丸尾末広『夢のQ-SAKU』 Maruo Suehiro, "Yumeno Q-SAKU"


『夢のQ-SAKU(Yumeno Q-SAKU)』is Maruo Suehiro's second issue (For his first collection, see this post). The title is derived from 夢野久作(Yumeno Kyûsaku, 1889-1936), a detective writer in Taishô and early Shôwa era. Yumeno Kyûsaku is a pen name and that means 'dream chaser' or like that. His surrealistic detective novel, 『ドグラ・マグラ(Dogura Magura)』is considered as one of the most famous avant-garde detective novel in Japan (I can't explain what it is like. It doesn't resemble to nothing, its uniqueness is towering even today).
This collection is also published in 1982, so the content of the book is quite similar to his first collection, Bara-iro no Kaibutsu (1982). Sadism, perversion, homosexual, incest...
This book contains almost all vices in the world, but express some kind of lyricism as well. (Note that this book treats very erotic situations, but you cannot expect this book such kind of role, yes indeed, never.)

This book contains:

「学校の先生(Gakkou no Sensei: Teacher of School)」: This leading story is an homosexual sketch. We cannot see explicit sexual scene here. We can notice easily that this is inspired by a film Death in Venice (1971) directed by Luchino Visconti. The teacher is quite alike to Dirk Bogarde. But there is no Björn Andrésen here. The opposite in this story is not beautiful homme fatal, but young mysterious Don Juan. When the Don Juan (he is a trapeze performer in a circus) is performing a trapeze, we can see the onomatopeia, 「ゆやーん、ゆよーん、ゆやゆよん(yuyân yuyôn yuyayuyon)」which is derived from Japanese poet 萩原朔太郎(Hagiwara Sakutarô, 1886-1942)and it represent the sound made by trapeze.

「笛吸童子(Fue Sui Douji: Flute Sucking Childe)」: This short story is also homosexual. This is hardly a story, it's a kind of imaginary scenery. The title is maybe inspired by a Japanese radio and TV drama, 『笛吹童子(Fue Fuki Douji: Flute Playing Childe)』.
「ウンコスープの創り方(Unko Sûpu no Tsukuri-kata: How to make a shit soup)」: This is an adaptation of Histoire de l'oeil (1928), by George Bataille. Two boys and one girl plays in a room and finally drop into a sea riding on a mine-train.
「ハツコイ 壱萬壱千鞭譚(Hatsukoi Ichiman Issen Muchi-tan: First love, the Story of Eleven thousand whips)」: The subtitle of this story is maybe inspired by Les Onze Mille Verges (1907) by Guillaume Apollinaire, but has no factual relationship. This is a story of femme fatale. A boy peeps the lady next door. His father finds him peeping and scolds him hardly. But his father and the lady has a relationship. His father was a masochist...
「童貞厠乃介パラダイス(Dôtei Kawaya-no Suke Paradise)」: This is a second story of Kawaya-no Suke Trilogy (The first one is included in Bara-iro no Kaibutsu). Kawaya-no Suke lives in a toilet no more. He is a vagabond now. His piss attracts women and hypnotize them. He takes girls to the bandits and perhaps sells them.
「せんずり千太(Senzuri Senta: Jack off Senta)」:This is a quite strange story. This has a format that a narrator tells his story (maybe his memory?). But the content of the story is so strange that we cannot explain what it is. If anything, this is a catalog of sexual perversion of a family named Inugami-ke (The name Inugami-ke(犬神家) is peut-être derived from the famous detective story 『犬神家の一族(Inugami-ke no Ichizoku: The lineage of the house Inugami)』by 横溝正史(Yokomizo Seishi)). This story has some kind of comedy feeling.
「地獄の一季節(Jigoku no Ichi Kisetsu: A season in the Inferno)」: We cannot explain the content of the short sketch. This in not a story, but rather imaginary scenery. Or we call the style of this sketch, 'Confession.' The Slug in this sketch which metamorphose voluntarily, is maybe inspired by ムーピー(Mûpî), which is an amorphous blob appearing in famous Manga series, 『火の鳥(Hi no Tori)』by 手塚治虫(Tezuka Osamu, 1928-1989).
「美しい日々(Utsukusii Hibi: Beautiful Days)」: This in not a story. This is a kind of illustrated poem.
「きん玉のにぎり方(Kintama no Nigiri-kata: How to grab a ball)」: This is a parody of a old fashioned 'How-to-sex' of lady's magazine in a pre-war time. This 'how-to' teaches the way to play pervert sex.

「不能少年(Funou Shônen: Impotent Boy)」: This is a imagery story. Maybe this is an apparition seen by a boy, or a real thing?
「腐った夜 エディプスの黒い鳥(Kusatta Yoru Edipusu no Kuroi Tori: Rotten Night, Black Bird of Oedipus)」: This story is an adaptation of a horror story 「芋虫(Imomushi: The Worm)」 (1929), by 江戸川乱歩(Edogawa Ranpo, 1894-1965). (Maruo actually comicalizes "Imomushi" later.) There is a young beautiful girl. She has a father, but her father is maimed (maybe by a war), and has no legs and arms, and speaks nothing. She has a boyfriend, but between she and her father, there is a strange form of love...

「月食病院(Gesshoku Byôin: The Hospital of Lunar Eclipse)」: This, factually last story of this book, is a surrealistic and strangely erotic one. The scene is a hospital with a moon light (Yes, there is a moon, though the title is Eclipse...) and there are nurses. They are lesbians. And then, there is a doctor, who rapes the patient girl. Then at the field of the hospital, the nurses and the doctor fight each other.
In the last, we have a poem written by the author,「雪子ちゃんの視た夢(Yukiko-chan no Mita YUme: A Dream seen by Yukiko-chan)」.

Left: Original Version
Right: Revised Version
(This article is based on the Original version)

丸尾末広『薔薇色ノ怪物』Maruo Suehiro, "Bara-iro no Kaibutsu"


 Bara-iro no Kaibutsu (means the Monster in Rose Red) is the first recueil of a Japanese comic-artist, Maruo Suehiro. Maruo is maybe some kind of outsider artist. He has been commonly recognized as a Ero-Gro-Nonsense(1 Artist for a long time (recently, he draws some comicalizes of Edogawa Rampo, the most influential Japanese horror and detective writer and then becomes little a bit popular). Even today, he is famous only in a sub-cultural scene, but formerly, he was considered as, not sub-culture, but underground artist.
 This book was first published in 1982, by 青林堂(Seirindo). Most of the works included here are written in 1981, and 1982. And almost all of them were first appeared in S&M magazines.
The works in this books are:

「カリガリ博士復活(Kari gari hakase fukkatsu: The Resurreciton of Dr. Caligari)」: This is apparently an hommage to a German expressionism film, Das Kabinett des Dr. Caligari. And the story of it, though we can hardly recognize 'story' here, is a summarize of the film.
「リボンの騎士(Ribon no Kishi: The Knight in a Ribbon)」: Its information of the first appearance is unknown (Only written its date, 1980). But we can easily guess that it should have appeared in some kind of underground magazine, because its whole story and character are strongly perverted.
「下男の習性(Genan no Shûsei: The Custom of the Houseman)」: This is an expression of Enfent Terrible. The background of the story is maybe a Japanese bourgeois  class in Meiji or Taishô era. Maruo loves that kind of background for his works.
「少女椿(Shôjo Tsubaki: Girl Camellia)」: This is a prequel to his most beautiful story,『少女椿(Shôjo Tsubaki)』.The book which has a same title to this sketch is one of his masterpiece and I think that the book is his best. But in this story, main heroïn, Midori suffers misfortunes. She sells a flower standing on the street, but no one helps her. A gentleman helps her but he embrace her in the dark. Her mother dies being eaten her abdomen by rats. She goes to the gentleman. But it is a freak show and she is raped by freaks. A song she sang in the opening is 「酋長の娘(Shûchô no musume: Chieftain's Daughter)」. This song was first appeared in 1930, and inspired by 石田一松(Ishida Ichimatsu, 1902-1956), who  settled in Micronesia and married with chieftain's daughter.

「僕らの眼球譚(Bokura no Gankyû-tan: Our Story of the Eye)」: This work resembles little a bit to 'Genan no Shûsei,' but this one has rather incest feeling.
「私ハアナタノ便所デス(Watashi ha Anata no Benjo desu: I am your toilet)」: This is a scatologic sketch. The boy who wears the costume of a hero evacuates on the face of his maid. He apologies himself, saying "I don't go to school, not because I am a retard, but because I want to be with you." This is a pervert love story (without hope).
「少年Z アレマ!!テオレマ(Shônen Z Arema!! Teorema: Boy Z Arema!! Teorema)」: This is a very surrealistic sketch. A young man stands in front of a house in the night. The young man says: "Please let me in." But an answer: "Please go elsewhere, we are not an inn." But the young man enters in the house, and plays with sleeping family, talking each other by monologue, and finally he stays the house. Maybe this is a parody of Teorema, an Italian film directed by Pasolini.
「天然の美(Ten-nen no Bi: Natural Beauty)」: This is a kind of intermission. In the big Japanese room, people laughs madly. Then they have an orgy. That's all. There's no story, no message, no meaning.

「童貞厠之介(Dôtei Kawaya-no Suke)」: This is a first of the "Kawaya-no Suke" triptych. Kawaya means toilet in a old Japanese. So Kawaya-no Suke stand for a toilet boy. As his name, he was abandoned by his mother in a toilet when he was a baby. He dwells in a toilet, and drags girls in a toilet (The toilet in classical Japanese style is quite different from western style. They have rooms under their lavatory basin to pool the 'one'.). One day, he drags an old lady, and the story suggest that the old lady would be his mother, then story ends.
「血と薔薇(Chi to Bara: Blood and Rose)」: There are three volume magazines which has been titled 'Chi to Bara.' They are directed by 澁澤龍彦(Shibusawa Tatsuhiko)and published in 1968-69. But in this case, the story would be influenced the french horror film, Et mourir de plaisir (The Japanese title of it is 'Chi to Bara'). The film was directed by Roger Vadim, and released in 1960.
「最モ痛イ遊戯(Mottomo itai Yûgi: The Most Painful Play)」: This is a play of children. Two boys play as Nazi officers, and a girl prisoner. Boys demand the girl sexual offerings and the demand escalates.Finally one boy says, "Captain! The spy is dead..."
「腐った夜(Kusatta Yoru: Rotten Night)」: This is a typical love triangle. A beautiful young girl marries with a rich old man for a money, but she has another young lover. They love secretly but the old man finds them out, and slashes them with a sword, then throws them in the storage. Though its expression is quite barbarous and grim, the story has certain beauty in its lyricism.

「腐ッタ夜 ちんかじょん(Kusatta Yoru Chinka Jyon: Rotten Night Chinka Jyon)」: A boy was run down by a horse cart with his left leg. His father remarries but the boy doesn't like his new mother. One day he was shouted by a dirty homeless, "What d'ya see, Chinka-Jyon!" (I don't quite clear the meaning of Chinka-Jyon). The homeless' left leg was lost, like him. The boy invites the homeless to his house and makes him rape his mother. His mother becomes nymphomaniac because of the affair. Then one day, the mother sees her napping son's broken leg. She takes it to her vagina, but the boy wakes up and stabs her with scissors. The boy sees now dead mother's vagina, and digs his head into her body. Then he shouts, "Darkness! I can see nothing!"

The book has a afterwords by 遠藤ミチロウ(Endô Michirô). He was a vocal of the punk band 'The Stalin,' at that time.

Left: Original Version
Right: Revised Version
(This article is based on the Original version)


アイアン・メイデン『魔力の刻印』Iron Maiden, "The Number of the Beast"

Iron Maiden, "The Number of the Beast," 1982

イギリスのメタル・バンド、アイアン・メイデンの3枚目である。1998年のリマスター版では、当時シングルB面だった「Total Eclipse」が追加収録されている。

 二曲目は「呪われし者の子ら(Children of the Damned)」。この曲はどうにもイメージがつかみづらい。歌詞の内容は、おどろおどろしいフレーズを繋げただけで、そこから明確な物語を読み取ることが難しい。スローテンポから中盤早くなる構成はカッコいいが、X Japan的な感じがして、新鮮味は薄いか(時代的には逆なのだが)。
 三曲目は「囚人(The Prisoner)」。冒頭に不思議なセリフが収録されているが、これはイギリスで1967年に放送されていた「プリズナーNo.6(the Prisoner)」の引用。この「プリズナーNo.6」、ホントにわけがわからない作品で、不条理作品と言っても良い(同じ「プリズナーNo.6」をモチーフにしたのが、Devil Dollの『死せる少女に捧ぐ』)。このアルバム制作時にはすでに「懐かし番組」だったように思うのだが…。
 四曲目は「アカシア通り22(22 Acacia Avenue)」。Wikipediaによると、アカシア通りというのはイギリスにおける中産階級のメタファーで、イギリスには少なくとも60以上のアカシア通りがあるという。とはいえ、この歌で歌われているのはロンドンのイースト・エンド(下町)にある、娼婦シャーロットがいる娼館が舞台。この娼婦シャーロット(Charlotte the Harlot)はアイアン・メイデン処女作でも歌われていた。それが3作目にも再登場というわけだ。こういったイギリスの下層階級におけるホラー風味というのはアイアン・メイデンの得意とするところ(もしかしたらチャールズ・ディケンズなんかが下敷きにあったりするのかもしれないが)。
 五曲目は「獣の数字(The Number of the Beast)」。冒頭のナレーションは『ヨハネ黙示録』からの引用。ここで666を表す獣というのは、本来悪魔ではなく、キリスト教の迫害者、皇帝ネロを指すようだが、まぁ後世普通に悪魔を指すものと解釈された。当然この曲もそういった流れのなかに位置付けられる。しかも、最終的には悪魔の誘惑に負け、悪魔に則られる男の歌である。しかし、この曲のAパート冒頭のメロディが「聖者の行進」に似ているせいで、楽曲そのものとしては、やや緊張感を欠いて聞こえてしまうという欠点も。これに欠点を感じない人もいるだろうけど、自分としてはなぜか気になってしまう。
 六曲目は「丘へ走れ(Run to the Hill)」。曲を聴くだけだと分かりにくいが、歌詞を聞くと、これがアメリカ原住民と白人の抗争の歌であることが分かる。一曲目の「Invaders」と似たような感じか?
 八曲目「皆既食(Total Eclipse)」はリマスター版で収録。皆既日食に恐れ逃げ惑う人々を謳った歌であり、曲調はややドゥーミーなところもあり(人間椅子っぽさもある、いや、それを言うならBlack Sabbathぽさか?)、アイアン・メイデンの普段の曲とは少し雰囲気が違う。もともとシングルB面だったということで、割と冒険したのだろうか?
 九曲目、アルバムのトリを飾るのは「汝が名よ空しくなれ(Hollowed be thy Name)」。なんとも陰鬱な歌である。これから絞首台に向かう死刑囚の最期の瞬間の回想が綴られている。しかしなんというか…。「俺は地獄に行って楽しくやってやるぜ!あばよ!」という歌じゃないのだ。



アイアン・メイデン『パワースレイヴ』Iron Maiden, "Powerslave"

Iron Maiden, "Powerslave," 1984

このNWOBHMという略号、最初見たときは面食らったものである。いったいなんと発音すればいいんだ?それがNew Wave of British Heavy Metalの略だと知ったいまでも腑に落ちていない。もとの名前は良いとして、じゃあNWOBHMはどうやって発音するのか?私と同じ疑問を持っている人は結構いるのではないか…と信じたい。

楽曲は一曲目のAce's Highから飛ばしていき、ハイスピードチューンで全速力といった感じなのだが、ちょっと一筋縄でいかない部分もある。

一曲目「撃墜王の高揚(Ace's High)」、これは戦闘機乗りの歌で、スピットファイヤーということから第二次世界大戦が舞台か。アルバム版でカットされているが、シングル版では冒頭にチャーチルの演説が収録されているらしい。
二曲目「真夜中2分前(2 Minutes to Midnight)」は近未来、ゾンビとの戦いを謳った歌なのか?
三曲目「Losfer Words (Big 'Orra)」はインストゥルメンタル。題名はどういう意味?
四曲目「白刃の輝き(Flash of the Blade)」はドラゴンを追跡する少年の歌?ファンタジーなのかな?「聖ゲオルギオスかダヴィデか」と言っているけど、まぁこれは英語圏で「龍を殺す」と「巨大な敵を倒す」のイメージからの表現だろう。
五曲目「決闘者たち(The Duelists)」は前曲と雰囲気も似ており、割と続きものの感じで聞ける。「銃を選ぶか、剣で闘うか、武器の選択は終わった」と歌っているけど、銃が出てくるファンタジーもあるし。普通にアメリカ西部的なイメージで聞くのもアリだと思うが。
さて六曲目の「村への帰還(Back in the Village)」だけど、これ何の歌?歌詞を読む限りでは、村に戻って復讐する歌だと思うのだけど、状況がよく分からん…。曲自体はものすごくカッコいいのだけれど、「キッチンでのシェルショック、テーブルはひっくり返る」だのの歌詞を聞くと緊迫感が薄れてしまう。もしかして、おバカソングなのか?そんなことないと思うのだが…。誰か元ネタを知っていたら教えて欲しい。
そして最後を飾るのが八曲目「老水夫の歌(Rime of the Ancient Mariner)」。これは13分を超える大曲であるが、それも当然、これはサミュエル・テイラー・コールリッジ(Samuel Taylor Coleridge, 1772-1834)の同名の詩を歌にしたものである。コールリッジの『老水夫の歌』は相当長い詩であるが、この歌のストーリは詩の要約版と言って良く、だいたい同じ内容を謳っている。結婚式の招待客のひとりに老水夫が自分の話を語り始める。彼はかつて航海のあいだにアホウドリを殺したことによって呪いを受けてしまい、船員たちが次々と倒れるなか、彼だけは生きながらえながら漂流し続ける。ついには海の怪物にも創造の神秘を見出し賛美を捧げたところ呪いは解け、水先案内人と隠者の船に救われる。それ以降彼は行く先々で自らの体験を話しているのだ「神の被造物はすべて愛すべきものである」。この話を聞かされた招待客は苦い体験をし、ひとつ賢くなるのである…。
 もともとの詩は英国詩においてかなり重要な作品らしく、1798年に出版された、この作品が収められている『抒情民謡集(Lyrical Ballads)』(ワーズワースとの合作)からイギリスのロマン主義文学が始まったという。詩はジェイムズ・クックによる二度目の南洋探検に着想を得ているとされている。幻想文学の祖のひとりでもあるような感じなので、こちらの方も詳しく調べてみたいが。

前半のスピードチューンに始まり、ラストにタイトル・チューンの「Powerslave」、そして「Rime of the Ancient Mariner」という構成は実に素晴らしい。もちろん後半に行くに従って重くなっていく(最後の二曲で全体の40%近くのランニング・タイムを消費)ので、やや腰を落ち着けないといけないのが難点ではあるが。まぁべつにコンセプト・アルバム的に聞かなければならないわけでもないので、気に入った曲だけ聞くのでもまったく問題ないだろう。


ロバート・E・ハワード『影の王国(The Shadow Kingdom)』私訳(2)


ロバート・E・ハワード『影の王国(The Shadow Kingdom)』私訳(1)


Wierd Tales, 1929年8月初出。