The story could also be read on Zoetrope site.
Feminism plays a large part in Waters' Egg-Face. This story shows that even in modern times where women emancipation is in full-swing, a woman still have an obligation to fulfill certain roles that are set up by the society. The story seems to challenge the assumption that the feminist movement to free women from their socially constructed boundary is a good thing for women. To make this point, certain literary devices are used, such as the use of vivid imagery and subtle symbolisms, and especially the subtle development of the plot. These devices show the reader just what kind of roles the society expects a woman to fulfill and the consequence that comes when the roles are failed to be fulfilled, which is a clever way to address the issue of the socially constructed role for women that women today must face everywhere. To make the point even more prominent, the reader is also showed the difference in the value of the beauty of a woman in modern and pre-modern times, and what it means to be a woman in a modern time.
The story is begun with a quite promising premise. Written in the past tense, the story immediately draws the reader's attention to Ritsuko Nakajima, the main character of the story. She is described as a girl, who, while not stupid, had never held a job or been on date. The story progressed as Mrs. Wakame, a busybody who likes to gossip, offers Mrs. Nakajima to introduce a man who is interested in marriage to Ritsuko, which Mrs. Nakajima accepts. Then her mother starts helping Ritsuko to prepare for her match-making, such as by calling Aiko, Ritsuko's older sister, to teach Ritsuko about make-up. On the other hand, Mrs Wakame, who has just met the man she is going to introduce to Ritsuko, starts to have her doubts about the man, even if she does not say anything or voice out her doubts to anyone. The story then reaches its peak when finally Ritsuko and the man meet, and the man asks one question that seemed to be considered rude or too bold, if we count the reactions of the women who are present there – Mrs. Wakame who suddenly comes into focus when a moment before she was too busy appreciating the taste of her sushi, Kanzo's mother who tries to distract herself by looking at her watch, or even Mrs. Nakajima who immediately jumps to her daughter's defense after a moment of silence by answering the question for her (p.11).
There are certain roles that are expected of women by the society they live in. Through the first four paragraphs, it is obvious that this is the main theme of this story. If a woman is married, then she could go work if she wants, although it would also be acceptable for her to just stay home. If a woman is single, then she has to work, and it seems unacceptable for her to just stay home and do some mindless task like some retired person or Buddha in a lotus garden (p.11) – which is all Ritsuko appears to be doing all day to her neighbors. In the last paragraph on page six, the sentence “They at any rate are leading normal lives.” is used to describe Ritsuko older sister, who is married, and her younger sister, who has yet to be married but has a job. It clearly states how Ritsuko's situation is considered to be abnormal. She is single, but she does not work; she fails to fulfill her role. And as such, as the consequence, she often becomes the topic of the conversations among her neighbors. If we take into account what old Mrs. Wakame describes what it is like talking to Ritsuko, then it is certainly not flattering. The fact that Ritsuko also always answers each inqury thrown her way with an almost dismissing gesture such as “Saaa” (Which is close to a Japanese equivalent of an expression 'who knows?' in English) definitely does not help her situation. This seems to bore the question: Why is it that in modern times such as now, when women have the freedom to do anything they want, it is unacceptable for unmarried women to just stay home? It is indeed strange, because by having their rights to be acknowledged and be placed equally with men, it appears that women state an unspoken rule to themselves: that they have to at least hold a job for a few years before they get married and let go of the job. If we look at it from this angle, it would look that women working is only for appearance only, in the spirit of modern times and women emancipation. If this is the case, then Ritsuko's condition would be acceptable. After all, if you are only going to be a housewife and ending up letting go of your job when you are married, then why would you bother working at all? Although it is certainly true that there are also women who prefer to pursue their careers than marrying, or those who do not let go of their job even after they are married. The point is, there is no reason why Ritsuko's condition should be a problem – not if women are truly free to do anything they like. But in the end, women are still bound by the unspoken rules in society. Either you are married, or employed, or both. But you could not be neither.
Along with time, many things keep changing or reformed. So does the value of beauty. Bless those with naturally beautiful faces. But what about those who do not have such a trait? In this modern times, there are many ways to cover that; one of them is by using make-up or cosmetics. In page 9, Aiko begins to teach Ritsuko about make-up on their mother request. After seeing the result, their mother compliments Ritsuko by saying “lovely”, seemingly quiet satisfied with the result. The phrase “A job worthy of Shiseido ads” (p.9) implies that she is also complimenting the brand of the cosmetics they use, that the cosmetics themselves suits Ritsuko well. It could also be seen in this passage that Mrs. Nakajima herself appears to be not quite knowledgeable in cosmetics area, admitting that she has never gone beyond liquid foundation and occasional red lipstick. Although it could be argued that it is normal for her to not know many things about make up since she is only a housewife who only goes out of house occasionally, it is also quite possible that her ignorance is caused by the fact there has been so many developments in cosmetics area since the last time she tried to beautify herself when she was but a young girl herself; that during her days, there were only so many kinds of cosmetics, and certainly not as much as now. In the next part, they try to show it to their Grandmother too, but her comment leaves them speechless, since the side of Ritsuko's face that she is complimenting is not the one layered in make-up (p.10). Leaving aside the fact that perhaps her eyes are indeed no longer perfect, it still stands that the side that she complimented was NOT the side with the make-up. Despite the fact that their reactions – Aiko's wry glance to Mrs. Nakajima and her laughter afterwards as they move upwards, and then also Ritsuko's little smile – seem to indicate that they dismiss the Granny's comment due to her age and how it might affect her eyesight, it can be seen in the next part how the Granny MUST have meant it, if her thought about how she used to be a great beauty even without make-up is any indication; that she truly thinks that one's natural face is still prettier than the one with a make-up on. This is yet caused by the fact that they live in different times, just like how it is different between Aiko and her mother. A romantic might say that the true beauty is in the inside, and not on the outside. But then some realist might reply that logically, such thing would only be uttered by those who do not feel beautiful on the outside, thus they make excuses so the flaw in their appearances could be covered and overlooked. This is a thing that could make the reader think; if it is indeed true that women are free and independent to do what they would like, then why did they bind themselves to men by wearing make-up? Who are they trying to impress? Some might say they only try to satisfy themselves, that they do it for themselves. But arguably, in the end, women try to beautify themselves so that they can appear more attractive in men's eyes.
Another thing that changes with time is the concept of matchmaking. It seems in Japanese culture, people used to get married through a matchmaking, where a matchmaker invites a woman and a man – usually along with their parents – to a meeting to see if they are matched. If they are, then they would go into a marriage. And if they are not, then they simply go their separate ways. Mr. and Mrs. Nakajima are the example of a marriage that comes through a matchmaking (p.6), despite the fact that they themselves did not know how they had become linked together (p.8). Seeing Kanzo's attitude, it is obvious that he does not take the matchmaking seriously. This is implied in “Old Mrs. Wakame threw him an uncertain glance, but his handsome face looked reassuring, full of the grave manly concern that was so attractive in samurai dramas.” (p.10). It seems from that sentence that rather than complimenting Kenzo, Mrs Wakame is actually pointing out how fake Kenzo appears to be; her saying “so attractive in samurai drama” could also mean that she does not think it is actually attractive at all in real life. And then there is also the way he smiles a predatory smile and exhales cigarette smoke to the ceiling (p.11), which to onlookers, would appear as if he is bored out of his mind. But then it should also be taken into account the possibility that Kenzo is really pressured to marry by his parents (p.8). If this is true, though, than poor Ritsuko indeed – since she is going to marry someone who does not appear to be very interested in her.
The vivid imagery and the subtle uses of symbolisms have important roles in determining the meaning and the interpretation of the story. One example of this is “full of the grave manly concern that was so attractive in samurai dramas” which has been explained above. Another one is the title itself, 'Egg-Face'. It seems this phrase is meant to be an insult to Ritsuko by a boy in her elementary school. An insult, because from the way her mother try to pacify or reassure her that “An oval face is a sign of beauty! White skin is better than dark!” (p.9) it is obvious that Mrs. Nakajima does not think it flattering to be called 'Egg-Face'. But that name does not seem to only refer to her outward appearance, since it is mentioned in the next sentence how the bland surface of her personality allows deflection of any attack with minimal effort (p.9). It is a fact that an egg has a bland surface and a rather hard shell; even though this seems to be meant as an insult, it is oddly fitting with the way Ritsuko never shows any outward emotions on her face other than silent acceptance and some small little smiles – which could be interpreted as anything really – and which she she uses as an evasive tools most of the time.
Then there is also the metaphor in the last three paragraphs of the story about the Legend of the Crane Maiden (p.11), which is arguably the most powerful symbolism embedded into the story, and which is also the turning point of the whole story. In the Legend, despite having been warned by the beautiful maiden that he must never peek, the weaver is so overcome by his curiosity that he could not resist the temptation and he finally decides to peek – a decision that in the end causes him regrets and remorse, because the Maiden leaves him and never comes back. There is no doubt the weaver must wish that he never peeks, that it would be better if he never finds out about the Maiden's secret and the reason why she is not willing to share this knowledge. This Legend is used to illustrate the remorse that Mrs. Wakame feels by the end of the story after hearing Ritsuko's answer to Kanzo's blunt question (“Ritsuko-san, what do you want most in life?”) (p.11). It is been mentioned above how this question seems to make the women present uncomfortable, if not a little shocked by such bluntness from Kanzo's mouth. This question is, after all, a little too forward to be asked in their first meeting, since it seems such a personal question. And then when Ritsuko does not look like she will answer with more than an evasive “Saaa...” - which seems to be her default reaction to every personal question – she unexpectedly says, “I would like children. I have always wanted children.” (last paragraph, p.11). This remorse that Mrs. Wakame feels is related to the beginning of the story, at the part where Ritsuko always deflects the personal inquiries (such as Do you want children someday? What do you do in your free time?) that anybody throws her way with such an expression as “Saaa” or “Haaa” and nothing more (p.5). In page 5 also, it is clearly stated that she is not stupid, and if only the recession had not come that time, she might have been working. With a college degree, it seems not unusual for people to expect her to become something more, even when she fails to show the desire to do so every time. People speculate on why she is neither married nor working (p.6), and with the way Ritsuko is, they could only hope they get a straight answer instead of humble illumination like usual. The point is, they seem to expect something extraordinary; yet Ritsuko's answer (children) to Kanzo's question (the thing you want most) is so...usual, so highly ordinary, so unexpectedly expected. This makes one speculates further that could it be that the reason she does not go to work is because she wants to go directly into marriage and have kids, yet she is unable to do so because there has not been a single suitor who asks for her hand in marriage? Of course, there has been one man, whom Ritsuko mother had rejected without even meeting the man because of the huge difference in their age. Mrs. Wakame, feeling remorse as she is, must have wished that she never heard Ritsuko's answer because either way the result of this matchmaking will turn out, she is still going to feels regrets: for the fact that she has been the one that try to match them up if it turns out that Kanzo is going to marry Ritsuko since Kanzo appears to be a man who only interested in himself and does not look like he is going to value Ritsuko, despite the good traits that she has. Or for the fact that she is going to make Ritsuko disappointed and sad if it turns out that Kanzo is going to walk away. Either way, it does not look like she is going to ever feel like she has the upper hand again, like she does in page 6.
According to Barbara Goodwin as referenced by Barry (Barry, P; 2002:121), Feminism is about the oppression of women by men, and its aim is to advance the social rule of women. It is a possibility that the freedom that many women in the world today feel is the product of feminist movements. At least in certain places – if not most – women are already acknowledged to be equal with men, and are allowed to fill in positions that used to be exclusive to men only, such as the leader position. Many women seem to embrace the change, since they could do things that used to be forbidden or seen as inappropriate to be done by women, and they no longer had to stay home or bound to household tasks. But unconsciously, the feminist movement also adds a new social rule to the already existing ones: a woman is supposed to be working if she has yet to be married. This is not used to be a problem in the past, when women's rights were admittedly still oppressed. The point is, modern time such as now is definitely perfect time for the kind of women who would like to have a career or who would like to be active, recognized or exist in society. But what about those women who only want the good old domestic life of a housewife, like Ritsuko by the end of the story appears to be? Because of the so called freedom of movement, many women refuse to be involved in matchmaking marriage since it feels like they are forced into it against their wills. Being influenced by this, men who usually use such a way to get into a marriage would also change their way since there are no longer many women who would concede to the traditional matchmaking marriage. As a result of this, girls like Ritsuko are slowly losing their chances. Even Mrs. Wakame herself has commented how Ritsuko would certainly make a good, ideal wife, with a bonus point for having a college degree (p.8). But the time has changed, and such women – who are gentle and domestic – do not seem to attract men from the new generation, such as Kanzo.
Reference:
Waters, Mary Yukari. 2003. Egg-Face (extracted from the Book The Laws of Evening)
Barry, Peter. 2002. Beginning Theory: An Introduction to Literary and Cultural Theory 2nd edn. New York: Manchester University Press
Selden, Raman. 1986. A Reader’s Guide to Contemporary Literary Theory. Lexington: The University Press of Kentucky
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