目取真俊の「ブラジルおじいの酒」
Medoruma Shun’s “Burajiru ojī no sake” [Old-Man Brazil’s Sake]
JAPANESE TEXT:
Medoruma, Shun. “Burajiru ojī no sake”. Mabuigumi [Sprit Stuffing]. Tokyo: Asahi Shinbunsha, 1999. 49-89. Print.
1. Introduction
“Burajiru ojī no sake” was first published in Shōsetsu torippā by Asahi Shinbun. In the story, Boku, a 36-year-old man, looks back on his childhood relationship with an older man known as Burajiru Ojī. After Burajiru Ojī rescues him at sea when he is in the fourth grade, Boku begins visiting the old man regularly and listening to stories about his life in Brazil. Over time, Boku grows close to Burajiru Ojī, who eventually confides in him about the secret of his awamori liquor, hidden in a cave with his father before emigrating to Brazil. Through this relationship, the story explores themes of war memory, prejudice against returnees, and postwar life in small Okinawan communities.
2. Character List
Boku ぼく
Boku, the Japanese first-person pronoun commonly used by young men, is the protagonist. Now 36, he narrates events from his time as a fourth grader. At first, he and his friends frequently steal fruit from Burajiru Ojī’s house. After being rescued by Burajiru Ojī, however, Boku begins visiting him two or three times a week to listen to his stories. As a result, Boku comes to view the old man more sympathetically than the rest of the villagers do.
Burajiru Ojī ブラジルおじい
Burajiru Ojī is a 70-year-old man who emigrated to Brazil with his uncle’s family at the age of 25. He returned to Okinawa five years after the war ended and now lives alone on the outskirts of the village.
Possessed Man 神懸かり者（かみかかりやー）
A Brazilian man in his forties who appears in one of Burajiru Ojī’s stories. He wears filthy clothes, has long hair and a beard, and wanders while proclaiming that the world will soon end. Many people believe him to be a savior.
Burajiru Ojī’s Father ブラジルおじいの父親
Before Burajiru Ojī leaves for Brazil, his father takes him to a cave where he hides a bottle of awamori. They promise to drink it together when Burajiru Ojī returns to Okinawa. The father, however, dies during the Battle of Okinawa, making this reunion impossible.
Ward Chief 区長
The ward chief orders young men to burn down Burajiru Ojī’s house. When he finds the bottle of awamori, he tastes it but immediately spits it out in disgust.
3. Plot Summary
Section 1 (49–55)
Boku reads a newspaper article stating that more than half of Okinawan high school students do not know when Okinawa was returned to Japan. This prompts him to recall his childhood memories of Burajiru Ojī. One year before reversion, a classmate brings Japanese currency to school, and the other children ridicule it until the boy is on the verge of tears. Boku takes him to Burajiru Ojī’s house to steal fruit. Although Burajiru Ojī chases them, they escape. He does not report them, largely because he lives alone and has no one to rely on.
Section 2 (55–71)
While fishing in a river, Boku finds Burajiru Ojī’s boat and takes it without permission. He falls asleep at sea, and the boat drifts away. Seeing this, Burajiru Ojī dives into the water and rescues him. Afterward, Boku begins visiting Burajiru Ojī frequently to hear stories about Brazil. One story involves a possessed man known as Kamikakariya, a Christ-like figure whose wanderings provoke unrest. When Kamikakariya visits Burajiru Ojī’s plantation, Burajiru Ojī follows him, only for plantation owners and workers to open fire. Burajiru Ojī survives, but Kamikakariya is killed.
Section 3 (71–85)
Boku is surprised to learn that other villagers sometimes visit Burajiru Ojī and even mistake him for the old man’s grandson. Boku asks Burajiru Ojī to go fishing together, and they collect shrimp for bait. Back at the house, Burajiru Ojī shares awamori with Boku. Its floral scent attracts butterflies, which Burajiru Ojī explains are human spirits from the other world. He then tells Boku about the promise he made with his father before leaving for Brazil.
Section 4 (85–7)
When Boku visits Burajiru Ojī’s house one day, he finds it empty. He later discovers Burajiru Ojī’s dead body by the river. Boku does not report the death and returns home. Later, he overhears his father discussing Burajiru Ojī’s death and feels resentment toward him.
Section 5 (87–9)
Returning to Burajiru Ojī’s house, Boku sees smoke rising. The ward chief has ordered young men to burn the house down. When a bottle of awamori is found, the ward chief tastes it and spits it out. A young man smashes the bottle, and butterflies gather around the spilled liquor.
Commentary
The central tension of the story lies in the evolving relationship between Boku and Burajiru Ojī. Initially, Boku mocks the old man, but repeated visits deepen their bond, eventually leading Burajiru Ojī to share his most personal secrets. Although they plan to go fishing together, their relationship ends abruptly with Burajiru Ojī’s death. Internally, Boku struggles to reconcile his growing respect for Burajiru Ojī with the villagers’ prejudice. As an outsider, Burajiru Ojī is isolated and marginalized, and early in the story Boku shares these biases, hiding their relationship even from his friends. Through Burajiru Ojī’s stories, however, Boku gradually comes to understand him. After Burajiru Ojī’s death, Boku’s grief and resentment toward his father highlight how deeply his perspective has changed.
4. Setting
Although the exact location is not specified, references to the Ōigawa River suggest that the story takes place in Nakijin Village. Boku notes that Okinawa is one year away from reversion when he is rescued in mid-May, placing the events in 1971. Burajiru Ojī dies later that same summer. Given Burajiru Ojī’s age and the fact that he emigrated at 25, readers can infer that he left for Brazil around 1926. The setting is crucial, as the narrative is closely tied to Okinawa’s historical and cultural context. Early scenes depict children’s fascination with Japanese currency, reflecting anticipation of reversion. The story also portrays discrimination against returnees: Burajiru Ojī, having lost his family during the Battle of Okinawa, lives apart from the village and remains socially isolated. Additionally, Okinawan spiritual beliefs shape the narrative, particularly in the symbolism of awamori and butterflies, which represent how the past continues to haunt the present.
5. Point of View
The story is told in the first person from Boku’s perspective. As a narrator recalling his childhood, Boku offers a limited and sometimes distorted account shaped by his age, memory, and incomplete understanding of history and sexuality. Readers therefore have limited access to other characters’ inner lives. Had Burajiru Ojī narrated the story, readers would likely gain a clearer view of village discrimination, his emotional state, and the truth behind his stories.
6. Symbolism and Imagery
Sake (Awamori) 酒
The awamori symbolizes Burajiru Ojī’s bond with his father and his memories of family. Although the original bottle is empty when he returns to Okinawa, Burajiru Ojī refills it, suggesting his desire to preserve and recreate those memories. The act of adding new awamori represents both remembrance and the creation of new meaning.
Butterflies 蝶々
Butterflies appear whenever Burajiru Ojī drinks awamori and even after his death. He explains that they represent human spirits from the other world, likely those of his deceased family members. Through this imagery, the story suggests that ritual sustains memory and spiritual connection.
7. Historical Background
Immigration from Okinawa
According to Ishikawa Tomonori, Okinawans first emigrated to Hawaii in 1900 and began migrating to Brazil in 1908. Immigration was driven by overpopulation, food shortages, avoidance of military conscription, and changes in land ownership systems. Working abroad offered economic opportunities unavailable in Okinawa, while emigration also allowed some to escape conscription after its introduction in 1896.
8. Cultural Background
Sacrifice of Jesus Christ
The story echoes Christian narratives of sacrifice. Just as Jesus’ crucifixion represents ultimate atonement, the deaths of the Possessed Man and Burajiru Ojī suggest symbolic sacrifices that allow others to absolve themselves of guilt.
9. Criticism
Tōbaru, Chieko. “ ‘Burajiru ojī no sake’ ni okeru katari no jyūyōsei to yomi no keisei: kyōzaikakenkyū no shiten kara-.” [The Evolution of Reading and the Importance of the Narration in ‘Burajiru ojī no sake’: From the Perspective of Teaching Material Research]. Hyōgen kenkyū. No.80. p.86-94. Oct. 2004. Print.
Chieko Tōbaru argues that the story employs nested narrative structures and cohesion strategies. Although Burajiru Ojī recounts events in Brazil, Boku remains the narrator, blending perspectives. Tōbaru also analyzes the symbolic role of awamori, noting that its taste varies depending on the drinker’s relationship with Burajiru Ojī, reinforcing themes of intimacy and exclusion.
10. Themes
Discrimination Against Outsiders
“Burajiru ojī no sake” illustrates how people learn to accept and reproduce discrimination. To begin with, adults’ discriminatory attitudes strongly shape children’s behavior. Boku and his friends repeatedly steal fruit from Burajiru Ojī’s house. Because Burajiru Ojī does not report them, the boys continue stealing without feeling any guilt (51–5). The reason Burajiru Ojī remains silent is that he is an outsider with no social support. Moreover, the villagers deliberately keep him at a distance, which is why he lives alone near the river on the edge of the village. Boku is unaware of this exclusion and assumes that Burajiru Ojī lives alone simply because he is eccentric. As a result, Boku and his friends unconsciously absorb the adults’ attitudes and discriminate against Burajiru Ojī. Even Boku’s use of the nickname “old man Brazil” reflects the villagers’ influence, showing that he instinctively categorizes Burajiru Ojī as an outsider.
People often discriminate precisely because they do not know the person. After being rescued, Boku begins visiting Burajiru Ojī’s house several times a week (64), yet he keeps this relationship secret (72) because he finds it embarrassing. Over time, however, Boku’s impression of Burajiru Ojī improves as he spends more time with him. This change indicates that Boku gradually accepts Burajiru Ojī and becomes aware that the villagers view him differently from how he now does.
People can also recognize their own discriminatory behavior only after forming a personal connection. Following Burajiru Ojī’s death, Boku withdraws into his room. When he overhears his father speaking casually about the death, he feels deep resentment (86). The next day, Boku witnesses the ward chief and young men burning down Burajiru Ojī’s house (87), an act that starkly reveals the villagers’ prejudice. At this moment, the story emphasizes the contrast between how Boku and the young men respond to the awamori. In addition, Boku sees butterflies at the end of the story (89). Only Boku can see them because he knows Burajiru Ojī’s story about butterflies. Throughout the narrative, readers observe how discrimination is learned and how it can be overcome through understanding and personal experience.
In conclusion, Medoruma’s story sheds light on the roots of discrimination. Although Burajiru Ojī’s life in the village is not described directly, Medoruma shows how discriminatory attitudes are transmitted to children and normalized within a community. By the end of the story, Medoruma suggests that people who discriminate cannot truly understand others unless they form a personal relationship with them.
Scapegoating
“Burajiru Ojī no sake” also explores the difficulty of living within a group and the tendency to release social stress by turning an individual into a scapegoat. Burajiru Ojī stands out negatively in the village. He lacks a sense of community with the villagers, who rarely visit his house (54). Because he grows his own fruits and vegetables, he seldom shops in the village (52). Furthermore, although villagers invite him to events, he does not participate, which prevents them from learning about his personality (54). At the same time, Okinawa is approaching its return to Japan, a period marked by frequent demonstrations and strikes (55). Under these stressful conditions, it is easy to imagine that villagers channel their anxiety and frustration toward Burajiru Ojī.
Burajiru Ojī’s story about the possessed man in Brazil further reinforces this theme by echoing the sacrifice of Jesus Christ. While working on a plantation, Burajiru Ojī encounters Kamikakariyā, a possessed man who wears filthy clothes and proclaims that the world is about to end. Kamikakariyā draws attention from others but is ultimately killed by the plantation owner and mercenaries. After his death, parrots consume his body (70). Like Jesus, the possessed man attracts followers and dies amid violence, a parallel that encourages readers to see Burajiru Ojī in a similar sacrificial role.
The story also shows how people attempt to erase evidence of their wrongdoing. Burajiru Ojī’s funeral is small, and the ward chief forces Burajiru Ojī’s cousin to handle the remains. Only days later, the ward chief orders young men to burn down Burajiru Ojī’s house (87). These actions reveal that the villagers regard Burajiru Ojī as a nuisance rather than as someone deserving sympathy. Boku initially believes that the villagers feel sorry for the old man (54), but their behavior reveals the opposite.
In conclusion, Medoruma never explicitly labels Burajiru Ojī as a scapegoat, yet he provides numerous hints throughout the story. Although the reasons for Burajiru Ojī’s ostracization are unclear at first, readers gradually piece together his circumstances through Boku’s perspective, coming to understand how and why the community turns him into a scapegoat.
11. Discussion Questions
1. Considering that Boku was an elementary school student at the time of the story, how reliable is the narration? In what ways does Boku’s young age distort the narration? In what ways does the perspective provide readers insight into the situation?
2. Describe Burajiru Ojī’s position in the town. How do the villagers view him, and why do they see him that way? How does Boku and his friends view Burajiru Ojī, and why do they see him that way?
3. What are some of the rumors about Burajiru Ojī? Explain why you think those rumors are true or not.
4. Why does Boku keep his relationship with Burajiru Ojī secret? Why does he keep stealing from Burajiru Ojī even after becoming friendly with him?
5. What are some of the stories that Burajiru Ojī tells the boy? In what ways do you think those stories are exaggerated or distorted? Which stories do you believe, and which stories don’t you believe, and why?
6. Discuss Burajiru Ojī’s story about the bizarre man in Brazil. What happens to that man and how does he die? What about the parrots?
7. In what ways does the story about the bizarre man in Brazil parallel Burajiru Ojī’s story? How is that significant?
8. Explain Burajiru Ojī’s story about the bottle of awamori? What does the sake seem to symbolize?
9. How would the story change if Burajiru Ojī were the narrator? For example, how does Burajiru Ojī view the villagers or the boy?
10. How does the boy react to Burajiru Ojī’s death? Why does he feel hatred toward his own father when hearing the news that Burajiru Ojī has died?
11. How important is the setting of the story? In other words, could the story have taken place outside Okinawa? Why or why not?
12. What clues are there about Burajiru Ojī’s death throughout the story? How about the burning of his house and the negative reaction to the Awamori? Were you surprised by the ending?
13. Discuss the symbolism of the butterflies. What do the butterflies seem to represent?
14. What does the story teach us about the role of storytelling, including tall tales and distortions of the past?
15. What does the story teach us about outcasts of society? How about scapegoats?
12. Work Cited
Ishikawa, Tomonori. “Okinawa ken ni okeru syutsuimin no rekishi oyobi syutuimin yōinron” [History of Immigration in Okinawa and Immigration factor theory]. Ryūkyū imin kenkyū center, 13 Nov. 2018. Print.
---. “Rūtsu toshiteno Okinawa: nanbei imin o chūshin ni.” Okinawa shakai to nikkei jin, Gaikokujin, amerajian: aratana deai to tsunagari o mezashite. [Okinawan Society and Nikkeis, Foreigners, and Amerasians: In Search of New Encounters and Ties]. Tokyo: Kuba Pro. 7 Feb. 2007. Print.
Medoruma, Shun. Gyogunki [Taiwan Woman: Record of a Fish Shoal]. Kageshobō, 2013. Print.
---. “Burajiru ojī no sake”. Mabuigumi [Sprit Stuffing]. Tokyo: Asahi Shinbunsha, 1999. 49-89. Print.
---. Suiteki [Droplets]. Tokyo: Bungeishunju, 1997. Print.
Nagaitoshiya.com. “Sukēpugōto toshiteno iesu.” [Jesus as a scapegoat]. Nagaitoshiya.com, 3 May. 2023. Web. 13 Dec. 2023.
Okinawa Times. “‘1000-nin atsumareba kōji tomaru’ shinkichi kensetsu e kōgi tsuzukeru sakka ‘Hondo hikitori undo wa genba karano kōmyō na tōsō.’” Okinawa Times, 19 Feb. 2020. Web. 7 Jul. 2023.
Tōbaru, Chieko. “Chūgakko kokugo kyōiku ni okeru, chīki no bungaku sakuhin no ichizuke: (“Burajiru ojī no sake”) no jugyō o moto ni.” [The Possibility of Teaching Local Literature in Japanese Language Classes at Junior High School in Japan: By Using the Local Teaching Material of “Burajiru ojī no sake”]. Sōgō gakujutsu kenkyū kiyō, 2016. No.19. No.1. 19-39. Print.
Wikipedia contributors. “Jesus Christ.” Wikipedia. Wikipedia, 7 Dec. 2023. Web. 13 Dec. 2023.
---. “Medoruma Shun.” Wikipedia. Wikipedia, 6 Mar. 2023. Web. 4 Jul. 2023.
---. “Scapegoat.” Wikipedia. Wikipedia, 19 Nov. 2023. Web. 13 Dec. 2023.
Original report by Wataru Nishino. Edited and revised by Kasumi Sminkey.