STARRED Book Review: Numamushi

Reviewed by Lauren Hayataka

Step into a realm of vivid characters, haunting realities, and the legacy that words leave behind. 

Mina Ikemoto Ghosh’s fairytale, Numamushi, beckons readers into a mesmerizing realm where reality and enchantment intertwine seamlessly. Set in post-World War II Japan, Numamushi, a child marked by the scars of napalm, becomes an unlikely protagonist, raised by the guardian spirit of a river, blurring the boundaries between humanity and nature.

When a war-weary stranger named Mizukiyo enters his life, Numamushi’s curiosity about mankind is sparked, leading to a unique bond forged over a shared taste for frogs and the written word. Their friendship deepens, transforming the world around them into something that neither one is prepared for, making them question everything they once knew. 

Numamushi stands out as a precocious and delightful main character, bridging the gap between a world of wonder and hate, one dominated by both man and beast. Many authors struggle to create a child protagonist that resonates with mature audiences while maintaining authenticity and sincerity. However, Ghosh deftly navigates this challenge, portraying Numamushi with a personality that never loses its charm. In a memorable scene where Mizukiyo is upset by a visitor, Numamushi’s endearing nature shines through: “Did he steal your frogs? Shall I go and bite his ankles?” This innocence and loyalty make Numamushi a character worth cherishing. 

Alongside Numamushi are the ones he comes to love and sees as his family, like his close friend Mizukiyo and the guardian spirit of the river. Despite the limited cast of characters, Ghosh masterfully brings them, as well as their world, to life. Using two sentences where others may use ten, Ghosh describes their characters in wonderfully vivid ways: “If Mizukiyo’s voice was the river, Tora’s was the mountain. When he talked—which was constantly—his words were firm and sunlit, cutting solidly through haze and rain.” 

The narrative’s fundamental theme revolves around the significance of words, and their influence on man and beast. Ghosh’s careful selection and placement of words underscore the story’s essence. When Mizukiyo praises Numamushi for being mindful of his words, he imparts a valuable lesson: “Words are water, after all, and water is precious. Easily wasted.” No one knows this lesson more than Ghosh, and it is a lesson that other writers should take note of. 

Words, too, are shown meaning something different to each character. For Numamushi, they are a lure into a world that he has never known, one that he embraces without question. For Mizukiyo, words are a link to the past, and for Tora, they represent the present, as he grapples with his career and where life in post-war Japan has taken society. And for the guardian spirit of the river, words, especially names, mean less to him than a human could ever imagine for: “The land and its creatures all knew what they were and didn’t care so much for who. It was only humans who asked for names and gave them to everything they feared to lose.” 

Underscoring Numamushi is how it is unafraid to embrace the harsh reality that exists in fairytales, something that many forget—or choose to ignore. There is something terribly sinister about the mutilation of Cinderella’s sister to fit into glass slippers or the evil queen’s demise by dancing in scalding iron shoes in Snow White, yet Ghosh is unafraid to take risks with their story.

Numamushi and Mizukiyo’s intense consumption of small creatures scattered along the riverside, described with a vividness that might seem bizarre or repulsive in the hands of another writer, captivates readers. Ghosh’s adept prose draws them into these scenes, while the gorgeous black and white illustrations found throughout chapters refuse to release their grip, enhancing the story’s unsettling allure.

And the unsettling allure of Numamushi is what allows the story to succeed. It is untraditional in its format, for the story breaks the mold of what fairytales tend to be. There is no princess that needs saving or a dragon to be slayed; instead, there is a curse buried within the home that Mizukiyo resides in and in the heart of each character that comes near. The story blurs the line between the world of beast and man, but it does not question or compare the nature of each and make the reader consider which is more brutal. Instead, Ghosh allows the story to breathe and intertwine around the themes of love, forgiveness, and pain: raw and unforgiving pain. And with pain comes healing, as Numamushi reflects: “If snakes had venom to fill and protect the stomachs that made them snakes, then humans had tears to protect and clean the hearts that made them humans.” 

Overall, Numamushi is a captivating novella that transcends the boundaries of traditional fairytales. Ghosh’s ability to blend enchantment with stark reality, coupled with their skillful characterization and thoughtful prose, creates a world that lingers in the reader’s mind. With its rich thematic depth and compelling storytelling, Numamushi stands as a testament to Ghosh’s literary prowess, offering readers an incredibly lovely yet bittersweet escape. 

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