The Ghost Brush
Author’s Note
The Ghost Brush,
Extended Edition
Dear Reader,
To celebrate the publication of
The Ghost Brush
in ebook format, HarperCollins Canada has included two editions in one book: the original story, set in nineteenth-century Japan, and a special edition that comprises the same novel, but wraps it in a tale of the present day, illuminating how Oei’s historical significance finally came to light.
The Ghost Brush
begins with the sights and smells of nineteenth-century Edo, Japan. Oei is the daughter of the great Japanese printmaker Hokusai. In their fragile, lantern-lit world, courtesans rub shoulders with poets, and samurai protest the repressive political regime. Dodging the Shogun’s spies, Oei and Hokusai make the exquisite pictures that define their time.
Oei does not cook or sew, nor is she beautiful, but she has her secret joys. Wielding her brush, she defies all expectations of womanhood—all but one. She is ever dutiful to the exasperating genius who fathered her. When he dies at age ninety, just as Oei’s future fame seems assured, she must find her way as “one brush.” But she disappears without a trace.
The Ghost Brush: Special Edition
begins in modern-day Washington, DC. In an art gallery, Rebecca, a writer, is accosted by a ghost: Oei has returned to take up her rightful place in history. But she needs Rebecca’s help.
In additional chapters interleafed in the novel, Rebecca sets out to unearth Oei’s story. Why is she not mentioned in records? Why are there no signed works from her, although she spent her entire life in Hokusai’s studio? The experts offer easy answers, but Rebecca can’t accept them. With the ghost as her guide, she travels the world to discover why and how a great woman artist was erased from the historical record.
Combining scholarship and imagination,
The Ghost Brush
deconstructs the idea that great men working alone make masterpieces. At the same time, it illuminates the most tender and ambiguous love of all—that between father and daughter.
The Ghost Brush
Katherine Govier
For Nick
Contents
Introduction to the Ghost
“
HEY, YOU!
You with the big chin! Oei!”
He’s calling me.
I don’t answer him. Not yet.
I dip the tip of the brush in the ink bowl.
I let it sink. I lift it, turn it, and press it down into the ink again. Then I lift and tap.
I press it against the edge of the bowl, twisting so ink beads at the tip of the bristles and then drops back into the small, still, dark pool. Again I press the hairs of the brush into the ink, flattening the bulb against the bottom of the bowl, rolling it.
“Don’t press so hard!” the Old Man barks.
I bare my teeth. “Shut up, Old Man.” He laughs. Thinks he’s distracted me.
But my hand is zealous. To spite him I press for one full minute. I lift the brush from the bowl. It is not dripping, not full, but fully moist. I hold it over the paper, balanced in my fingers. I raise and lower it, ever so slightly, giving it breath, and then touch the point to paper. I begin the fine, fine lines of the courtesan’s nape hair. That which he has no patience to do, and no steady hand.
“Oei!”
I don’t answer. I stay inside my head.
I am Oei. Katsushika Oei. Katsushika I take from the place where my father was born. Oei is a pun on how he calls me. It means “Hey, you!” I have other names: Ago-Ago—he gave me that too—meaning “chin-chin,” calling attention to my big, stubborn jaw. Then there are the brush names: Iitsu, meaning “one again”; Tipsy, meaning just what you think; Flourishing Woman, self-evident, you’d think. I’ve answered to many names. Though in this matter, as in others, I am no match for him.
He named himself for the North Star, and for the Thunder God; he named himself the Old Man Mad about Painting; he has named and new-named himself twenty times. To me he’s just the Old Man.
Some people call the Old Man difficult. I don’t agree. He is not difficult.
He is impossible.
True, I’m not easy myself. I do not comply. I mock, I dissemble, I glower. They say I was never properly trained to be a woman. The more sympathetic blame my father himself for this failure. It is a scandal. “She paints but does not sew,” they say. Hah! That could be my epitaph. Perhaps it is. But you would have to find my grave to know.
And that you cannot do.
Edo, 1800
I WAS BORN
.
Into the red squall of dawn, the teem of city. Into the vast numbers of townsmen with only one name.
The earth was flat.
The Shogun ruled.
It was a Virtuous Regime, a Benevolent Regime, and there was no unexpected event.
I screamed. And why not? After Miyo and Tatsu, I was Ei, the third daughter of a penniless artist. My father’s first wife, who produced the first two daughters and also one son, was dead. My mother was the second woman to take on the job.
She looked critically at me, first of her children, fourth of his.
“She has large ears,” said my father in a tone of delight. He seized me. “This one is mine!”
My mother was morose. “Large ears are lucky in men. Not in women.”
“She looks like a little dog, a Pekinese,” he said. “And look at this!” He chucked my peculiar outsize chin. “I will call her Ago-Ago.”
Chin-Chin. Another of my flaws was thus pointed out to my mother. She became even more unhappy. I, on the other hand, became defiant and thrust it farther.
“There is self-will in that face,” she said. “It must be broken.”
But my father laughed in amusement and delight. His laugh was like milk to me. He took me in his arms and I was his forever.
It was as if he’d never seen a baby before. He fed me rice water with the tip of his finger. He tied me in a sling and wore me under his ribs, or on his back if he was working. From that day there were two of us, together. We slid through the clamorous throngs of our burgeoning city like carp in weeds. He said I was his good luck charm. He did not break my self-will but made it.
And my black eyes did not close.
In years to come he did call me Ago-Ago, when he remembered, but most often he just called me.
“Hey, you. Come here!”
I
was born in a hard time.
We the townspeople led an unmarked existence. We had rights to nothing, only to witness the grand Shogun’s parade: the march of the doomed man to the Punishment Grounds, details of his crime painted on the placard he carried over his shoulder. We fed on brown rice and whispers of love suicides. The mouths of our actors were red gashes. We, the chonin, had one name—and no face.
In the years before my birth there was an artist called Sharaku. He made gargantuan faces with vast white, empty centres marked only with deep black lines for eyes and mouths spread in rage or fear or greed. But few people bought these pictures—they came too close to home, I think—and before long Sharaku and his work disappeared. Some people said he was a Noh actor and died of poisoning from the white face makeup. Other people said Sharaku was my father. They said that after this first failure he renamed himself and went on, and the proof that he had been Sharaku was that he never painted a big face again.
I don’t know if that was true. He told me much, but not that.
It was true about the faces, though: my father could draw anything that moved and much that didn’t—dancers, elephants, oarsmen, mountains, gods, and devils. Waterfalls and waves stopped for his brush. Fuji showed its one hundred moods. But he never made a face. Eyes, nose, and mouth—for him these were only a few short, sharp lines, and that was it. Maybe the gossip was true and he thought faces wouldn’t sell. Maybe he wanted distance from his past. Maybe he wanted distance from us all. Henceforth, to him, we had no faces, only burdened backs and sinewed buttocks, slim thighs and crinkled toes and dancing torsos.
Oh, but such bodies we had. Such glories were in them. They were our prized possessions. By these bodies, we were making ourselves into people. Before I was born we were not quite human, according to our masters. The bakufu—a tent government set up on a field of war two hundred years before—kept the Tokugawa Shogun in power. But as the eras passed, the bakufu remained. There were no wars; we didn’t fight with swords. We fought with words and pictures. Our pictures and our little storybooks cost pennies. But they had a strange power. They gave us news, gossip, celebrity, mementos. They celebrated the only pleasures we were allowed—kabuki theatre and love affairs and the small indulgences for our bodies.
The Tokugawa could not attack us directly; there were too many of us. Instead the enforcers attacked the messengers, our pictures; they called them decadent and tried to destroy them.
Think of all that clanking samurai power directed at these fragile sheets of paper. I want to laugh. Pictures and words don’t hurt anyone, except for those who are afraid of history. Rock, fire, scissors: these paper worlds go on.
The bakufu aimed their laws at our insubstantial world. There were to be no pictures of the Tokugawa. Any reference to how they came to rule was punishable by death. Famine and flood might ravage the country, but to note such calamities would be a criticism of the Shogun, who ruled celestial events as he did lesser beings. Therefore they were not to be noted.
We appeared to obey. We told ghost stories and repeated legends from times past, and went to plays about the love affairs of great courtesans. We put our faith in unnatural creatures, demons and gods and ghosts. Our gossip travelled through whispers and yellow-back novels. We sang and danced and devised outrageous dress. The bakufu bogeymen uttered ordinances and staged clampdowns. They did not stop us, but they kept trying. They were a constant backdrop to my life, from my first squalling complaints through my middle years until I was almost old enough not to care. Then, suddenly, they were gone. But that comes at the end of the story.
