I live for #Twittering Birds never fly (Saezuru Tori wa Habatakanai) After I discovered it I've never been the same. I'll just post questions abt saezuru and just starting conversations abt it . Your welcomed to share your thoughts! ps. This is technically a mixed blog, Enjoy ;)
the gentleness that comes, not from the absence of violence, but despite the abundance of it.
Richard Siken
It has been quite a long time since I thought about writing down my thoughts about Saezuru Tori wa Habatakanai, manga by Japanese author Yoneda Kou. I believe I’m not a skilled enough writer (English as a second language and such) and I am not very good at organizing ideas in a coherent way; I usually prefer dialoguing like the ancient philosophers did, more than writing in isolation. Talking to people irl can be hard though, especially if they lack time or don’t share the same level of interest; even harder when that conversation is going to include sensitive or very personal topics or the subject matter is largely considered in a category adjacent to p****graphy. Saezuru Tori wa Habatakanai is in fact a yaoi manga and includes every clichéd theme of the genre, yet at the same time is able to subvert most of them.
Yaoi, also known in Japan as “Boys’ Love”, is a subgenre of Shoujo focusing on male homosexuality, for a predominantly female audience. (…) The word itself comes from “yamanashi, ochinashi, iminashi” (or “no climax, no ending, no meaning”), though fans have also come up with another memetic acronym: “Yamete! Oshiri ga itai!”(“Stop it! My ass hurts!”).
Source
I am choosing the term yaoi over bl because Saezuru could not have been created without or outside of its tradition and remains in constant dialogue with other works in this category. Although Saezuru can exists inside and beyond the genre at the same time and can be easily approached by the casual reader.
On a superficial level you have what you could be expecting in a yaoi manga: you are quickly introduced to the two - very attractive - main characters that embody perfectly the uke and the seme roles; you have recurrent explicit se* scenes, although they don’t always happen between the two main characters; everybody can be gay on occasion, even if the story is set around the underworld of the yakuza; there is r*pe as backstory, and so on. Except nothing is gratuitous, but, rather, every element is there because characters and story call for it. The majority of the se* scenes aren’t arousing, but quite crude or even painful to watch/read, but, due to the nature of the story being told, showing them is meaningful and necessary to understand the main hero and his excruciating journey. Se*, se* trauma, declinations of one’s sexuality are all topics that can’t seem to find an open place for people, especially women, to discuss - or develop stories to further elaborate on - without some kind of censorship or exploitation. But sometimes it can be managed, like in this case.
The main character, Yashiro, was subjected to r*pe by his stepfather for an extended period of time in his formative years. What happened to him is called for what it is, it isn’t romanticized or treated in a too light or insensitive way. We see very little about it, but it is there, it isn’t either sensationalized or downplayed. As an adult Yashiro doesn’t deny the gravity of r*pe when confronted with other victims, especially women, yet he tends to present his own experiences as a simple matter of fact, something that happened out of his control and consequently something he had to accept and live with. Yashiro’s acceptance can be read as an example of minimization or underplay of his experience, as often victims do as a means of self protection; but can also be interpreted as a down-to-earth and pragmatic way to move forward that corresponds accurately to the crudeness of the real world. Yashiro showcases strength of character and a level of agency, dignity and poise - even in extreme situations - that are characteristics we don’t see often associated with r*pe victims. As a consequence of his history, he has been dealing with hypersexuality since he entered puberty and his stepfather lost interest in him. The types of sexual encounters he seeks are rather specific, he looks for dominant and possibly violent male partners that won’t develop any emotional attachment and he easily finds what he is looking for in members of smaller yakuza groups. That is how he became too deeply involved with the yakuza in the first place, an underworld where men are more likely to be too homophobic to mix se* with feelings; moreover, in this violent macho environment, se* with other men can become an act of power and aggression and not a completely unbelievable event. That is how Yoneda Kou managed to draw a more plausible scenario around the cliché in yaoi where “everyone is gay or bi”, subverting usually unrealistic pretences and delivering a story that has better credibility than most. Yashiro is presented as a pretty boy and later a beautiful man, willing to play the submissive role and calling himself a masochist, appealing to a variety of individuals. In the brief moments in which we witness these encounters, we see a Yashiro very much in control of the situation, loud, verbal and empowered. These acts are presented in a neutral way that doesn’t play into the voyeuristic element of p****graphy and leaves the reader free to form their own interpretation. We can’t ignore Yashiro’s own point of view, though, that he is the one in control of what happens to him in those circumstances, even when his preferences and his behaviors take roots in trauma, as learned coping mechanisms born out violence, or when there is a compulsive nature behind his sexual needs.
What is important, the story shows how there really isn’t a “correct” way of dealing with r*pe. The experiences and coping mechanisms of another character - Doumeki’s younger sister Aoi - are completely different from Yashiro’s. One experience doesn’t invalidate the other. This choice showcases reality much better: r*pe victims aren’t presented with any solutions set, but often need to figure out their own way in circumstances that are often very unsympathetic. Avoiding triggering situations could be seen as a smart choice, but what happens when avoidance doesn’t work? After experiencing trauma, there are a number of things that could potentially set off alarms and the amount of anxiety and outright fear could be overwhelming. Yashiro has been coping with his own anxieties by role playing or reenacting triggering situations to regain and exercise his agency and overcome fear, although his strategy isn’t without risks: he puts himself in dangerous situations in which he could easily lose control again; moreover he still isn’t able to face deeper feelings or any kind of emotional attachment when engaging in se*ual encounters. Here another common element in yaoi has a different treatment: the emotional unavailability of Yashiro originates in such complexities and tragedy one can’t expect it could be easily overcome. It isn’t just a case of different expectations in boys’ upbringing or a difficulty in accepting homosexuality, but rather completely abnormal childhood circumstances that continue to have profound consequences and aren’t downplayed. Only touched upon and never really discussed is also the abandonment from Yashiro’s mother part, but it’s there. And it is a testament of how attentive Yoneda Kou is towards the story that she isn’t rushing or forcing the romantic element upon her characters, but rather she is giving an appropriate amount of time and space to observe our heroes evolving, together with providing enough external problems that call for action with an intriguing plot around the criminal activities and the complex relationships inside yakuza families.
To the reader, the story has enough layers that can be openly read and interpreted. We can also choose to remove or add our own layers as long as we are respectful and sensitive about it and around what the characters represent. Yoneda Kou is treating the story with such care that calls for great appreciation and patience.
Honestly the way that Yoneda kou Sensei has been able to subvert and completely destroy all the usual cliches and stereotypes that come with genres like bl and yaoi is absolutely phenomenal. Bc 𝘚𝘢𝘦𝘻𝘶𝘳𝘶 𝘪𝘴 𝘯𝘰𝘵 𝘺𝘰𝘶𝘳 𝘶𝘴𝘶𝘢𝘭 𝘣𝘭 much less yaoi. Doumeki and Yashiro don't perfectly fit into the molds of your typical uke and seme characters. Which I appreciate so damn much. Because it just goes to show how yoneda sensei is not intrested in romanticizing rape or the trauma that comes with it. And honestly I couldn't be more grateful to her for that.
Happy Five Year Anniversary to Luca, one of Pixar's most charming, heartwarming films and my all-time favorite of the Pixar. Words cannot express how much I adore this film, its characters and story, and the lovely message it brings to audiences, especially in times like this.
This movie is so endearing and sweet, it's one of my favorites that Pixar has churned out in recent years. I love that's it's gay in the sweetest most innocent way <3
I've waited over 10 long years for this moment. I still can't believe it; Doumeki has finally fulfilled his dream, and I hope Yashiro finds some peace before the storm breaks. Are you ready? I hope you enjoy it too until the chapter is released in better quality.
Omggg, look at Yashiro's dreamy eyes? When has he ever looked at anyone like that? Not even Kage got such treatment. Yoneda always draws their faces in a way that looks so expressive. So happy for him and Doumeki 💞💞
Amou is dipping his fingers in the water. He gave Tsunakawa an apology and something to think about. People have strong alliances that go beyond duty, because apparently he doesn't understand it. He has a thoughtful look on his face when Amou left him. They have such a strange friendship, favors passed back and forth. He tells Yashiro his story of staying by Misumi's side even if he is not the best person. how it is not something to understand it just is. His question for Yashiro was also something to think about. Did you abandon Doumeki for his sake or yours. Which amounted to who were you protecting him or yourself from your feelings? Who will he talk to next, Misumi? Amou is the voice of reason in this criminal world. I've always liked Amou.
Feeling the summer time sadness (╥﹏╥) For some reason it's always during the summer that I feel the most melancholic. I do really like the summer rain tho ☔ it's the one thing that brings me comfort.
