By Sammi Li

The Boy and the Heron is the latest, and probably (but hopefully not) the last, film from Japanese animation master, Hayao Miyazaki, after numerous returns from supposed retirement. Despite not achieving the same level of critical success as his most renowned work, Spirited Away, I would still argue that this film is quickly joining the ranks of Studio Ghibli’s most beloved films, particularly following its recent win for Best Animated Feature Film at the Oscars. Its Japanese title, which directly translate to ‘How Do You Live?’ and is inspired by Genzaburo Yoshino's book of the same name, has led many to find a loose connection between the two. In this article, I would like to explore the resemblances between these two works, especially the way that they both delve deeply into exploring the philosophical lesson of how to live amidst world of conflict and loss. The thematic coherence between the two works is striking, as they both offer profound insights into the human experience and the challenges we face in finding meaning and purpose in life.

In The Boy and the Heron, the opening scene immediately delves into the theme of loss, as Mahito finds out that his mother's hospital is on fire; he runs desperately amidst a backdrop of flames and smoke. His face is repeatedly obscured by the fire and the burning surroundings, a testament to the exquisite detail of movement and the wonders of hand-drawn animation showcased by Miyazaki and Studio Ghibli. Despite his efforts, Mahito fails to save his mother, a loss that haunts him throughout the film. Additionally, he grapples with being ostracized at school due to his privileged background and has to learn to accept his new stepmother, Natsuko, who is also his mother's sister. Throughout the narrative, Mahito navigates these challenges, learning to cope with his grief and embrace the changes in his family dynamic.

*Mahito runs to his mother’s hospital amidst smoke and flames*

On the other hand, in Genzaburo Yoshino’s book How Do You Live, the protagonist Copper loses his father, a fact bluntly revealed at the beginning of the book. As we learn later, Copper’s uncle engages in philosophical exchanges with him because Copper's father wished for his son to become “a great man” – to be a fine example of a human being. He entrusted Copper's uncle with this task. There are clear parallels’ between Miyazaki’s and Yoshino’s display of their characters' experiences of losing a close family member. Additionally, both texts are set against the backdrop of war. Yoshino’s book was originally published in 1937, during the lead-up to Japan’s involvement in World War II, reflecting the era's atmosphere of militarism. Neil Gaiman's foreword mentions Yoshino's leftist affiliations, noting his arrest and imprisonment for eighteen months due to his attendance at socialist political meetings. In Miyazaki’s film, the wartime atmosphere is similarly prominent, with Mahito's father's involvement in manufacturing air munitions during the Pacific War in Japan further emphasizing the impact of war on the characters' lives.

However, the explicitly political backdrop of both stories does not diminish their relatability or overly politicize or polarize them, as one might assume. As I argue, both works primarily revolve around the question of how to live despite experiencing loss and being engulfed in larger conflicts. Initially, the characters appear to be struggling and navigating very different challenges, each with their own unique approach to dealing with loss and conflict. Mahito, for instance, finds himself unable to move on from the loss of his mother and struggles to fit in at school. He resorts to self-inflicted pain to manipulate his father into allowing him to avoid school, effectively isolating himself from the world. His perspective changes only when he is invited by the grey heron to embark on a fantastical journey to 'save his mother.' On the other hand, we have Copper, who navigates the daily life of a typical schoolchild, occasionally learning new lessons from his uncle as he grows up. At first glance, the lives of Copper and Mahito do not appear to intersect or overlap in the ways one might expect, partly confirming the argument that these two works are only 'loosely' connected.

A deeper analysis of the philosophical lessons presented by both Miyazaki and Yoshino, however, provides a different perspective. Both authors provide insights into the question of how to live, which profoundly influences the protagonists' journeys of growing up. For instance, Copper is significantly impacted by the loss of his father and endeavors to fulfill his father's wish of becoming a great man. He learns about molecular theory and applies it to human interactions, understanding the inherent self-centeredness and egoism of humans but striving not to embody those traits himself. He grapples with understanding poverty, particularly given his privileged background. In a pivotal moment, when he makes a mistake of not standing up for his friends who are being bullied at school, Copper learns the importance of owning up to his errors and refraining from lying to avoid consequences. He discovers that despite feeling ashamed of his actions, he can use those feelings to grow from past failures, as his uncle believes. Through Copper's journey, we see a profound evolution in his understanding of how to live a meaningful and morally upright life.

In the end, Copper learns what he wants to become—a person who provides assistance and contributes positively to the world, aligning with his father's wishes. Throughout the book, there are few mentions of his father or his feelings of loss. However, as we follow Copper's journey and observe his growth, we see how his experiences shape his understanding of how to live. Despite the absence of his father, his teachings seem to continue through Copper's interactions with his uncle. Through these exchanges, Copper gains insights and learns valuable lessons, ultimately shaping his aspirations and defining his path in life. His desire to live meaningfully in the face of loss leads him to aspire to greatness in his own way, informed by his learning and experiences. While his father may be physically absent, his influence is palpable, serving as a guiding force in Copper's journey of growth.

Mahito grapples with his lessons of loss in a markedly different manner from Copper. Mahito's inability to move on and adapt to reality is evident in his constant nightmares about his mother and his struggle to accept Natsuko as his stepmother. However, this changes as he eventually grows to accept Natsuko during his journey in the fantasy world. When Mahito finds Natsuko in the delivery room, he tries hard to bring her back to reality and finally accepts her as a maternal figure to him , acknowledging his own mother's passing. This scene is significant not only for Mahito's personal development but also for highlighting his resilience against the hardships of the real world. Despite encountering losses and conflicts, Mahito consciously chooses to return to reality when presented with the option of staying in the fantasy world. In response to his grand uncle's invitation to remain behind and build a utopian society, Mahito declines, emphasizing the importance of embracing those who care for him. Despite the allure of escaping into a world devoid of conflict, Miyazaki uses this film to convey the message that escapism is not a sustainable solution to coping with loss. Instead, he emphasizes the necessity of confronting reality and actively engaging with the world we inhabit. Regardless of our feelings towards it, there exists a responsibility to learn how to coexist with and improve upon our reality, fostering peace and harmony for all to enjoy.

Miyazaki crafts the film as a heartfelt tribute to his grandson, serving as a testament to the wisdom and values he wished to impart before departing from the world. Similarly, in Yoshino’s book, there exists a palpable sense of the passing down of knowledge and wisdom from the older generation to the younger one, represented by Copper. Both works thus share a fundamental similarity: inter-generational transmission of profound insights and life lessons. Miyazaki and Yoshino offer their perspectives on how to live, yet they do so in a manner that ultimately places the choice in the hands of the younger generation—the viewers or readers like us. They pose the question "How do you live?" not as a directive but as a prompt for introspection and self-discovery. Ultimately, they suggest that the answer to this question is deeply personal and should be determined autonomously, either through individual reflection or through the ongoing journey of life. In light of this, I too pose the same question:

How do you live?

References:

https://www.theguardian.com/film/2024/mar/10/boy-and-the-heron-hayao-miyazaki-oscar-best-animation

https://www.nytimes.com/2021/11/12/books/review/how-do-you-live-genzaburo-yoshino.html

https://www.hollywoodreporter.com/movies/movie-news/first-reactions-hayao-miyazaki-studio-ghibli-the-boy-and-the-heron-1235536910/

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