki-Tierney presents them
as examples that testify to the coerciveness of the state’s ideological operation (which nullified the
pilots’ internal resistance) rather than as evidence of the pilots’ affinity with imperial nationalism. In
dissociating the pilots from the state’s will, the book makes some forceful moves. For example, when
detecting the elements of imperial nationalism in the writing by Nakano Taketoku, who died
in a kamikaze mission on 4 May 1945, the book dismisses them, for he did not embrace them in an
extreme form: ‘If Nakano sounds as if he were leaning toward the pro rege et patria mori ideology,
his underlying thought processes were far from those embraced by ultra-nationalists like Okawa
Shumei and Kita Ikki’ (p. 225). By using the extreme position of ultra-nationalists as the standard,
the book easily dismisses the signs of affinity toward the imperial nationalism in Nakano’s writing.
Similarly, in examining the writing left by Wada Minoru, the navy ensign who volunteered to be a
Kaiten pilot and died in a training session on 25 July 1945, the book also makes another problematic
claim. Encountering the numerous terms that had strong associations with the emperor and imperial
history, the book again dismisses them by claiming that ‘the term ko (imperial) might have been such
a common expression during wartime that some individuals used it without subscribing to the pro regeet patria mori ideology’ (p. 229). Indeed the author could have made the same claim by substituting
the term ko with cherry blossoms, denying one of the book’s central claims that the state used the
cultural symbol of the cherry blossom in order to disguise imperial nationalism as patriotism: cherry
blossoms were so ubiquitous that they probably did not mean much to the pilots.
Another central claim of the book—that the state regarded the kamikaze pilots as cherry blossoms
—is simply not sustainable. The whole connection between the cultural symbol and the pilots in the
end hinges on the historical evidence that Ohnuki-Tierney misrepresents. Realizing that the kamikaze
corps that had names associated with cherry blossoms were a minority, she forcefully argues that: ‘Although
names of the tokkotai corps include designations other than cherry blossoms, the centrality of cherry
blossoms is undeniable when we take into account their use as the exclusive visual symbol for the
tokkotai operation. Thus, the military chose as a design for the tokkotai planes a single cherry blossom
in full bloom painted on the side of the plane in pink against a white background’ (emphasis in original,
p. 165). The information about the design on the planes is incorrect: ‘a single cherry blossom in full
bloom’ was not painted on them, except for on Oka (cherry blossoms), the glider bombs equipped
with rocket propellants (later with jet engines). From the single example of the Oka displayed at the
Yushukan War Museum at Yasukuni Shrine (a photo of which is included in the volume), the author
misconstrues the total relationship between the cherry blossoms and the kamikaze missions. The
references to cherry blossoms in the five pilots’ writings are indeed scarce. Although the author finds
several examples in the hundreds of pages of each pilot’s writing, they do not amount to the core
of their intellectual struggle in making sense of what they faced.
There are a number of misrepresentations in the book concerning the special attack operations.
Although they may not be individually fatal, they collectively cast serious doubt on the quality of
the book’s research on the topic. For example, during the operation at Pearl Harbor, five midget
submarines did not ram into US ships as the book claims (p. 139). After launching the two torpedoes
that they each carried, there was no point in ramming battery-powered ‘midget’ submarines into
enemy ships. Four of them were lost in action and one was found shored up on the Oahu beach.
The Kaiten was not ‘lowered into the water’ from a mother ship ‘when an American warship was
spotted nearby’ (p. 160); it was launched underwater from the back of an I-type submarine that
carried it. The term kaiten does not mean ‘“returning to heaven,” a brutal euphemism for the death
of the pilot’ (p. 161); it means to bring a revolutionary change in society.
Although Ohnuki-Tierney’s totalizing claims about cherry blossoms are unsustainable, the flowers
did emerge as one of the important cultural symbols of modern Japan and acquired some associations
with the military ideals. It is important to be reminded of one set of meanings attached to the symbol
that postwar society privileged but the book refuses to acknowledge. The association of the kamikaze
pilots and young soldiers with cherry blossoms casts the young men as feminine, non-aggressive
Book Reviews 285
victims that had no recourse to resist the inhuman war machine. Perhaps this association was already
there in the war years when the kamikaze pilots imagined themselves as falling cherry petals. Their
bereaved families and close friends confirmed their status as victims through accepting the association
between the cultural symbol and the young pilots. By casting a sympathetic gaze on the plight of
the young pilots, post-war society vicariously appropriated their status as victims; and, a similar gaze
seems to have produced this book, which serves better as an example of a post-war discourse about
the kamikaze pilots than as an historical inquiry into their lives.
TSUJIMURA Shinobu/Tokyo University
Zen War Stories, by Brian Daizen Victoria. London: Routledge Curzon, 2003, 272 pp., $27.95
(paperback ISBN 0700715819), $80.00 (hardback ISBN 0700715800)
doi:10.1093/ssjj/jyh032 Published online August 27, 2004
Is religion powerless in the face of war? Are religionists powerless in the face of war? These piercing
questions, critical as they are, mark the beginning of this stimulating book by Brian Victoria. This
work is the follow-up to Zen at War, a book which caused quite a shock in the Zen community in
both the West and the East when it was published in the US in 1997, and subsequently translated
into German, French, Italian and Japanese. Using detailed historical records, Victoria showed that the
supposedly virtuous Japanese priests, especially the Zen masters, had in fact been staunch supporters
of Japanese militarism up to and throughout World War II. This discovery had a profound emotional
impact on the Zen Buddhist community, and led many Zen practitioners to question how they them-
selves would have responded in such a situation.
Victoria was deeply aggrieved by what his reputable forerunners had done during the war. He
was a conscientious objector during the Vietnam War and first visited Japan as a missionary of the
Methodist Church. Eventually, he converted to the Soto Sect of Zen Buddhism. When he decided
to become a Soto priest, he had no idea that former leaders of Zen Buddhism had praised militarism
and had supported the war. Upon learning of the wartime activities of his sect, he decided to
examine and make known the deeds of his fellow Buddhists.
Part 1, Chapters 1–7, depicts the activities of Zen masters during the war and shows how Zen
Buddhism contributed to the formation of Japanese militarism. The army and Zen masters alike were
aware that Japanese Buddhism, Zen in particular, possessed certain values that were also essential to
forming the ideal soldier—one who is faithful to his nation and able to pursue his mission without
hesitation. Chapters 1 and 3–6 tell us about the ideas of particular Zen masters. Each chapter features
one Zen figure: Yamamoto Gempo, Fukusada Mugai, Omori Sogen, Yasutani Haku’un and, again,
Yamamoto Gempo. This is the style Victoria employed in his previous work, and there are ample
references to the thought of D. T. Suzuki throughout.
Chapter 1 ‘Zen Master Wept’ describes the war experiences of a Zen priest, Nakajima Genjo, who
enlisted in the Imperial Japanese Navy in 1936. Victoria met Nakajima and read his autobiography,
only to learn that his experiences on the battlefield meant nothing to his realization of the great enlight-
enment. Victoria was most disappointed to learn that Genjo had not changed his mind, or even worse,
did not hesitate joining the war, where he ended up killing others. He and his master Yamamoto
Gempo did not see any contradiction in Genjo’s wish to achieve enlightenment while supporting the
286 Book Reviews