Flute – The Unseen Library

Publisher: Running Wild Press (ebook – 7 May 2024)

Series: Standalone

Length: 283 pages

My Rating: 4.25 out of 5 stars

Intriguing new author C. A. Parker dives into an intriguing area of Japanese history with his debut novel, Song of the Samurai, a fantastic and deeply compelling historical read that I had a wonderful time getting through.

Fans of this blog will know that I have a lot of love for historical fiction, as it was one of the original genres that I started with as a book reviewer, and I still try to enjoy a range of great historical reads whenever I get the chance. I also have a lot of love for Japanese history due to some amazing personal travels as well as my long-running fandom of the Usagi Yojimbo comics by Stan Sakai. While there have been some very interesting Japanese historical fiction novels over the years (Child of Vengeance by David Kirk comes to mind), this setting doesn’t get utilised as some other historical backgrounds, which is a real shame when you consider just how awesome and complex the setting truly is. As such, when I came across Song of the Samurai, I couldn’t pass it up, as it sounded like such an intriguing read.

Plot Synopsis:

Japan, 1745, is a land under the iron grip of the Tokugawa shoguns. Roads are monitored, dissent stifled, and order maintained through blackmail and an extensive network of informers. Amid rumors of rebellion, Kurosawa Kinko– samurai and monk– is expelled in disgrace as the head music instructor of his Zen temple in Nagasaki. He begins an odyssey across Japan, dogged by agents and assassins from an unknown foe. Along his journey, Kinko encounters a compelling cast of merchants, ronin, courtesans, spies, warriors, hermits, and spirits, on a quest to redeem his honor. Inspired by the life of the historical Kurosawa Kinko (1710-1771), master of the shakuhachi flute and founder of the Kinko-ryu school, Song of the Samurai takes the reader on a richly-textured exploration of feudal Japan and the complexities of the human spirit.

Song of the Samurai is the debut novel of C. A. Parker and provides readers with a compelling and fascinating historical adventure that also utilises the author’s personal passions and passes on a heartfelt message about spirituality and self-determination.

The plot of Song of the Samurai is a fictionalised narrative of real-life historical figure Kurosawa Kinko, who is known for his teachings and spiritual journeys to learn the Japanese shakuhachi flute. Parker reimagines Kinko’s history somewhat by showing him as a young man who undertakes an extended pilgrimage from his original temple in Nagasaki all the way to the capital in Edo. Banished from his temple due to a romantic scandal, Kinko initially starts the journey in disgrace, but soon embraces his pilgrimage, learning more and more about the people of Japan. This ended up feeling like a bit of a quest narrative, and Parker throws in some fantastic side stories brought on by the multitude of intriguing and unique supporting characters the protagonist encounters along the way, including bandits, spies, courtesans, peasants, fellow monks and more.

While many of these side storylines don’t last too long, they do weave together into a compelling tapestry of events that aim to enhance Kinko’s personal journey. There is a particular focus on the spiritual, as Kinko begins to fully appreciate the significance of the shakuhachi and the music that he plays, as well as the many different people who make up the nation of Japan. I loved the impressive character development that surrounded the protagonist throughout this book, and the growth in spirit and attitude makes for a moving heart to this great narrative. Parker also works in a compelling recurring storyline about espionage and potential rebellion against the ruling Shogun family, as Kinko finds himself wandering the outskirts of dangerous actions. This part of the book adds in a little necessary excitement and action, and I think it balanced well with the historical and personal elements of the narrative. While I did think this espionage element could have been a stronger part of the plot, especially as it gets sidelined several times throughout Song of the Samurai, for the most part this was a particularly engrossing and captivating story, and one that I had had a fun time getting through.

As a huge admirer of Japanese history, I felt that Parker did an exceptional job of capturing the feel and impact of the setting throughout his narrative, and the many, many depictions of Feudal Japan was an impressive part of Song of the Samurai. Thanks to his wandering protagonist, Parker visits a ton of major cities and towns throughout Japan, and I loved the elaborate descriptions that were featured, especially as the author goes out of his way to cover some of the most intriguing parts of the country. I personally loved it when Kinko visited locations I have been to, and you can really feel the author’s love for the setting through his writing. Parker also makes sure to fit in a lot of discussion about key parts of Japanese history and mythology throughout the book, often included as part of a conversation or the protagonist’s thoughts. While some of these historical inclusions weren’t as organic as they could have been, for the most part I found them to be very fascinating, and they added some excellent context to the locations the protagonist visited.

Unsurprisingly when you consider the title of the book and the author’s passion for the shakuhachi flute, there is a huge focus on music in Song of the Samurai. The playing of the shakuhachi is a huge part of the protagonist’s identity as a monk and as a man, and the author really tries to capture Kinko’s love of the flute with his excellent writing. The many, many scenes of Kinko playing his music are some of the best parts of Song of the Samurai, and it allowed the author to showcase the protagonist’s spiritual connection to the music and provide him with new insights into the world around him, especially as he finds music in many different people and locations. The extended sequence where Kinko spent time learning music from a hermit monk on-top of the mountain was particularly fascinating, and I liked how moving those scenes came across. I felt that the author did an excellent job of readapting Kurosawa Kinko’s life story in the book by showcasing these early stages of his lifelong mission to collect and understand music, and you will come away from Song of the Samurai with a whole new appreciation for traditional Japanese music.

Overall, I felt that Song of the Samurai was an outstanding and intriguing debut novel from C. A. Parker, and one I was very glad I decided to check out. Featuring an outstanding historical story that blended great characters with unique locations, Song of the Samurai was an excellent read, and one of the more unique novels of 2024.

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Publisher: Dark Horse Comics (Paperback – March 2000)

Series: Usagi Yojimbo – Book 13

Length: 200 pages

My Rating: 5 out 5 stars

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Welcome back to my Throwback Thursday series, where I republish old reviews, review books I have read before or review older books I have only just had a chance to read. For this week’s Throwback Thursday I check out another epic entry in the amazing Usagi Yojimbo series by Stan Sakai with the 13^th volume, Grey Shadows.

I had a lot of fun reviewing the 12^th volume, Grasscutter, last week and it set me down a bit of a reread journey which saw me revisit several other Usagi Yojimbo volumes. As such I thought I would take the time to do another review of one of Stan Sakai’s comics, and luckily the next one on my list, Grey Shadows, is a particularly good one.

Grey Shadows takes place immediately after the massive events of Grasscutter and details several adventures that rabbit ronin protagonist Miyamoto Usagi goes on during this period. Made up of issues #23-30 of the Dark Horse Comics run on the Usagi Yojimbo series, Grey Shadows returns to the series norm of featuring several shorter stories, each of which pit Usagi against a new threat or opponent. Grey Shadows have several excellent stories, including some that focus on fantastic murder mystery elements while simultaneously introducing interesting new characters.

The first story in this volume is the intriguing and touching entry, My Father’s Swords. This single-issue story first sees Usagi at the temple of his friend priest Sanshobo recovering from his deadly duel with the demonic spearman Jei at the end of Grasscutter. Still troubled by the disappearance of Jei’s body and the sudden burden of being responsible for the legendary Grasscutter sword, Usagi journeys out from the temple to scout the surrounding area and determine if it is safe to move the divine blade. His journeys eventually lead him to meet young wandering samurai, Donbori Chiaki, whose father was an old friend of Usagi’s who served with him under Usagi’s former lord. While travelling with Chiaki, a chance encounter reveals secrets that will rock Usagi’s soul as a samurai.

This was an interesting first story for Grey Shadows and it is one that I really appreciated. I liked the excellent start that revisited key events of the previous volume and examined the burden that Usagi, Sanshobo and Gen now bear. Not only does Sakai use this opportunity to inform the protagonists about some of the other events of Grasscutter that they were unaware of, but it also helps set up the future 15^th volume, Grasscutter II, which will end this overall storyline. Sakai also takes a little time to showcase Usagi dealing with the dark details of the defeat of his adversary Jei, especially after Jei’s body disappeared upon his defeat. There is a great scene where a clearly shaken Usagi destroys Jei’s fallen black spear to convince himself that his foe is truly dead, although you can tell he doesn’t believe it. I am rather impressed that Sakai manages to do such a comprehensive wrap up of the events of the previous volume in such a short amount of time, while also leaving room for another interesting story.

The main story of My Father’s Swords is pretty moving, as Usagi is immediately brought back to another trauma, his service to Lord Mifune and the Battle of Adachi Plain (see Volume 2: Samurai and Volume 11: Seasons). Travelling with the son of an old comrade lets Usagi briefly relive his glory days, before the past is once again thrust upon him when it is revealed that his friend, Donbori Matsuo, is still alive, following his son anonymously as a cripple. The reasons for Matsuo hiding his existence from his son and the burden he then places on Usagi to keep this secret for him is a little heartbreaking, and it provides more context about the samurai way of life Usagi is bound to. The entirety of this storyline is handled perfectly, from the great introduction to Chiaki, the fun remembrances of Usagi’s past, to the final revelation about Matsuo that ends the story on a poignant note that will leave you very thoughtful and moved. I enjoyed some of the clever artistic tricks in this story, such as the dark shade around Usagi when he deals with Jei’s spear, and the fun way in which Sakai slips in the beggar Matsuo into the background of several scenes, revealing his subtle surveillance of his son. An excellent entry that not only references the events of Grasscutter but also features a powerful story of its own, My Father’s Swords proves to be a great start to this entire volume.

Sakai follows up the moving first story of Grey Shadows with the dark second entry, The Demon’s Flute, a clever and memorable horror story. The Demon’s Flute sees Usagi traversing some remote hills only to be drawn to a small town by the haunting melodies of a flute. Once there, he discovers that the village is under attack by a mystical menace which kills villagers in utter darkness while the sound of a flute plays. Believing it to be a ghostly figure of a flutist who wanders around with a white tokage (the dinosaur lizards that serve as this world’s main animals), the villagers implore Usagi to help save them. However, the true evil attacking them proves to be more complicated and sinister than anyone of them believed.

The Demon’s Flute is a great story that shows just how haunting a Usagi Yojimbo story can be, especially when Sakai utilises some of the creepiest elements of Japanese mythology. While some of the elements of the story are slightly predictable (Usagi has rocked up to save a lot of random villages over the years), the story has a great pace to it that sees Usagi attacked by dark forces he cannot overcome. The various scenes where Usagi runs around the village chasing the darkness and the sound of a playing flute are extremely tense, and the sudden reveal of the story’s monster proves to be very thrilling. I loved the great art that surrounded this part of the story, especially as Sakai makes great use of pure blackness to enhance the tension and threat of a scene, with Usagi often only illuminated by a small hand torch. The final reveal of the monster and the reason for the haunting flute is pretty cool, and I liked the dark sense of honour and duty that drives even the evil and dead of this realm. While parts of the story are wrapped up a little too neatly, this was still a brilliant entry which reaffirms my love for Sakai’s horror stories.

The next entry in Grey Shadows is the wholesome and enjoyable Momo-Usagi-Taro, which sees Usagi arrive at a large town. However, he is almost immediately accosted by a group of orphan children who wrangle him into accompanying them to their orphanage, where he tells them an epic tale to keep them entertained. This is a genuinely nice entry in this volume, which helps to break up the tension and serves as a gentle buffer between the darker stories in the volume. While Sakai does take the time to do a little set up for the upcoming stories, most of Momo-Usagi-Taro is dedicated to Usagi’s story to the children, which is a retelling of the classic Momotarō folk story. I always love it when Sakai tells traditional Japanese stories in his comic, especially as you get to see his artistic take on the legend (which usually results in the protagonist being altered to resemble Usagi), and it was great to see this classic tale brought to life in a new way. Readers are in for a nice story here, and I loved the fun revelation at the end that the orphanage is the same one shown in Daisho, which is supported by the bounty hunter Stray Dog.

Now we are getting to some of the main stories of Grey Shadows with The Hairpin Murders. Set across two issues, The Hairpin Murders sees Usagi get involved in a murder mystery case in town when several prominent merchants are killed using a woman’s hairpin. Teaming up with the brilliant detective, Inspector Ishida, Usagi helps with the investigation and is soon thrust into a long-hidden conspiracy that bind the victims together. However, the closer they get to the truth the more resistance they encounter from Ishida’s superiors, forcing them to decide just how far they want to go to get justice.

This was an excellent and intriguing story that serves as one of the more impressive entries in this entire volume. While still maintaining its comic style and focus, The Hairpin Murders reads just like a classic murder mystery story and sees the protagonist involved in a constricted investigation to find the truth. Sakai sets up this mystery perfectly, and you are soon racing along to find out who is responsible and why. There are a couple of great twists here, as well as some interesting connections to kabuki theatre, with the eventual reveal of the murderer and their motivations is handled really well. The story ends on a pretty satisfying note, and it proves to be quite an intense and intriguing story.

One of the best things about The Hairpin Murders is the introduction of new character Inspector Ishida, who serves as a supporting figure in the rest of Grey Shadow’s stories. Based on real-life policeman Chang Apana (the inspiration for fictional detective Charlie Chan), Ishida is a hard-boiled police inspector who is tasked with investigating various crimes around his town, mostly murders. Despite being restricted by feudal Japanese practices (he can’t do a proper investigation of a body), and the interference of his corrupt superiors, Ishida is a brilliant detective, able to solve complex crimes with the most basic of clues. Ishida gets a great introduction in The Hairpin Murders, as not only do you see him investigating a tough case but you also learn more about his personality, dedication to justice and elements of his tragic past. It is so fun to see him in action in this story, especially as he has that great fight scene that shows of his unconventional fighting style (which is surprising considering his small, hunched stature), as well as his excellent use of the cool jutte weapon (I love the jutte so much). However, the real hint at just how complex and fascinating a character Ishida is occurs at the end of The Hairpin Murders when Ishida is presented with a massive dilemma of justice. It is strongly implied that Ishida, who spends most of the story sticking to the rules, takes justice into his own hands, and I think it fits perfectly into his character arc, while also leaving some ambiguity about how far he went. This really was one of the best character introductions of the entire Usagi Yojimbo series and it was so successful that Ishida would become a major recurring character in future volumes (such as Volume 32: Mysteries and Volume 33: The Hidden).

The other two-issue long story in Grey Shadows is the compelling and moving tale, The Courtesan. In The Courtesan, Usagi runs into the scared young woman he has noticed multiple times in the last few stories and saves her from a group of masked attackers. His actions lead to him gaining the attention of the town’s leading courtesan, the alluring Lady Maple, who begs Usagi to help save the life of her young son, who is the legitimate heir to the local lord. However, dangerous forces within the lord’s court see Lady Maple kidnapped and her son in danger, with only Usagi able to help.

This was another powerful story that really helps to make this volume stand out in terms of story building and character work. The Courtesan is a particularly well-paced story that ties in well with the other entries of the Grey Shadow’s volume. Sakai has come up with a pretty compelling narrative here, and the secret battle for control of the lord’s inheritance is played out with some awesome elements, such as a dive into the world of Japanese courtesans and including several great fight sequences. The character of Lady Maple is particularly strong, as not only does Sakai make a lot of effort to highlight her elaborate beauty with his artwork, but he also shows the mother hidden underneath the fancy makeup and costume, one who is concerned solely for the welfare of her child. This leads up to an epic and tense conclusion, as Usagi faces down all the conspirators, only for his victory to be marred by tragedy. I loved the powerful ending this story contained, which, while sad, also ensures that several worthy characters get what they most wanted in life. Easily one of the strongest tales in the entire volume, I always enjoy reading this impressive story.

The final entry in Grey Shadows is the fast-paced and action-packed single-issue story, Tameshigiri, which serves as an excellent conclusion to the entire volume. Tameshigiri is another mystery story that sees Usagi assist Inspector Ishida to investigate some murders around town. This time the two friends are looking into a series of random killings by mysterious masked samurai. The attacks seem extremely random and lacking in motivation, but the two are soon drawn towards the acolytes of a failing sword testing school who may have a dark reason for dropping bodies around town.

This was a pretty fun and cool final story for the volume, and it leaves an exciting end note for the reader. Sakai pulls together a fantastic and compelling shorter story here that once again combines murder mystery elements with the traditional comic book action. While the culprits of the murder are quite clear from the outset, it is pretty fun to see their plan unfold and the protagonist’s subsequent investigation into it. The reasons behind the antagonists’ actions are pretty fascinating, and the author paints an outstanding picture of desperation and duty that drives them to kill. I also quite liked the intriguing investigation into traditional sword testing, which ties into the story extremely well and proves to be a fascinating addition to Tameshigiri’s plot. The entire story leads up to a massive action sequence that sees multiple participants on both sides engage in a deadly battle to the death. Not only doe we get to see more of Inspector Ishida’s unique fighting style, but Usagi also shines in an awesome duel. Throw in the amusing jokes about the events of the preceding story, where Ishida clearly knows Usagi is behind some of the mayhem, and you have a very entertaining entry that not only wraps up the Ishida-based storylines extremely well, but also ensures that the reader has some fun on the way out.

I must once again highlight Sakai’s brilliant artistic work in this cool volume, as Grey Shadows contains impressive examples of Sakai’s amazing style. There are so many beautiful and intricately detailed drawings throughout this awesome volume, and I love how perfectly it enhances the already great storylines. I particularly love the amount of detail that he throws into the various panel backgrounds, ensuring that the reader sees both the full breadth of Japan’s majestic natural landscape and the traditional feudal style buildings in the towns and villages Usagi visits. Sakai also does incredible justice to the many battle sequences scattered throughout Grey Shadows, perfectly portraying the intricate deadly movements that make up the character’s sword play. You always get an impressive sense of how the characters moved as they battled, and I deeply appreciated all the brilliant and brutal fight scenes. This incredible artwork always pairs so perfectly with the written story, ensuring that this 13^th volume was very spectacular and awesome to look at.

As you can see, I had a lot of fun with Grey Shadows, and it proved to be another excellent entry in Stan Sakai’s Usagi Yojimbo series. This 13^th volume features several outstanding stories, which really dive into their unique protagonists and antagonists and show the full majesty of this version of feudal Japan. Serving as a key entry in the overall series thanks to the introduction of a cool new character, Grey Shadows is a must read for all Usagi Yojimbo fans and it gets another five-star rating from me.

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