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As the title character in her 1989 novel Tsugumi puts it, talking about her dog, Pooch: I want to be the type of person who, if a famine came and there was nothing to eat, could kill and eat Pooch without a second thought. ²⁶ Ultimately, Tsugumi is not this type of person, but the novel emphasizes that Tsugumi’s desire to be perverse constitutes her shōjo-ness, as well as her interest as a character. And in light of Yoshimoto’s endorsement of Takemoto’s ability to “evok[e] the inexpressible feelings I had at that age,” it should girliness next to godliness 35 be noted that Yoshimoto also claimed that “Tsugumi is me.
8. , . 9. , –. ” (“I am Lolita”) is repeated in the ﬁrst syllable of the transliterated English word “destroy” (desutoroi). 36 brian be rg s trom 10. , . 11. , . 12. , . 13. For scholarship in English on Yoshiya Nobuko and Japanese “S” culture, see Jennifer Robertson, Takarazuka: Sexual Politics and Popular Culture in Modern Japan (Berkeley and Los Angeles: University of California, ); Sarah Frederick, “Yoshiya Nobuko’s Good Girls,” in Bad Girls of Japan, ed. Laura Miller and Jan Bardsley, – (New York: Palgrave, ); Gregory M.
Takemoto’s formulation of girly criminality thus becomes an important intervention into the theorization of girl culture within the context of Japanese popular culture. When he posits his version of Lolita fandom as a perverse and insistently active rejection of the normative, Takemoto seems to be avoiding the conundrums of earlier shōjo theory by reaching back to Taishō Japan for the term otome and back to a postwar language of sacred criminality as an exercise of agency. Takemoto’s heroines choose to experience their girlishness and its relation to consumer society as agency, through a fandom conceived as implicit critique and explicit criminality.