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十二国記 [Jūni Kokuki] #6
風の万里 黎明の空〈上〉
人は、自分の悲しみのために涙する。陽子(ようこ)は、慶国(けいこく)の王として玉座に就きながらも役割を果たせず、女王ゆえ信頼を得られぬ己に、苦悩していた。祥瓊(しょうけい)は、芳国(ほうこく)国王である父が簒奪者(さんだつしゃ)に殺され、公主の平穏な暮らしを失くし哭(な)いていた。そして鈴(すず)は、蓬莱から流され辿り着いた才国(さいこく)で、苦行を強いられ、蔑まれて泣いていた。それぞれの苦難(くるしみ)を負う少女たちは、幸福(しあわせ)を信じて歩き出すのだが──。
368 pages, Paperback
First published August 5, 1994
About the author
Fuyumi Ono
136 books344 followersKanji Name: 小野 不由美.
Fuyumi Ono (小野 不由美, Ono Fuyumi) is a Japanese novelist who is best known for writing the Twelve Kingdoms (十二国記, Juuni Kokuki) series, on which a popular anime is based. Her name after marriage is Fuyumi Uchida (内田不由美, Uchida Fuyumi), but she writes under her maiden name.
Ono was born in Nakatsu, Ōita, Kyūshū in 1960. She graduated from Ōtani University in Kyōto with a degree in Buddhist Studies, and in 1988 was employed by the publisher Kōdansha. Her debut story is titled Sleepless on Birthday Eve.
Ono is married to Naoyuki Uchida (内田直行, Uchida Naoyuki), a mystery novelist who writes under the pseudonym Yukito Ayatsuji (綾辻行人 , Ayatsuji Yukito).
Before she started work on Twelve Kingdoms, Fuyumi Ono wrote The Demonic Child (魔性の子), a horror novel about a boy from another world. She later worked certain events from this novel into the Twelve Kingdoms series. Short stories set in the various kingdoms include: Kasho, Toei, Shokan, Kizan and Jogetsu. In February, 2008, the first new Twelve Kingdoms short story, Hisho no Tori (丕緒の鳥) was published in Shinchosha's Yomyom magazine.
According to an interview at the Anime News Network, she is "currently rewriting a girls' horror series (she) wrote long ago."
- Wikipedia
Fuyumi Ono (小野 不由美, Ono Fuyumi) is a Japanese novelist who is best known for writing the Twelve Kingdoms (十二国記, Juuni Kokuki) series, on which a popular anime is based. Her name after marriage is Fuyumi Uchida (内田不由美, Uchida Fuyumi), but she writes under her maiden name.
Ono was born in Nakatsu, Ōita, Kyūshū in 1960. She graduated from Ōtani University in Kyōto with a degree in Buddhist Studies, and in 1988 was employed by the publisher Kōdansha. Her debut story is titled Sleepless on Birthday Eve.
Ono is married to Naoyuki Uchida (内田直行, Uchida Naoyuki), a mystery novelist who writes under the pseudonym Yukito Ayatsuji (綾辻行人 , Ayatsuji Yukito).
Before she started work on Twelve Kingdoms, Fuyumi Ono wrote The Demonic Child (魔性の子), a horror novel about a boy from another world. She later worked certain events from this novel into the Twelve Kingdoms series. Short stories set in the various kingdoms include: Kasho, Toei, Shokan, Kizan and Jogetsu. In February, 2008, the first new Twelve Kingdoms short story, Hisho no Tori (丕緒の鳥) was published in Shinchosha's Yomyom magazine.
According to an interview at the Anime News Network, she is "currently rewriting a girls' horror series (she) wrote long ago."
- Wikipedia
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Displaying 1 - 11 of 11 reviews
October 4, 2025
This review was for the Tokyopop edition and will be update once I've reread the Sevenseas version
If a story has no romance whatsoever and I rate it four stars or above, you can be sure it means I think it's pretty fantastic. Skies of Dawn picks up after the first instalment of the series and actually consists of three volumes (resulting in a 650-page chunk of a book for its English release). I thought I'd be working my way through this one for quite a while due to heavy world-building, yet this book was near impossible to put down.
The first instalment of The Twelve Kingdoms was fantastic for character development, the following two were great for political intrigue and all of them had wonderful world-building. Skies of Dawn, however, excels at all three. Although the world-building can at times be a little heavy-handed (we spend a good few pages learning about this world's measuring conventions...), it is one of the most fleshed-out fictional worlds I have come across and in that respect alone would I even compare it to the likes of Tolkien.
While I absolutely appreciate this vivid world, I have always been one to prefer character-driven stories and this book takes you on a journey with not only one but three great characters: we finally get to follow Yoko from the first instalment who is now struggling with her new role as the King of Kei (this world does not differentiate between male and female rules, they are always referred to as king). Then we have Suzu, another girl from Japan who has been whisked off to the Twelve Kingdoms, who has no true place of her own and feels that no one is helping her in this strange new land. And third, we have Shoukei, a princess of the Hou kingdom who is stripped of her title after her father the King has been dethroned and murdered.
We follow the story of each of these three main characters from completely different ends of the kingdom. All three of them have their own share of problems and initially start out from very different circumstances - eventually, their storylines lead together and they turn out to have more in common than what first meets the eye. I adore stories that have multiple point of views that eventually flow into one. Finding out how these three characters would eventually meet was one of the biggest page-turners.
These three girls aren't only out on an actual journey but also on one of self-discovery - although Yoko is the only one who is truly aware of it. Yoko doesn't know how to run her kingdom and is dissatisfied with her ministers and how her voice is never heard. Determined to learn more about her kingdom, she sets out to live among her people as a commoner only to discover that there is a lot more wrong in the kingdom of Kei than she could ever have hoped to learn whilst in her palace. The fact that she needed to keep her identity a secret was one of the more thrilling elements of this story and the multiple point of view narration allows the reader to smirk on Yoko's behalf whenever people complain to her about the incompetence of the king.
Shoukei is on a similar path but for very different reasons: her father was murdered due to his harsh reign over his people. Shoukei is also punished, but rather than execution, she is stripped of her titles (including her immortality) and is brought to live in an orphanage where she is treated like a slave. Hers was the story that moved me the most, mainly because I thought the treatment she received was utterly unfair. Throughout the story, Shoukei is blamed for all the wrongs her father has done, even to the extent of people wanting her dead and even Shoukei herself eventually thinking she is as much to blame. While I will agree that Shoukei could have done more from her position as a princess, she genuinely did not know about her father's crimes. While other characters say she should have known, I do wonder, how should she have known? She spent her entire life in the castle, she wasn't allowed out and she had no way of knowing what was happening to the people. I don't mind that she lost her title and was sent to live as a commoner, but I do think that the other characters were much to harsh on her. Despite the what I consider ill-treatment, Shouki undergoes a great character development from an unknowing princess to one with lots of compassion and will to make a difference.
Suzu's journey is a little like Yoko's from the first book: she is stranded in a fantastical land with no place to go, no money and no ability to speak to the locals. She feels isolated and ultimately becomes a servant to an immortal which in turn also grants her immortality but, more importantly, the ability to understand other people even without knowing the language. Nonetheless, she is also ill-treated as a servant and often bemoans her cruel fate. Much like Shouki, I find that the other characters are too harsh on her: yes, she complains a lot about her lot rather than doing anything about it, but I also agree with Suzu that she is in a tough spot. Other characters belittle her saying she should grow some backbone because everyone has a hard life. That may be true, but it doesn't make Suzu's situation any less difficult. Much like Shoukei, she finds herself on a journey where she ends up meeting and caring for people and ultimately stands in the middle of a rebellion.
All three characters are courageous but flawed making them wonderful characters. But another strong factor of Skies of Dawn was the political intrigue. There is so much going on and the multiple point of views actually raise more questions than answer them. You're left guessing and wondering until the very near end when things finally start to fall into place. It's a perfectly written story of how people rise up to tyranny and how a young king leaves her mark on steering the kingdom to a brighter future.
I often see complaints about the poor translation and I am not entirely sure what people are referring to. There are minor typos - of course, these shouldn't be there, but I find similar typos in the likes of popular books such as Rick Riordan's works. Some phrases could have perhaps been written a bit more elegantly but it by no means gets in the way of reading. Apparently, there is a whole chapter missing from the hardcover edition, though - I have read the paperback and haven't had any issues whatsoever.
I am very grateful to the friend who recommended The Twelve Kingdoms to me as I would otherwise have ignored this epic series due to not being fully translated. The sad news for me at this point is that Skies of Dawn is the last that's been translated. While each instalment is a complete story and could be considered the end, I've enjoyed this series so much that I desperately want to read the sequels. One way or another, I will find a way to read the next books. Highly recommended to those who enjoy world-building and character-driven stories - albeit the English editions are a pain to get a copy of.
August 9, 2026
Three young women are suddenly (and for one rather brutally) thrown into a new life completely unlike their old one and with no way to go back. Each react differently, but all three go on a journey -voluntarily or otherwise- to truly learn to deal with their new circumstances. One of these three is the MC from book 1 and 2, the other two are new.
As previous books the story shine with its characters, who while not all likeable, are understandable. Nobody is truly in control of things around them, but how you react to those changes certainly impact how you end up. Their stories and growth certainly did have me hooked by the end of the book. The three will meet and I wonder how they react because none are correct in their expectations.
The world building is a bit odd at times, but that is nothing new, and it has me intrigued for the most part, especially the hints that more might be going on than meets the eye.
What I struggled with is the relatively common switch in point of view, after all, it is a story about three main characters. That is very much a me thing, although at the start it was a bit more confusing due me struggling with remembering who is who. There is also a bit of a lack of plot beyond character growth except for a few hints in the later part. The names just don't stick. The ending is a bit of a cliff hanger, nothing too big, but the arc is clearly not finished, and just when I got really invested in the characters and their story.
Still, it was a solid read that did get me really invested in all three characters by the end despite the rough start for some. Things are happening in the background and I am really curious about what is to come next...
As previous books the story shine with its characters, who while not all likeable, are understandable. Nobody is truly in control of things around them, but how you react to those changes certainly impact how you end up. Their stories and growth certainly did have me hooked by the end of the book. The three will meet and I wonder how they react because none are correct in their expectations.
The world building is a bit odd at times, but that is nothing new, and it has me intrigued for the most part, especially the hints that more might be going on than meets the eye.
What I struggled with is the relatively common switch in point of view, after all, it is a story about three main characters. That is very much a me thing, although at the start it was a bit more confusing due me struggling with remembering who is who. There is also a bit of a lack of plot beyond character growth except for a few hints in the later part. The names just don't stick. The ending is a bit of a cliff hanger, nothing too big, but the arc is clearly not finished, and just when I got really invested in the characters and their story.
Still, it was a solid read that did get me really invested in all three characters by the end despite the rough start for some. Things are happening in the background and I am really curious about what is to come next...
April 4, 2021
La fin a brisé mon coeur. Je m'attendais à ce que ça arrive mais pas de cette manière.
June 16, 2026
although part 2 concludes this magnificent story in the most satisfying way possible, part 1 is altogether enjoyable, with quite a bittersweet ending.
we follow the journey of three girls: a ruler, a drifter and a slave (pretty much) who will soon enough meet one another. but before that, each of them must follow her own path toward self-discovery.
both suzu and shoukei, especially, are initially unlikable, blaming others for their own misery while being unwilling to change their lives. through meeting new companions who help knock some sense into them, their mindset finally starts to align with their needs.
much like the other two girls, youko finds herself trapped by her own circumstances. she faces the adversities that come with being a queen in a foreign world, and struggles to find reliable allies amidst a corrupt political court.
eventually, these three will cross paths, rewriting not only their own futures, but also that of Kei itself.
we follow the journey of three girls: a ruler, a drifter and a slave (pretty much) who will soon enough meet one another. but before that, each of them must follow her own path toward self-discovery.
both suzu and shoukei, especially, are initially unlikable, blaming others for their own misery while being unwilling to change their lives. through meeting new companions who help knock some sense into them, their mindset finally starts to align with their needs.
much like the other two girls, youko finds herself trapped by her own circumstances. she faces the adversities that come with being a queen in a foreign world, and struggles to find reliable allies amidst a corrupt political court.
eventually, these three will cross paths, rewriting not only their own futures, but also that of Kei itself.
August 12, 2026
Suzu: the danger of courage deferred and the ripples left in the wake of learned helplessness. Shoukei: the perils of unearned pride and the whims of an aging, restless ego. Youko, Queen Kei: the exhaustion witnessed upon fighting off the suffocating indignations of a crudely manifest, inherited ignorance.
THE TWELVE KINGDOMS v5 again courts themes at the heart of the novel series' first volume: loneliness, powerlessness, immature curiosity, and the fragility of adolescent arrogance. But the difference in the current volume is that the characters' circumstances are profoundly more complex, and the author's understanding of how to balance narrative tension with character development is decidedly more advanced.
The novel weaves together the life stories of a child of poverty (Suzu) and a child of privilege (Shoukei), and readers are guided toward oscillating bouts of sympathy and outright frustration with each young woman's pitiable attempt at striking out on her own. As is the habit of most characters in this light novel series, neither Suzu nor Shoukei can see their own faults, much less correct them. Brought low by dirty work in dissolute farmland? Scrubbing floors? Begging for scraps? Yearning for a betrayal of a betrayal? It's up to a handful of new and recurring secondary characters, in colorful and curious new contexts, to enlighten these two young women of their own humanity.
Suzu is a kaikayku who was sold into slavery, then found herself begging her way into the service of an emotionally arrested sage; Suzu lived in brutal servitude for 100 bitter years. She has trained herself to feel sorry for herself. Even more fascinating is how readers are primed to root for the girl, only to encounter the harsh reality that pity, on its own, is irresponsible and bears no true benefits.
As Seishuu, a raggedy young traveler, opines: "There's no point saying one person has it worse than the other. Everyone goes through rough times. And when you go through a rough time, it feels just as bad as anyone else's rough time. If there's anyone out there who's never had a bad day in their life, I'd love to see 'em" (page 253).
Shoukei is the exiled princess of King Hou, who himself was overthrown and executed following three decades of increasingly vicious, autocratic rule (e.g., Chuutatsu killed one-fifth of his population). Shoukei pleads ignorance, having had nothing to worry about beyond silks, jewelry, and dancing. And yet, the people do not forgive her, the administrators and soldiers do not forgive her, and every learned citizen of every other nation, rebukes her. Shoukei fiercely defends her ignorance if for no other reason than to avoid blaming herself for it. It takes a random encounter with a kind hanjyuu (the novel series' greatest character) to turn her headspace around.
The delta that represents Suzu's gradual effort to crawl back toward self-discernment, Shoukei's accidental awakening toward humility, and Queen Kei's (Youko's) emergent grasp of her divine responsibilities converges in a rural province that foretells grave goings-on. THE TWELVE KINGDOMS: BOOK FIVE — A THOUSAND MILES OF WIND, THE SKY AT DAWN: PART 1 is a fun volume because it dispenses with all of the formal, courtly affairs and gets straight to the conversation at hand: Rebellion is constantly afoot, sometimes understandably so and sometimes under the auspices of the infinitely greedy. Youko is keen to investigate the matter, but does she have enough strength to put out the fires she's only now discovering?
Youko may have learned to stop feeling sorry for herself, but obtaining the knowledge she needs to rule her country will demand more of her than she initially thought necessary. She studies, fights off her administrators, acquiesces to others, and resolves to quit running around in circles. Her story converges with those of Suzu and Shoukei because like these other two women, Youko's knowledge of herself and of the world she now inhabits surely inhibits her capacity to do well by herself and the people she cares about.
THE TWELVE KINGDOMS v5 is about taking possession of one's self, and wresting certainty, however small, from the vague authorities of a corrupted heart. The novel offers precipitating queries of much larger consequence: Of what value is hierarchy when the people are constantly held under foot? If multiple kingdoms are torn asunder, is it truly by accident? Cruelty comes easy in times of difficulty, but what of kindness, earnestness, and pathos?
THE TWELVE KINGDOMS v5 again courts themes at the heart of the novel series' first volume: loneliness, powerlessness, immature curiosity, and the fragility of adolescent arrogance. But the difference in the current volume is that the characters' circumstances are profoundly more complex, and the author's understanding of how to balance narrative tension with character development is decidedly more advanced.
The novel weaves together the life stories of a child of poverty (Suzu) and a child of privilege (Shoukei), and readers are guided toward oscillating bouts of sympathy and outright frustration with each young woman's pitiable attempt at striking out on her own. As is the habit of most characters in this light novel series, neither Suzu nor Shoukei can see their own faults, much less correct them. Brought low by dirty work in dissolute farmland? Scrubbing floors? Begging for scraps? Yearning for a betrayal of a betrayal? It's up to a handful of new and recurring secondary characters, in colorful and curious new contexts, to enlighten these two young women of their own humanity.
Suzu is a kaikayku who was sold into slavery, then found herself begging her way into the service of an emotionally arrested sage; Suzu lived in brutal servitude for 100 bitter years. She has trained herself to feel sorry for herself. Even more fascinating is how readers are primed to root for the girl, only to encounter the harsh reality that pity, on its own, is irresponsible and bears no true benefits.
As Seishuu, a raggedy young traveler, opines: "There's no point saying one person has it worse than the other. Everyone goes through rough times. And when you go through a rough time, it feels just as bad as anyone else's rough time. If there's anyone out there who's never had a bad day in their life, I'd love to see 'em" (page 253).
Shoukei is the exiled princess of King Hou, who himself was overthrown and executed following three decades of increasingly vicious, autocratic rule (e.g., Chuutatsu killed one-fifth of his population). Shoukei pleads ignorance, having had nothing to worry about beyond silks, jewelry, and dancing. And yet, the people do not forgive her, the administrators and soldiers do not forgive her, and every learned citizen of every other nation, rebukes her. Shoukei fiercely defends her ignorance if for no other reason than to avoid blaming herself for it. It takes a random encounter with a kind hanjyuu (the novel series' greatest character) to turn her headspace around.
The delta that represents Suzu's gradual effort to crawl back toward self-discernment, Shoukei's accidental awakening toward humility, and Queen Kei's (Youko's) emergent grasp of her divine responsibilities converges in a rural province that foretells grave goings-on. THE TWELVE KINGDOMS: BOOK FIVE — A THOUSAND MILES OF WIND, THE SKY AT DAWN: PART 1 is a fun volume because it dispenses with all of the formal, courtly affairs and gets straight to the conversation at hand: Rebellion is constantly afoot, sometimes understandably so and sometimes under the auspices of the infinitely greedy. Youko is keen to investigate the matter, but does she have enough strength to put out the fires she's only now discovering?
Youko may have learned to stop feeling sorry for herself, but obtaining the knowledge she needs to rule her country will demand more of her than she initially thought necessary. She studies, fights off her administrators, acquiesces to others, and resolves to quit running around in circles. Her story converges with those of Suzu and Shoukei because like these other two women, Youko's knowledge of herself and of the world she now inhabits surely inhibits her capacity to do well by herself and the people she cares about.
THE TWELVE KINGDOMS v5 is about taking possession of one's self, and wresting certainty, however small, from the vague authorities of a corrupted heart. The novel offers precipitating queries of much larger consequence: Of what value is hierarchy when the people are constantly held under foot? If multiple kingdoms are torn asunder, is it truly by accident? Cruelty comes easy in times of difficulty, but what of kindness, earnestness, and pathos?
June 18, 2026
Another book down and I'm sad I've caught up with these releases because now I have to wait for book 6. This book, like the ones before it, was an easy, enjoyable read that made me want to keep going even though I already had an idea of what was going to happen having watched the anime.
It also seems like the next book will still be covered by the anime at least in part. This didn't quite reach the end of it although I think we're close now.
Slight spoilers for those who haven't seen the anime:
This, again, seems to have been faithfully followed by the anime. Not a lot of major changes from my recollection. The biggest change would be the eyesight of Seishuu and it's made far more clear in the book how his body deteriorated over time vs just eyesight.
I gotta say, Seishuu also pisses me off. I get calling out Suzu for her self-pitying, but the girl really HAS had it fucking rough. She's allowed to feel bad about it. No, she shouldn't be competing in the oppression Olympics, but Seishuu actually defends her worst bully and victim blames her in the process. Fuck off Seishuu.
"Oh wah wah do something about it instead of complaining" he says
She IS doing something about it, jackass! She's literally traveling across the ENTIRE WORLD (which is completely foreign to her as a kaikyaku) to go somewhere she can have a prayer of being happy. She can complain along the way sometimes, man, she's earned the right.
Even Rakushun (whom I adore) seems too harsh on Shoukei. Yes, she was oblivious to the world around her and obviously a spoiled little brat, but she was raised to be that way and I don't see how she could have turned out any differently when she was so sequestered and only fed information from her parents who were intent on keeping her ignorant. Shoukei is annoying and her hatred towards Youko misplaced, but, again, what do you expect with her upbringing?
It's good she's getting a life lesson, but the one she's getting is severely harsh with people blaming her for something she was completely ignorant of. Blaming her for her father's behavior is not ok and, again, the book seems to try to foist the abuser's responsibility onto one of its victims. Yes yes family honor whatever. Not ok.
The victim blaming in both narratives knocks off a star for me.
Despite that I still greatly enjoyed reading the book and getting more and more information about this world and how it works. I look forward to book 6!
It also seems like the next book will still be covered by the anime at least in part. This didn't quite reach the end of it although I think we're close now.
Slight spoilers for those who haven't seen the anime:
This, again, seems to have been faithfully followed by the anime. Not a lot of major changes from my recollection. The biggest change would be the eyesight of Seishuu and it's made far more clear in the book how his body deteriorated over time vs just eyesight.
I gotta say, Seishuu also pisses me off. I get calling out Suzu for her self-pitying, but the girl really HAS had it fucking rough. She's allowed to feel bad about it. No, she shouldn't be competing in the oppression Olympics, but Seishuu actually defends her worst bully and victim blames her in the process. Fuck off Seishuu.
"Oh wah wah do something about it instead of complaining" he says
She IS doing something about it, jackass! She's literally traveling across the ENTIRE WORLD (which is completely foreign to her as a kaikyaku) to go somewhere she can have a prayer of being happy. She can complain along the way sometimes, man, she's earned the right.
Even Rakushun (whom I adore) seems too harsh on Shoukei. Yes, she was oblivious to the world around her and obviously a spoiled little brat, but she was raised to be that way and I don't see how she could have turned out any differently when she was so sequestered and only fed information from her parents who were intent on keeping her ignorant. Shoukei is annoying and her hatred towards Youko misplaced, but, again, what do you expect with her upbringing?
It's good she's getting a life lesson, but the one she's getting is severely harsh with people blaming her for something she was completely ignorant of. Blaming her for her father's behavior is not ok and, again, the book seems to try to foist the abuser's responsibility onto one of its victims. Yes yes family honor whatever. Not ok.
The victim blaming in both narratives knocks off a star for me.
Despite that I still greatly enjoyed reading the book and getting more and more information about this world and how it works. I look forward to book 6!
July 16, 2026
More like a 3.5
A Thousand Miles of Wind, the Sky at Dawn Part 1 is the first part (obviously) of a new The Twelve Kingdoms arc. Much like Book 1 and 2, here you get all the characterization (a ton of it) and some plot going forward but all the action is probably reserved for book 2.
I don't want to say for sure that this volume had more new characters introduced than previous ones, but it really felt like it. On top of that, we have 3 different POVs (one of them being Youko, but she goes on to do a whole thing on her own so her POV also introduces a bunch of new names). I already have a hard time remembering the kings, the queens and kirins so it wasn't a surprise that juggling so many new names was a bit hard for me.
Shoukei was the most annoying to follow and I'm glad she eventually gets put in her place because I hated whenever we had to be in her head. Suzu wasn't that much better but I could understand her frustrations. I felt like I didn't see enough of Youko...
A Thousand Miles of Wind, the Sky at Dawn Part 1 is the first part (obviously) of a new The Twelve Kingdoms arc. Much like Book 1 and 2, here you get all the characterization (a ton of it) and some plot going forward but all the action is probably reserved for book 2.
I don't want to say for sure that this volume had more new characters introduced than previous ones, but it really felt like it. On top of that, we have 3 different POVs (one of them being Youko, but she goes on to do a whole thing on her own so her POV also introduces a bunch of new names). I already have a hard time remembering the kings, the queens and kirins so it wasn't a surprise that juggling so many new names was a bit hard for me.
Shoukei was the most annoying to follow and I'm glad she eventually gets put in her place because I hated whenever we had to be in her head. Suzu wasn't that much better but I could understand her frustrations. I felt like I didn't see enough of Youko...
August 28, 2026
I love nothing more than flawed characters struggling through their character growth. Youko needs to learn about the world she lives in in order to rule it and struggles with being a doormat. Suzu thinks she has had the worst life possible. Shoukei is a brat learning that she knows nothing about the world she was born in because she was a spoiled princess (literally). Suzu and Shoukei irk me so much but I LOVE their story! And I can't wait for Youko to be the strong queen I know she is.
February 25, 2023
《十二國記：風之萬里 黎明之空》描述甫上任的慶國女王陽子、被剝奪仙籍的前芳國公主祥瓊、流落到十二國上百年的大木鈴，這三名「少女」懷抱著各自的感情與心結踏上旅途，途中邂逅的人讓她們逐漸轉變，有所成長，不再憤世嫉俗、自怨自艾，變得能夠接受自己的處境，反省過往狹隘偏激的心態，改變思維去設想自己能為自己的人生做什麼樣的努力，甚至是行有餘力能為其他生活艱苦的人提供什麼幫助。
第一次看這本書是在高中時期，那個時候對小野不由美將三位階級與心態不同的女主角狀態描繪得入木三分這一點感到驚嘆不已，她們處境不同，煩惱心緒卻略可窺見些許相通之處。因為唸書時想法容易悲觀，這部小說既讓當時的我感到深受震撼後的喜愛，但也有些被看穿自己卑微怨懟心態下的偏狹自私而感到羞慚。
本作真的是非常精采的小說，於主要角色而言，可以一口氣讀到三位少女在東奔西走的過程裡成長，不再將目光放在憐憫自己遭遇的苦，而是能由衷省思過去忽略的錯誤，改革掉內在那種怨懟底下深藏的輕慢之心；於慶國國內紛爭始末而言，能夠讀到陽子蟄伏在民間瞭解民眾的生活，蒐集情報制定出順勢逮捕貪污官員的策略，是一齣鮮明靈動的政治群像小說。
在本作中傾向憤世嫉俗、自怨自艾的主要是大木鈴和祥瓊，陽子已在《十二國記：月之影 影之海》裡走過那個階段，在《十二國記：風之萬里 黎明之空》開始步上嘗試各種努力解決實務困境的道路，而祥瓊和鈴則還困在自己的心結，無法勘破自身未察覺的傲慢，一心一意認定自己是不幸而可憐的人。但在旅途遇到各種人開解後，終於能慢慢解怨釋縛、脫離受害者情結，從較客觀的角度審視過往的人生和自己待人處世上的缺漏之處。讀這本書的時候，鈴、祥瓊所遇所聞帶來的心境轉變也帶給我最多收穫，鈴的經歷讓我開始告誡自己不能陷入自哀自憐的心態；祥瓊的經歷則讓我意識到權力與責任是一體兩面的存在，若要享有權益就必須有相對應的付出。
鈴的態度一開始真的很不討喜，一心指望神或別人來拯救自己，而且還否定別人經歷苦難後的悲傷，但同時心裡也很難堪地意識到自己有時也會陷入這種心態，頑固的認定自己是無能為力的弱者或受害者後，就會漸漸轉為理直氣壯認為可以隨意向他人索取餽贈或協助的心態，忽略了即使事情再小，應該也有自己力所能及的事情。而且預設對方一定要秉持著善意對待給身為陌生人的自己超越界線的幫助，用這種心態跟人來往確實讓人不舒服。鈴對「忍耐」的認知讓我想起以前讀過的韓國作家南仁淑敘述的忍耐差異：
忍耐，包含兩層涵義，一是「忍受」，二是「繼續做下去」。
前者意味著無可奈何地承受自身的痛苦。當有人侮辱妳的時候，雖然心裡很想給對方一巴掌，但還是會忍住這種衝動，裝作沒有聽到，這就是「忍受」。後者表示不屈服於種種障礙，繼續不停地作自己分內的工作。⋯⋯「忍受」正是前面提到的那些不幸的女人最為擅長的東西。她們認為嘗試新事物不如忍受痛苦，這正是忍耐力突出的表現。如果要實現自己期望的生活，就應該培養「繼續做事」的能力。
——南仁淑《20幾歲，決定女人的一生》頁八十六
如果按照上述定義來看的話，鈴的狀態顯然是忍受，而不是在暫時忍耐著令她不舒服的狀態的同時也思索並嘗試或許可以改善自身生活狀態的辦法，只是陶醉於沐浴在不幸的自己，覺得被所有人欺侮、柔弱無助的自己。被清秀點破、在內心幾番衝突糾葛後，終於能漸漸看到自己的這份輕慢，培養出互相關懷之情的清秀慘死帶來的衝擊，也讓鈴有契機加入虎嘯的陣營，目光不再只放在自己身上，變得能深入觀察其他人的生活，由衷地體諒、同理他們的處境，學會在力所能及的情況下幫助與寬慰彼此的苦。
只是到最後，我覺得鈴的成長跟祥瓊相比似乎相對不明顯，加入虎嘯陣營的鈴仍有些沉溺在自溺的憤恨裡，無法清楚區分為自己憤怒或為別人憤怒，但身邊有循循善誘的夥伴，能夠提點她的盲點，應該多少可彌補鈴在思考上不夠周全之處，而這些經歷也會化作她的成長養分。我有點擔心這樣的鈴在離開慶國後，會很快恢復以往那種自怨自艾的心態。我認為鈴如果要保持現在的心境，除了她本人要有意識地去鍛鍊心性不走歪以外，身邊可能要有能適時提點她的良師益友。
祥瓊與陽子某方面正好是一體兩面的對照，前者是不得不退位的前公主，後者剛上任的君王；祥瓊眼裡的王位是伴隨著無止盡榮華富貴的物質象徵，陽子則看到數不盡她不瞭解卻牽一髮動全身，因此必須謹慎決策的龐雜國政。祥瓊一心一意只想著失去的珠寶華服、受人服侍的尊貴生活，厲聲控訴著村人們對她的怨恨毫無道理的模樣，完美呈現出只想要享受權力的美好，而不願承擔與之相對的義務與職責的無知心態。
跟鈴的旅途很像，祥瓊一路上先後遇見月溪、珠晶、樂俊，月溪於她是殺父仇人，即使月溪對祥瓊態度不算惡劣，但滿腔仇恨不平令祥瓊無法心平氣和去思考月溪的話和對她的後續安排；珠晶也沒有多餘的耐性去諄諄教誨未有權力與責任相伴意識的祥瓊，而珠晶作為享有權勢地位的王，安排從事勞動工作被祥瓊認為是污辱她，未能在惡待中體會到父王暴政造成眾多人民的痛苦，反而變得更加憤世嫉俗。直到平民出身、心性沉穩的樂俊陪伴在身邊，條理分明地指出祥瓊的謬誤，先前的遭遇和那些人對自己的指責才真正伴隨著體悟與反省滲透進祥瓊的內心，讓祥瓊真正理解自己的錯誤，真心地感到歉疚。也因為樂俊有在旅途期間為祥瓊講解經過的國家的政治狀態、風土民情、底層民眾生活景況，祥瓊後來單獨在慶國旅行時，對相關知識的瞭解可以即刻應用在現實狀況上，對桓魋（ㄊㄨㄟˊ）他們處境可以有更深一層的觀察與理解。
另外，我認為祥瓊待在桓魋身邊、鈴待在虎嘯身邊，爾後匯聚合流成推翻昇紘的勢力，此番歷練對兩人有一個優點，那就是他們初次體會到跟人互相理解、互助合作並真心為此感到滿足的感受。兩人原本一個自視甚高認為身邊人都應該奉承照顧自己、一個自我陶醉認定自己乃世上最不幸的人，從未體會過好好去看著其他人，真摯地付出關心也收到他人的真心回饋。經此一戰，她們在待人處事的胸襟和視野應該可以被開拓不少，日後再次畫地自限時也能回憶起當時感受到的各種滋味，重新取回變得強韌的力量。
陽子在本作面臨的困境跟祥瓊和鈴都不太一樣，她剛上任就面臨官員遞上的各種奏摺要求裁決，但她對慶國的運作方式近乎一無所知，在連所謂的常識和標準在哪裡都不曉得，又怎麼能做出合情合理、足以安頓國政的決策呢？每位臣子說的似乎都不無道理，但換個角度看似乎又有哪裡不對勁，做這些決策時該相信誰？要考慮對哪些人有所影響？如果政策效益對不同人或地區的利害關係互相牴觸，採取各種角度衡量後，該怎麼取捨和調整才能確定最適解呢？陽子自行到民間觀察民眾的生活狀況，同時接受瞭解慶國歷史和各種學識的遠甫指導，兩相結合下對陽子而言是很扎實的磨練，讓她在這段時間梳理清楚自己應該從何著手又該怎麼進行，以大量的學習來改變原先僵固的質，培養出相對應的能耐去發揮自己的智慧與策略，讓陽子最終採取制衡手段時，有足夠的底氣相信自己的判斷，同時不偏廢對身邊人建言的信賴。
而陽子在戰役結束後頒布初敕，傳達自己想要將慶國治理出何等樣貌的意志。這段話不僅非常撼動人心，亦能完全感受到那正是陽子待在民間的收穫。蘭玉、桂桂、清秀象徵柔弱無力反抗高官蹂躪的底層民眾，他們的遭遇讓陽子盼望慶國民眾日後無須再用感覺踐踏自己的伏禮表達對他人的尊敬；在虎嘯、桓魋身邊，親睹他們不以自己勢單力薄為懼，仍鼓起勇氣秘密集結志同道合的夥伴，努力推翻貪贓枉法官員，陽子見識到那份強韌心性能帶來的改變，期許慶國民眾都能變得勇敢而不屈不撓，不折服在劣勢和他人欺壓之下，一起胼手胝足開闢出理想的國家和生活方式。以前覺得自己的狀態比較像本作的大木鈴或祥瓊，我希望現在的自己可以像本作的陽子一樣已踏上尋求解決實質困境的道路了。
「當一個人真心感謝對方。發自內心地尊敬時，會自然而然地鞠躬行禮。禮儀是代表內心，而不是靠形式衡量他人的內心，以禮儀為名，強迫他人膜拜等於把腳踩在別人頭上，把別人的頭踩在地上。我並非鼓勵無禮，對他人必須以禮相待，這是理所當然的事，我只是說，不管有禮、無禮，都是當事人的品行問題，僅此而已。我希望慶國的每一個百姓都成為王。從昇紘的例子就可以知道，仗勢欺人、蹂躪他人會有怎樣的下場，持續遭到蹂躪的人會採取的行動也昭然若揭。任何人都不是別人的奴隸，並非為了當奴隸而來到世上。我希望慶國人民豪放不羈——擁有即使受到他人虐待也不屈之心，即使遭遇災難也不撓之心，一旦遇到違法亂紀之事，勇於挺身而出，不向豺虎諂媚，成為治理自己這塊領土獨一無二的君主，為此，必須從在他人面前毅然抬頭開始。」
——小野不由美《十二國記：風之萬里 黎明之空》頁三三零
第一次看這本書是在高中時期，那個時候對小野不由美將三位階級與心態不同的女主角狀態描繪得入木三分這一點感到驚嘆不已，她們處境不同，煩惱心緒卻略可窺見些許相通之處。因為唸書時想法容易悲觀，這部小說既讓當時的我感到深受震撼後的喜愛，但也有些被看穿自己卑微怨懟心態下的偏狹自私而感到羞慚。
本作真的是非常精采的小說，於主要角色而言，可以一口氣讀到三位少女在東奔西走的過程裡成長，不再將目光放在憐憫自己遭遇的苦，而是能由衷省思過去忽略的錯誤，改革掉內在那種怨懟底下深藏的輕慢之心；於慶國國內紛爭始末而言，能夠讀到陽子蟄伏在民間瞭解民眾的生活，蒐集情報制定出順勢逮捕貪污官員的策略，是一齣鮮明靈動的政治群像小說。
在本作中傾向憤世嫉俗、自怨自艾的主要是大木鈴和祥瓊，陽子已在《十二國記：月之影 影之海》裡走過那個階段，在《十二國記：風之萬里 黎明之空》開始步上嘗試各種努力解決實務困境的道路，而祥瓊和鈴則還困在自己的心結，無法勘破自身未察覺的傲慢，一心一意認定自己是不幸而可憐的人。但在旅途遇到各種人開解後，終於能慢慢解怨釋縛、脫離受害者情結，從較客觀的角度審視過往的人生和自己待人處世上的缺漏之處。讀這本書的時候，鈴、祥瓊所遇所聞帶來的心境轉變也帶給我最多收穫，鈴的經歷讓我開始告誡自己不能陷入自哀自憐的心態；祥瓊的經歷則讓我意識到權力與責任是一體兩面的存在，若要享有權益就必須有相對應的付出。
鈴的態度一開始真的很不討喜，一心指望神或別人來拯救自己，而且還否定別人經歷苦難後的悲傷，但同時心裡也很難堪地意識到自己有時也會陷入這種心態，頑固的認定自己是無能為力的弱者或受害者後，就會漸漸轉為理直氣壯認為可以隨意向他人索取餽贈或協助的心態，忽略了即使事情再小，應該也有自己力所能及的事情。而且預設對方一定要秉持著善意對待給身為陌生人的自己超越界線的幫助，用這種心態跟人來往確實讓人不舒服。鈴對「忍耐」的認知讓我想起以前讀過的韓國作家南仁淑敘述的忍耐差異：
忍耐，包含兩層涵義，一是「忍受」，二是「繼續做下去」。
前者意味著無可奈何地承受自身的痛苦。當有人侮辱妳的時候，雖然心裡很想給對方一巴掌，但還是會忍住這種衝動，裝作沒有聽到，這就是「忍受」。後者表示不屈服於種種障礙，繼續不停地作自己分內的工作。⋯⋯「忍受」正是前面提到的那些不幸的女人最為擅長的東西。她們認為嘗試新事物不如忍受痛苦，這正是忍耐力突出的表現。如果要實現自己期望的生活，就應該培養「繼續做事」的能力。
——南仁淑《20幾歲，決定女人的一生》頁八十六
如果按照上述定義來看的話，鈴的狀態顯然是忍受，而不是在暫時忍耐著令她不舒服的狀態的同時也思索並嘗試或許可以改善自身生活狀態的辦法，只是陶醉於沐浴在不幸的自己，覺得被所有人欺侮、柔弱無助的自己。被清秀點破、在內心幾番衝突糾葛後，終於能漸漸看到自己的這份輕慢，培養出互相關懷之情的清秀慘死帶來的衝擊，也讓鈴有契機加入虎嘯的陣營，目光不再只放在自己身上，變得能深入觀察其他人的生活，由衷地體諒、同理他們的處境，學會在力所能及的情況下幫助與寬慰彼此的苦。
只是到最後，我覺得鈴的成長跟祥瓊相比似乎相對不明顯，加入虎嘯陣營的鈴仍有些沉溺在自溺的憤恨裡，無法清楚區分為自己憤怒或為別人憤怒，但身邊有循循善誘的夥伴，能夠提點她的盲點，應該多少可彌補鈴在思考上不夠周全之處，而這些經歷也會化作她的成長養分。我有點擔心這樣的鈴在離開慶國後，會很快恢復以往那種自怨自艾的心態。我認為鈴如果要保持現在的心境，除了她本人要有意識地去鍛鍊心性不走歪以外，身邊可能要有能適時提點她的良師益友。
祥瓊與陽子某方面正好是一體兩面的對照，前者是不得不退位的前公主，後者剛上任的君王；祥瓊眼裡的王位是伴隨著無止盡榮華富貴的物質象徵，陽子則看到數不盡她不瞭解卻牽一髮動全身，因此必須謹慎決策的龐雜國政。祥瓊一心一意只想著失去的珠寶華服、受人服侍的尊貴生活，厲聲控訴著村人們對她的怨恨毫無道理的模樣，完美呈現出只想要享受權力的美好，而不願承擔與之相對的義務與職責的無知心態。
跟鈴的旅途很像，祥瓊一路上先後遇見月溪、珠晶、樂俊，月溪於她是殺父仇人，即使月溪對祥瓊態度不算惡劣，但滿腔仇恨不平令祥瓊無法心平氣和去思考月溪的話和對她的後續安排；珠晶也沒有多餘的耐性去諄諄教誨未有權力與責任相伴意識的祥瓊，而珠晶作為享有權勢地位的王，安排從事勞動工作被祥瓊認為是污辱她，未能在惡待中體會到父王暴政造成眾多人民的痛苦，反而變得更加憤世嫉俗。直到平民出身、心性沉穩的樂俊陪伴在身邊，條理分明地指出祥瓊的謬誤，先前的遭遇和那些人對自己的指責才真正伴隨著體悟與反省滲透進祥瓊的內心，讓祥瓊真正理解自己的錯誤，真心地感到歉疚。也因為樂俊有在旅途期間為祥瓊講解經過的國家的政治狀態、風土民情、底層民眾生活景況，祥瓊後來單獨在慶國旅行時，對相關知識的瞭解可以即刻應用在現實狀況上，對桓魋（ㄊㄨㄟˊ）他們處境可以有更深一層的觀察與理解。
另外，我認為祥瓊待在桓魋身邊、鈴待在虎嘯身邊，爾後匯聚合流成推翻昇紘的勢力，此番歷練對兩人有一個優點，那就是他們初次體會到跟人互相理解、互助合作並真心為此感到滿足的感受。兩人原本一個自視甚高認為身邊人都應該奉承照顧自己、一個自我陶醉認定自己乃世上最不幸的人，從未體會過好好去看著其他人，真摯地付出關心也收到他人的真心回饋。經此一戰，她們在待人處事的胸襟和視野應該可以被開拓不少，日後再次畫地自限時也能回憶起當時感受到的各種滋味，重新取回變得強韌的力量。
陽子在本作面臨的困境跟祥瓊和鈴都不太一樣，她剛上任就面臨官員遞上的各種奏摺要求裁決，但她對慶國的運作方式近乎一無所知，在連所謂的常識和標準在哪裡都不曉得，又怎麼能做出合情合理、足以安頓國政的決策呢？每位臣子說的似乎都不無道理，但換個角度看似乎又有哪裡不對勁，做這些決策時該相信誰？要考慮對哪些人有所影響？如果政策效益對不同人或地區的利害關係互相牴觸，採取各種角度衡量後，該怎麼取捨和調整才能確定最適解呢？陽子自行到民間觀察民眾的生活狀況，同時接受瞭解慶國歷史和各種學識的遠甫指導，兩相結合下對陽子而言是很扎實的磨練，讓她在這段時間梳理清楚自己應該從何著手又該怎麼進行，以大量的學習來改變原先僵固的質，培養出相對應的能耐去發揮自己的智慧與策略，讓陽子最終採取制衡手段時，有足夠的底氣相信自己的判斷，同時不偏廢對身邊人建言的信賴。
而陽子在戰役結束後頒布初敕，傳達自己想要將慶國治理出何等樣貌的意志。這段話不僅非常撼動人心，亦能完全感受到那正是陽子待在民間的收穫。蘭玉、桂桂、清秀象徵柔弱無力反抗高官蹂躪的底層民眾，他們的遭遇讓陽子盼望慶國民眾日後無須再用感覺踐踏自己的伏禮表達對他人的尊敬；在虎嘯、桓魋身邊，親睹他們不以自己勢單力薄為懼，仍鼓起勇氣秘密集結志同道合的夥伴，努力推翻貪贓枉法官員，陽子見識到那份強韌心性能帶來的改變，期許慶國民眾都能變得勇敢而不屈不撓，不折服在劣勢和他人欺壓之下，一起胼手胝足開闢出理想的國家和生活方式。以前覺得自己的狀態比較像本作的大木鈴或祥瓊，我希望現在的自己可以像本作的陽子一樣已踏上尋求解決實質困境的道路了。
「當一個人真心感謝對方。發自內心地尊敬時，會自然而然地鞠躬行禮。禮儀是代表內心，而不是靠形式衡量他人的內心，以禮儀為名，強迫他人膜拜等於把腳踩在別人頭上，把別人的頭踩在地上。我並非鼓勵無禮，對他人必須以禮相待，這是理所當然的事，我只是說，不管有禮、無禮，都是當事人的品行問題，僅此而已。我希望慶國的每一個百姓都成為王。從昇紘的例子就可以知道，仗勢欺人、蹂躪他人會有怎樣的下場，持續遭到蹂躪的人會採取的行動也昭然若揭。任何人都不是別人的奴隸，並非為了當奴隸而來到世上。我希望慶國人民豪放不羈——擁有即使受到他人虐待也不屈之心，即使遭遇災難也不撓之心，一旦遇到違法亂紀之事，勇於挺身而出，不向豺虎諂媚，成為治理自己這塊領土獨一無二的君主，為此，必須從在他人面前毅然抬頭開始。」
——小野不由美《十二國記：風之萬里 黎明之空》頁三三零
This entire review has been hidden because of spoilers.
May 11, 2012
Loved every single book of this series. It's the kind of book that when you put it down at the very end you feel a mix of great satisfaction (because the story was packed with greatness), unbelievable anger (angry because it's over), frustration (because there's still so many unanswered questions in your mind), sadness and joy at the same time. Now the French edition is the only one that has translated the full series from Japanese (as of yet) and since it's my mother language I bought them in French (lucky me) but I suggest waiting for all the books to be out because.....you won't be able to put it down.
July 28, 2011
Pas mal. On apprend plus de choses sur les 12 royaumes, on découvre plus de royaumes, de reines, et le fait que l'on passe d'un personnage à l'autre comme cela rend le récit plus vivant.
Le hic c'est que je n'aime vraiment pas le personnage de Suzu, qui est tout de même l'une des trois héroines de ce volume.
Autre point ennuyeux: toutes les leçons de calcul de la taille d'un terrain, était-ce vraiment nécessaire?
Le hic c'est que je n'aime vraiment pas le personnage de Suzu, qui est tout de même l'une des trois héroines de ce volume.
Autre point ennuyeux: toutes les leçons de calcul de la taille d'un terrain, était-ce vraiment nécessaire?
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