by Ash Brown
Experiments in Manga
April 10th, 2013
We, the Children of Cats is a collection of Tomoyuki Hoshino’s early short works. Published in 2012 by PM Press under its Found in Translation imprint, the volume gathers together five short stories and three novellas which were originally released in Japan between 1998 and 2006. (PM Press is also the publisher of the only novel by Hoshino that is currently available in English, Lonely Hearts Killer.) Three of the stories in We, the Children of Cats were previously translated and released in English, but the others are appearing for the first time. Although one story, “Chino,” was translated by Lucy Fraser, Brian Bergstrom was primarily responsible for editing and translating the collection as a whole. Bergstrom also contributes a substantial afterword to the volume, “The Politics of Impossible Transformation.” We, the Children of Cats was my introduction to Hoshino’s work.
After a newly written preface by Hoshino for the collection, “To All of You Reading This in English,” We, the Children of Cats begins with the short story “Paper Woman.” This story ended up being my favorite piece included in the volume and made me want to read everything that Hoshino has ever written. This set my expectations pretty high for the rest of We, the Children of Cats; for the most part, I wasn’t disappointed. I did tend to prefer Hoshino’s short stories (“Paper Woman, “The No Fathers Club,” “Chino,” “We, the Children of Cats,” and “Air”) over his longer novellas (Sand Planet, Treason Diary, and A Milonga for the Melted Moon.) For me, reading Hoshino’s works was often a heady and even dizzying experience; his shorter pieces are still mystifying but more grounded, immediately accessible, and easily grasped as a whole.
The stories collected in We, the Children of Cats are not directly related to one another although many share common elements and themes. Faint echoes of Hoshino’s earlier stories can often be seen in his later works. Latin America is a frequent touchstone in We, the Children of Cats. Which, considering Hoshino’s personal interest and time spent in the area, shouldn’t be too surprising. The influence of magical realism, which has strong ties to Latin American literature, is also readily apparent in Hoshino’s stories. Perhaps my favorite recurring theme to be found in We, the Children of Cats is that of the power granted to words and language and their ability to change, process, create, restore, and transform truth and reality.
As Bergstrom’s illuminating afterword asserts, transformation is the key to We, the Children of Cats. Some of the stories are more realistic (some are even based on or inspired by actual events) while others are more fantastic, but they all deal with transitions, growth, and changing identity in some way. Hoshino’s writing style tends to be discursive and his stories aren’t always particularly straightforward, but his imagery is powerful and poetic. Every once in a while there would be a thought, idea, or phrase that would momentarily floor me. After reading We, the Children of Cats, even I felt changed or transformed in some nearly indescribable way. We, the Children of Cats isn’t an easy collection, at times it can be difficult and even troubling, but I am glad that I put in the effort needed to truly appreciate it.