Reviewed by: A Proximate Remove: Queering Intimacy and Loss in The Tale of Genji by Reginald Jackson Jindan Ni (bio) A Proximate Remove: Queering Intimacy and Loss in The Tale of Genji. By Reginald Jackson. University of California Press, 2021. xxii, 223 pages. $29.95, paper. Open Access. Scholars of Heian literature will be familiar with the opening of Genji monogatari (The tale of Genji) with its vivid description of the indignation of aristocratic officials at Emperor Kiritsubo's devotion to Kiritsubo Consort. Indeed, the courtiers "could only avert their eyes" ( me o sobame tsutsu). 1 I could not help thinking of "averted eyes" in a different sense when I first saw the word queering in the title of Reginald Jackson's latest study on Genji and guessing the kind of resistance his approach would likely encounter from some scholars. I admire the passion and determination it must have taken for Jackson to ignore those "averted eyes" and present these results of his quite audacious research. Jackson recalls in his preface the criticism he has faced for bringing queer theory into his Genji scholarship, and he believes these concerns originate from disciplinary and political ideologies reluctant to embrace the expanded interpretive possibilities he wants to open up. Drawing upon existing feminist and gender studies in Heian literature, such as works by Kawazoe Fusae, Kimura Saeko, Paul Schalow, and Rajyashree Pandey, as well as queer theories of Judith Butler, Eve Sedgwick, and others, Jackson boldly takes a step further to exclaim that "Genji is a queer text" (p. 1). In this, he attempts to reveal how the encounter between Genji and queerness can supplement conventional understandings in the fields of Heian literature and queer theory and enable a "transdisciplinary exchange" [End Page 229] (p. 15). The term "queer" in this book, Jackson points out, is not exclusively focused on homoerotic sexual identity. It is about challenging established readings, embracing "indeterminacy" (p. 15), and emphasizing the verb to queer in the broadest terms as meaning "to rework established patterns" (p. 16). For Jackson, queer indeterminacy is an effective lens for examining intimacy and loss in Genji that includes homosocial relationships alongside male-male bonding that is—as seen in Eve Sedgwick's influential study—no longer confined to the realm of eroticism but includes "rivalry, mentorship, paternalism, misogyny, and care" (p. 21). Jackson opens chapter 1 by inviting his readers to ponder the famous scene in Genji in which Tō no Chūjō secretly visits Genji in exile from the court in Suma. The close friends spend one night together exchanging poems, music, and keepsakes. Jackson quickly unsettles this scene as he wonders if something more is shared between them and compares their exchanges to "intercourse" (p. 32). Jackson contends that his method is "to read—and potentially misread" such scenes so as to offer wider possibilities for engaging textually with Genji. Jackson notes that English discourse after World War II downplayed Genji's "queerer facets" in favor of heterosexual romance as Genji ascribed a "cultish aestheticism" to Heian literature (pp. 38–39). This formed part of a U.S. political agenda to redefine postwar Japan as a "harmless" and "benign" nation whose most enduring literary text reflected an "effete" society (p. 39). Jackson's queer approach counters this and aims for a more transgressive interpretation of Genji and of readings such as these, with a particular focus on the issue of translation. By examining how Edward Seidensticker's English translation circumvents the queerness in the original Genji, Jackson effectively theorizes and enables a deviance in the established and well-guarded institutional boundaries set up for Genji and other Heian texts. However, Jackson has omitted a survey of the work of many other scholars who also question the "effete" image of Japanese literature that arose during Japan's modernization and the Allied postwar occupation. More references to this existing Heian literary scholarship would help in situating his claims. After setting up the theoretical grounds for queering Genji, the following four chapters analyze specific scenes in which intimacy and loss intersect with Jackson's queer gestures through which queering the text can "exert interpretive pressure" such that "meanings seem to surge, lapse, or...