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Bungo to Alchemist Wiki

CHARACTER STATS (BASIC/MAX)
精神
State of Mind
Stable
攻撃
Attack
99 / 745
防御
Defense
117 / 881
回避
Evasion
11 / 81
技術
Technique
45 / 325
天才
Talent
43 / 323

Aesthetics
42 / 322
主題
Theme
40 / 320
真実
Realism
40 / 320
PROFILE
一見して礼儀正しい誠実そうな青年に見えるが、何を考えているのか全く読めない食わせ者。
人を思いやるような態度をとってはいるが、内心他人を利用することに全く抵抗がないようだ。
殺人や狂気といった猟奇趣味の持ち主で、侵蝕者をバラバラにすることが楽しいことは本人のいう。江戸川乱歩をとても尊敬しているらしい。

He looks like a courteous and honest youth at first glance, yet it is impossible to tell what is going on in his mind and he is a hypocrite.
He acts like he's considerate to people, but deep down he has no hesitation to make people his pawns.
With his sadistic interests such as murders and madness, he genuinely finds joy in mincing the Taints. He apparently holds Edogawa Ranpo in deep respect.


Trivia


  • His childhood name was Sugiyama Naoki. He changed his name to Taido when he became a Buddhist monk at age 26. He used at least seven pen names during the early part of his writing career, as a reporter who also wrote fairy tales.
  • "Yumeno Kyuusaku", his best-known pen name, means "a person who always dreams" in Hakata dialect. His father asked to read "Ayakashi no tsuzumi" (The Eerie Hand-Drum), Yumeno's entry for the 1926 contest held by Shinseinen magazine that would launch his career as a writer of detective fiction. After reading it, he described it as something written by a “yume no kyuusaku-san" (an air-headed, absent-minded person). Yumeno used that term as his pen name from then on.
    • “The Eerie Hand-Drum” tied for second place in that contest, with no first place awarded. He used to complain about it.[1]
  • His parents divorced when he was two years old. His father remarried soon after, but was not often around as he was an independent political fixer and frequently had business in Tokyo. These absences meant the family was often short of cash. His grandmother and stepmother sewed and made handicrafts to support the family.[2]
  • Because of this, Yumeno was mostly raised by his grandparents. His grandfather in particular taught him noh chanting and Chinese classical literature from the age of three, and also made him start smoking to boost his memory. As a result, he was addicted to nicotine by the time he started school and had to be specially allowed to smoke.[3]
    • Yumeno would go on to have a lifelong interest in noh, studying formally with a master from nine to seventeen years of age, and becoming a noh instructor himself when he was 29. He also wrote several essays on noh, and many of his works have noh-influenced elements or involve it in the main plot. Unfortunately his smoking habit was also lifelong.
  • He liked to read as a child, enjoying detective stories (especially Holmes), Buddhist scripture, Poe, Arabian Nights, and Aesop’s Fables. By the time he graduated secondary school he'd also read Natsume Souseki, Mori Ougai, Ozaki Kouyou and Alexandre Dumas, among others.[4][5]
    • Edgar Allan Poe in particular made a great impact on Yumeno, who attributed his taste for bizarre detective fiction to reading a translation of The Black Cat when he was in middle school. He also wrote a lot of strange stories and tried to show them to other people, but nobody took him seriously.[4]
  • He was frequently ill as a child and spent a lot of time in hospital because of health complications, coming close to death several times.[3] He often thought that it would be better to die.[1]
  • By the age of 16 he was interested in an artistic/literary career, but his father did not approve. So he promised to go into farming instead and strengthen himself, and after graduating high school, he kept his word by volunteering for military service. The results of his health examination were unfavourable but he was selected for the Imperial Guard of the Japanese Army anyway.[2][3]
  • While in military training, he collapsed during a route march and ended up hospitalised with pneumonia in life-threatening condition. His father basically got a telegram one step short of a death notice out of nowhere and rushed to Tokyo from Kamakura to see him, then left the room and proceeded to berate the military personnel for allowing such a thing to happen. [3][6]
  • Despite that mishap, Yumeno managed to finish his military service and was honourably discharged as a reserve officer. After that, he entered Keio University in Tokyo to study literature. However, his father made him drop out in his second year and come back to manage the family farm, in part because he was afraid that university life would influence Yumeno to become a liberal intellectual.[7]
  • It was around this time that some hangers-on of the family, led by Yumeno’s stepmother, tried to get him declared legally incompetent so he could be institutionalised and disinherited. This would allow her own son (Yumeno’s half-brother) to take over the farm and family headship instead. However, their attempt was unsuccessful because of Yumeno’s time in the Imperial Guard: nobody believed that someone who had been trusted to protect the Emperor and his family could be mentally unsound.[8] Yumeno’s half-brother also fell ill and died; that did not stop his stepmother, who got her supporters and those of his father’s to monitor Yumeno and treat him like an idiot and a madman. A year later, he left home and went to Tokyo, working as a day-laborer and occasionally being a homeless vagrant.[3][9]
    • Details of that time in his life are sparse, but one event is known: every day he ate lunch on the bank of the Sumida River. There was a worker on the opposite side of the river who had his lunch break at the same time, and the two of them got into the habit of waving to each other before they sat down to eat. One day Yumeno arrived at their usual spot but the other worker wasn't there. It turned out he'd crossed over to Yumeno's side of the river and was walking his way, smoking a cigarette. Yumeno waved at him, and then someone else snuck up from behind and struck the first worker in the head with a hammer, killing him. The murderer kicked the body into the river, where the currents carried it away, and ran off. Yumeno watched, shocked into silence. Then every day after that, he checked all the newspapers he could find as thoroughly as he could, but the body was never found and the murderer was never caught.[3]
  • He became an itinerant Zen monk at the age of 26, taking tonsure at Kifukuji Temple in Tokyo. Partly because that incident made him understand the true horror of society, also because becoming a monk and renouncing the world meant the inheritance dispute could be resolved and he was disgusted with that whole situation. But two years later, his father and stepmother sent a telegram summoning him back. He decided that his desire to wash his hands of the whole business with his family was also a form of selfishness and self-satisfaction. Resolving not to run from the corruption and ugliness of the world, he left monastic life and returned home. [8][1]
  • The farm still did not bring in a lot of money, so he had to find some other jobs in the meantime especially because he got married and started a family. Other than teaching noh, he also wrote stories, poems and articles for various publications (including one owned by his father), and worked as a reporter for the Kyushu Daily. After entering the 1926 Shinseinen contest, he became a regular contributor to the magazine.
  • Several of his stories take place in and around his hometown of Fukuoka City, where he lived for most of his life, and feature notable landmarks and locations there.
    • In contrast to other modernist writers in that time period, his work contained provincialist, anti-West, anti-science and anti-intellectual views.[7] However, his stories often feature characters from outcast and marginalised groups, as well as the mentally disturbed, as protagonists and narrators. Through their points of view, the limits of rationality are examined and prevailing hierarchical ideas are challenged.[10][9]
  • A former classmate once accused him of lying about the location of a particular statue in “Oshie no kiseki” (Miracle of the Brocade Dolls), one of his stories set in Fukuoka. Yumeno insisted he had not lied or made a mistake and the classmate suggested he get a mental exam. Yumeno responded, “How rude. I may write a lot about madness and nervous breakdowns, but to write about madness and nervous breakdowns I need to have my head screwed on straighter than normal people!” They went together to check on the statue‘s location and Yumeno turned out to be wrong. However, he wrote in an essay afterwards that in his mind the statue was still there and he still wanted to say, “The way I wrote it is true. The facts are wrong.” [11]
    • In the same essay, he mentioned that he worked on Dogra Magra for ten years and got approval from two authoritative scholars in the field of psychology, but didn’t spend too much time on a certain news article along with a few scenes featuring court/jail procedure because he had extensive experience as a reporter. However, one of his readers, who happened to be a judge, noticed mistakes in those areas and sent him a letter describing them. (Neither story is directly named, but their subject matter is stated.) [11]
  • He was a fashionable dresser who liked Western clothes and food, hung out at trendy cafes and department stores, and owned several types of hats and velvet suits (at a time when they were rare). [12]
  • He was allergic to alcohol and did not drink.[1]
  • He was a good husband and a warm and loving father to his children. He played baseball with them and told them stories. At bath time they would sometimes play “orchestra”: his children would drum on the basins and bathroom floor and he would pretend to be the conductor.[13]
  • He died at age 47 from cerebral haemorrhage.

References

  1. 1.0 1.1 1.2 1.3 Sugiyama Tatsumaru, Yumeno Kyūsaku no shōgai, printed in Yumeno Kyūsaku no sekai, 1975
  2. 2.0 2.1 父杉山茂丸を語る
  3. 3.0 3.1 3.2 3.3 3.4 3.5 Sugiyama Tatsumaru, Waga chichi Yumeno Kyūsaku, 1976
  4. 4.0 4.1 涙香・ポー・それから
  5. 路傍の木乃伊
  6. 夢野久作と杉山三代研究会」杉山茂丸、夢野久作、杉山龍丸 福岡県筑紫野市・太宰府市・筑前町・福岡市・直方市・芦屋町・福津市
  7. 7.0 7.1 Williams, Junko I., Visions and narratives: modernism in the prose works of Yoshiyuki Eisuke, Murayama Tomoyoshi, Yumeno Kyūsaku, and Okamoto Kanoko, 1998.
  8. 8.0 8.1 Sugiyama Naoki, Sugiyama Taidô
  9. 9.0 9.1 Tomoko Aoyama, Dismembered but Not Disembodied: The Girl's Body in Yumeno Kyūsaku's Stories, 2008
  10. Nathen Clerici, Madness, mystery and abnormality in the writing of Yumeno Kyūsaku, 2016
  11. 11.0 11.1 Yumeno Kyūsaku, Yattsukerareru, Yumeno Kyūsaku chosakushū 6, 2001.
  12. Nishihara Kazumi and Takemoto Kenji, Taidan: Yumeno Kyūsaku no miryoku o kataru, 1988.
  13. Yamamoto Iwao, Yumeno Kyūsaku no basho, 1986.
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