JSP University of California, Davis In Philip Kan Gotanda's 2002 "The Wind Cries Mary" (an adaptation of Henrik Ibsen's "Hedda Gabler"), Eiko/Hedda ends the play (and her life) by committing seppuku, Japanese ritual suicide by dagger to the neck--not the long sword to the gut (so often portrayed in popular Western representation), the method properly reserved for a certain class of men, Eiko pointedly lectures in an earlier scene. But far more radical than the change in weaponry is Gotanda's placement of the act: Eiko dies front and center stage in full view of the audience (if not her distracted family and friends), unlike the sequestered Hedda.1 It is a somewhat surprising choice for Eiko, who has chafed under her husband's and in-laws' expectations of her as a "China doll," who demands coffee when her orientalist husband offers her green tea, who likes listening to Hendrix at full volume (much to the annoyance of her pop music-loving husband). In short, Eiko is neither a China doll nor Cio-Cio San, that fabled delicate "Butterfly" archetype of Asian (especially Japanese) femininity, transportingly erotic and beautiful in her deathdriven devotion to her (white) husband and child. In one sense, then, her
The Journal of Speculative Philosophy – Penn State University Press
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