An amusing folk story, illustrated with great charm by Kawakami Sumio.
The story of Heppiri Yomgo, loosely translated to ‘The Bride who Broke Wind,’ is a folk tale that is thought to have originated in Iwate prefecture, in the north of Japan. There are many variations, but the basic premise is as follows: a newlywed bride visits her mother-in-law in distress, and is asked ‘What is the matter?’ The bride confesses her deep embarrassment, that she has not been able to pass wind since marrying her husband, so she experiences a deep discomfort. Her mother-in-law is shocked by this news and tries to put her daughter-in-law at ease by allowing her to pass wind in her home. When the bride finally breaks wind, it blows the entire house and her poor mother-in-law away. Appalled by the damage she has caused, the bride walks back to her home. On the way, she passes some farmers who are having great difficulty picking the abundant fruit that is gathered at the top of a tree. Much to the struggling farmers’ surprise, the bride offers her help, “I can pick those fruit!”. Then, she bends her knees and lets out an almighty fart, which shakes all the fruit off the tree immediately. The farmers cheer with delight, as they now have all the fruit from the tree. And so follows that her talent for passing wind becomes well-known, and her husband begins to take pride in his wife’s impressive skill. The story ends in triumph, as the bride is no longer ashamed.
Kawakami’s book tells this story in seven simple illustrations. Despite its slightly crass nature, or perhaps deliberately in contrast to it, the book is decadently produced. The boards are covered in ornate woodblock printed paper with a bright gold title slip, and the pages inside are entirely printed on fine silver-specked paper, each print hand-coloured in Kawakami’s characteristic style. Aside from the title page and colophon, the only text that appears in the book is on the final page: furusato wa yume ni ka minn, ‘I only see my hometown in my dreams’. This sentimental thought perhaps speaks to wartime suffering, and suggests that folk stories such as Heppiri Yomego can be an important reminder of one’s hometown.
It is extraordinary to think of the careful production of this book in 1944, while Japan was engaged in WWII. Kawakami privately printed a small number of books during the war from his small home studio, using the precious supply of fine papers and wood that he had. The present book is one of the books made during this period, which are highly rare and sought after.
The bibliography states that there were 30 numbered copies made (Kawakami zenshu, 1979). However, the colophon of the present copy does not state the limitation, so it is likely to be a kazobon or artist proof.
Extremely rare. No copies in OCLC.
