柘植義春漫畫集：螺旋式、李先生一家

by Yoshiharu Tsuge, 柘植義春

•日本漫畫家協會大獎、法國安古蘭漫畫節特別榮譽獎得主
•達到高度藝術性與文學性的漫畫作品，開創日本另類漫畫的《GARO》系代表
•特邀Mangasick漫畫私倉擔任選集顧問與專文解說

「深愛日陰處而非日照處、暗巷裡而非大街上、『非主流』而非『主流』......這裡雖然沒有繁華，卻有遠離社會喧騷的靜謚。」——川本三郎

在日本漫畫界，柘植義春的名字和「漫畫之神」手塚治虫並列。若說手塚治虫奠定了日本主流漫畫的表現形式與美感，柘植義春則是成人漫畫和前衛漫畫的開山始祖。

他的作品圍繞著夢境、旅情、私漫畫這三個類型，幾乎都是短篇。「夢境」作品營造出意識流般、似夢非夢的意境，帶有超現實主義及精神分析學的影子；「旅情」作品以偏鄉祕境為場景，在了無生氣的寂寥之地滿足避世遁隱的想望；「私漫畫」作品則混淆了虛實界線，將自己的日常擺在讀者面前。

不同於王道漫畫的熱血、友情與奮鬥，柘植義春擅長挖掘沉澱在人們內心深處的黯淡世界，包含對存在的焦慮、現實的逃逸、死亡的恐懼或異樣的性愛妄想，作品充斥著難以排解的抑鬱與糾結。他從不畫大人物或大場面，筆下出現的盡是邊緣失敗者與破敗舊街區，而這種虛無慘澹之氣也成了他的招牌。

敘事手法上，柘植義春掙脫了傳統故事漫畫「起承轉合」的框架，不再具備達成目的或解決問題的事件性，也不藉由過程啟發或娛樂讀者。有時候會突然冒出沒有邏輯的對話，或是前後不連貫的分鏡與場景，塑造出分不清是現實還是夢境的詭譎氛圍。這樣斷裂跳躍的實驗性做法，大大地衝擊了漫畫界，也獲得藝文圈與菁英學子的關注。可以說從這時開始，日本漫畫站上了與文學、電影相同的藝術高度。

214 pages, Paperback

Published September 3, 2021

About the author

Influenced by the adventure comics of Osamu Tezuka and the gritty mystery manga of Yoshihiro Tatsumi and Masahiko Matsumoto, Yoshiharu Tsuge began making his own comics in the mid-1950s. He was also briefly recruited to assist Shigeru Mizuki during his explosion of popularity in the 1960s. In 1968, Tsuge published the groundbreaking, surrealistic story "Nejishiki" in the legendary alternative manga magazine Garo. This story established Tsuge as not only an influential manga-ka but also a major figure within Japan's counter-culture and art world at large. He is considered the originator and greatest practitioner of the semi-autobiographical "I-novel" genre of making comics. In 2005, Tsuge was nominated for the Best Album Award at Angoulême International, and in 2017 a survey of his work, A World Of Dreams And Travel, won the Japan Cartoonists Association Grand Award.

Reviews

[Dean · Rating 3 out of 5]

(Read in Chinese) There is a certain power to an artist doggedly sticking to the same subject matter over the course of many years and works - by engaging with these kinds of artists you come to realize that for some, creativity is a constant process of adjustment and perfection, the search for the quintessential expression of some grand idea that defies simplicity. The work of Tsuge Yoshiharu could be pegged as repetitive if these stories of wandering manga artists, wobbly marriages, and depressing sex didn’t feel so authentic. The choice to make his characters so constant and the circumstances of their lives so consistent gives the read the impression that at least part of each of these stories was lived by the author himself. The fact that he freely allows (encourages) his reader to identify the character with the author, even as the characters are doing or fantasizing about the darkest, most depraved, and most shameful things, shows tremendous creative courage. In this overwhelming recognition of the pettiness and inherent unfairness of life, I’m reminded of the work of Emil Cioran, another writer who repeated the same formula over several works in an attempt to tackle the ineffable conflict that is being alive in this world.

My favorite stories in this volume were 吱子 and 不可思議的信, both of which deal with shame over acts performed in a burst of uncharacteristic, unforeseen emotion, and that sum up so perfectly that however much we seek to get carried away with the excitement and energy of being my truly alive, the embarrassment and doubt that comes along with brash emotion waits right around the corner.

[21stpear · Rating 5 out of 5]

封面是螺旋式，內封頭像是柳屋老闆車站自畫像。比起一些夢的紀錄，更喜歡生活化的或者散步旅居的部分。「人間蒸發」，我喜歡這四個字！「吱子」篇太有靈氣。很多篇章有一些生活細節場景刻畫得很具體，究竟你是不是這樣活過來的，是不是真實的…我不知道

[treetree · Rating 4 out of 5]

3.5/詭異而幽深如夢，沒有微言大義，只有零碎的、不合“常理”的片段和意識。也因此顯得充滿感覺而非感情。
義春似乎是日本漫畫的一棵奇株，待多看。

[Twig · Rating 4 out of 5]

還滿喜歡這畫風，看似粗糙但其實滿是細節，畫面的張力很強。這本書裡頭都是短篇創作，故事偏無厘頭，帶了些色情暴力，感覺不適合未成年，但有些寓意和隱隱飄出的傷愁。我最喜歡的一篇是〈不可思議的信〉，人類的暴戾有時候是很隱性的，和善的人在某個時候就爆發出讓人不可置信的狠毒，可能連當事人也不懂為何。這其實在與人言談之間都能發現。

[C.Y. Lee · Rating 5 out of 5]

螺旋式的眼科和火車畫面分別取材自1960年代所拍攝的台南眼科和阿里山小火車，實在是令台灣讀者眼睛為之一亮，不過也不禁令人懷疑昭和時代的日本人會不會覺得台灣超恐怖😂

不過也不是完全看得懂螺旋式在講什麼。
其中有幾篇倒是蠻好懂的

[Ally Yang]

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