Speaker:     Frederik Schodt, author of Manga! Manga!; Dreamland Japan, ...
Topic:         "The Real Ranald MacDonald"
When:         Starting at 6:30 p.m. on Sunday, 19 March 2006
Admission:  Buy a copy of
Native American in the Land of the Shogun: Ranald
                      MacDonald and the Opening of Japan
from Good Day Books 

Starting at 6:30 p.m. on Sunday, 19 March 2006, author/translator/interpreter Frederik L. Schodt will give a presentation entitled "The Real Ranald MacDonald" based on Schodt's latest book, Native American in the Land of the Shogun: Ranald MacDonald and the Opening of Japan (Stone Bridge Press, 2003). Frederik Schodt is perhaps best known to patrons of Good Day Books as the author of Manga! Manga!: The World of Japanese Comics (Kodansha International, 1983), which helped to trigger the current manga boom in the United States, and its sequel Dreamland Japan: Writings on Modern Manga (Stone Bridge Press, 1996). He has also been a pioneer in the translation of manga into English, having translated such classic manga as Astro Boy and Ghost in the Shell. All of which suggests at least two questions: how did manga maven Schodt come to write about an obscure real character like Ranald MacDonald; and who was Ranald MacDonald, anyway? 

The author of this short sketch of Frederik Schodt (Fred) and Fred's involvement with Ranald MacDonald (Ranald) first stumbled across a reference to Ranald in the dedication ("To Ranald MacDonald, in whose spirit are the seeds of the story") of Michael Lewis's shortest book, Pacific Rift: Why Americans and Japanese Don't Understand Each Other. (Michael Lewis is best known as the author of Liar's Poker, an irreverent account of Lewis's rise through the ranks at Saloman Brothers investment bank in the 1980s.) In the first chapter of Pacific Rift, Lewis wittily encapsulates Ranald and Ranald's involvement with Japan in less than a page.
   "The first American tourist to set foot on Japanese soil was locked into a cage. His name was Ranald MacDonald (spelled differently but pronounced the same as the patron saint of hamburgers). More than 100 years before the fast-food chain was founded, the MacDonalds of Oregon developed a fascination for Japan. Ranald was seized by the perverse conviction that he had Japanese blood, though his mother was of Indian ancestry. In 1848, at the age of 20, he booked passage on a whaling ship scheduled to cruise by northern Japan. When the ship neared the coast, young Ranald pushed off in a dinghy and began to paddle. He feared, rightly, that if he arrived by boat his Japanese cousins would simply shove him back out to sea. So before hitting the beach, he capsized the dinghy and floated ashore on the trunk containing his belongings."
   "The cage, made of wood, was first sent to Edo (the former name of Tokyo), where it sat with its disillusioned captive on display for several weeks. Although American sailors had washed up from time to time on the shores of northern Japan, the citizens of Edo had never before seen an American. Japan had been off-limits to foreigners for more than 200 years, and the few foreigners required for trade were confined on a tiny island off the southern coast called Dejima."
   "So it was to Dejima that the Japanese authorities finally wheeled the cage containing Ranald MacDonald. There he was released from the cage and there he remained, teaching English to a few budding Japanese internationalists, until a ship arrived that was willing to return him to America."

The impact of Lewis's witty summary is far different from the impact of Lewis's inspiring dedication. What is there about Ranald and Ranald's involvement with Japan that would "grab" writers as diverse as Fred and Michael Lewis? Fortunately for us, Fred "writes to the rescue" in the last chapter of Native American in the Land of the Shogun, succinctly articulating why Ranald and Ranald's involvement with Japan should be much better known and wielding words to effect comparable to that achieved by Lewis in his dedication:
   "[A]s a young man, he conceived of doing something no one else would have considered doing alone, and against all odds carried it off. He was not a passive victim of fate. Nor was he backed by an armed fleet. His plan was all his own, and so was its execution, his only weapons the force of his personality and his goodwill. In a sense, for MacDonald's era and station in life, going to Japan in 1848 was like an individual in our time deciding to go to the moon, alone, and somehow doing it."

Early last year, just when Good Day Books was having difficulty obtaining copies of Dreamland Japan from its U.S. wholesaler, Fred happened to give a presentation on manga at Temple University Japan. I attended Fred's TUJ presentation to learn whether I could obtain a few copies of Dreamland Japan directly from him (I could and did) and also to evaluate Fred as a potential BOOKNOTES speaker. (Fred impressed me not only as a knowledgeable and practiced public speaker, but also as one comfortable interacting with members of his audience.) In the course of preparing myself for Fred's TUJ presentation (I prepare at least one intelligent question for each presentation I attend), I stumbled across yet another dedication to Ranald, this one in Fred's shortest book, America and the Four Japans: Friend, Foe, Mirror, Model (Stone Bridge Press, 1994), which suggested yet another question: how long has Fred been interested in Ranald? In the Introduction to Native American in the Land of the Shogun, Fred again "writes to the rescue": "Every book I have written has been a personal odyssey of sorts, but this one has been the longest of all, requiring twelve years from conception to completion."

Your ticket for admission to Frederik Schodt's presentation "The Real Ranald MacDonald" will be a copy of Native American in the Land of the Shogun: Ranald MacDonald and the Opening of Japan purchased from our shop. Paperback copies of Native American in the Land of the Shogun may be purchased at Good Day Books for three thousand one hundred forty five yen („3145) each, tax included, while our supply lasts. 


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Manabu Miyazaki
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