# Chapter 11: Wasaburo Oishi's Journal — Summary and Analysis

⚠️ Spoiler Warning: This guide contains detailed spoilers for the entire novel. Proceed only if you've finished reading or are comfortable knowing the plot.

Summary

The chapter is presented entirely as a dated journal entry written by Wasaburo Oishi in July 1927. Oishi records that, once he began actively looking for the tiny, translucent spiders, he notices them everywhere: hanging from the tree in front of his cottage, spinning a web in a corner of the ceiling in Meiko’s bedroom, and scuttling among the dishes in the cupboard.

Disturbed by their presence, Oishi instructs the housekeeper to kill the spiders, saying he does not want to see any of them in the house. The housekeeper is aghast at the request. She explains that the spiders are considered the children of Fujin, the wind god, and that Fujin brought them to the island. She adds that most islanders regard them as lucky.

Oishi then recalls that an old man had previously told him the spiders were confined to the area around the hospital. Since his cottage sits on the other side of the island, their appearance there can only mean that the spiders are spreading.

In response, Oishi packs several of the spiders in cotton wool and sends them to an old friend who is an entomologist at Meiji University, hoping the friend can identify the species. He notes that he has heard Japan has no poisonous spiders, but he would like to be certain.

Key Events

Oishi begins noticing the translucent spiders in multiple locations around his home: the front tree, Meiko’s bedroom ceiling, and the kitchen cupboard.
He orders the housekeeper to kill the spiders, but she refuses, explaining that they are children of Fujin, the wind god, and are considered lucky by most islanders.
Oishi recalls that an old man had said the spiders were confined to the hospital area; their presence on the other side of the island indicates they are spreading.
He collects specimens, packs them in cotton wool, and sends them to an entomologist friend at Meiji University for species identification, specifically to determine whether they are poisonous.

Character Development

Wasaburo Oishi – This journal entry reveals Oishi’s methodical, scientific temperament. He does not dismiss the spiders as mere pests; instead, he observes their locations, notes the discrepancy between the old man’s claim and his own experience, and takes concrete action by sending specimens to an expert. His decision to verify whether the spiders are poisonous shows a cautious, evidence-driven mindset. At the same time, his initial order to kill the spiders suggests a practical, perhaps anxious reaction to something unfamiliar. The journal format also gives readers direct access to his private thoughts, making him a more intimate narrator than a third-person perspective would allow.

The housekeeper – Though she appears only briefly, her refusal to kill the spiders and her explanation about Fujin establish her as a representative of local folk belief. Her reaction contrasts sharply with Oishi’s scientific approach, highlighting a cultural divide between the island’s traditional worldview and Oishi’s modern, empirical outlook.

Meiko – She is mentioned only as the occupant of the bedroom where a spider web is found. No further characterization is given, but her presence in the journal suggests she is part of Oishi’s household and that the spiders’ spread affects his family directly.

Themes, Symbols, or Motifs

Spreading contagion – The spiders’ movement from the hospital area to the other side of the island is a clear motif of expansion and contamination. Oishi’s observation that they are “spreading” carries an ominous undertone, implying that whatever the spiders represent is not contained and may be growing.

Folk belief vs. scientific inquiry – The housekeeper’s explanation of the spiders as children of Fujin, the wind god, and as lucky omens stands in direct opposition to Oishi’s desire to identify and classify them scientifically. This tension reflects a broader theme in the novel: the clash between traditional supernatural explanations and modern rational investigation.

Supernatural omens – The spiders are not just insects; they are imbued with cultural and possibly supernatural significance. The housekeeper’s reverence and the islanders’ belief in their luck suggest that the spiders may be more than natural creatures, hinting at a deeper, possibly malevolent force.

Investigation and identification – Oishi’s act of packing specimens and sending them to an entomologist underscores the theme of seeking knowledge to control or understand a threat. His desire for certainty about their poisonous nature mirrors a larger human impulse to name and categorize the unknown.

Fear of the unknown – Oishi’s initial reaction—ordering the spiders killed—reveals unease. His subsequent scientific inquiry is a way to manage that fear, but the fact that he feels the need to verify their harmlessness suggests the unknown remains unsettling.

Why This Chapter Matters

This brief journal entry serves as a crucial turning point in the novel’s mystery. It establishes the spiders as a spreading phenomenon, moving beyond the hospital and into the domestic sphere, which raises the stakes for the characters. The chapter also deepens the reader’s understanding of Wasaburo Oishi, presenting him as a rational observer who is nonetheless unsettled by the inexplicable. The contrast between the housekeeper’s folk belief and Oishi’s scientific approach sets up a central thematic conflict that likely recurs throughout the book. Furthermore, the spiders’ association with Fujin, the wind god, introduces a supernatural element that may connect to larger plot developments. By sending the specimens to Meiji University, Oishi initiates an investigation that could yield crucial information, making this chapter a catalyst for future events.

Study Questions and Answers

1. What does Oishi’s decision to send the spiders to an entomologist reveal about his character and worldview?

Oishi’s decision shows that he values empirical evidence and scientific expertise over superstition. Rather than accepting the housekeeper’s explanation or dismissing the spiders as harmless, he seeks objective identification. This reflects a modern, rational mindset that contrasts with the islanders’ traditional beliefs. It also indicates his proactive nature—he does not wait for the problem to worsen but takes immediate steps to understand it.

2. How does the housekeeper’s reaction to the spiders differ from Oishi’s, and what does this difference suggest about the cultural context of the island?

The housekeeper is aghast at the order to kill the spiders and explains that they are children of Fujin, the wind god, and are considered lucky. This shows that the islanders have a spiritual, reverential relationship with the natural world, viewing the spiders as benevolent omens. Oishi, by contrast, sees them as a nuisance to be eliminated. This difference highlights a cultural divide between indigenous or folk traditions and the scientific, colonial or modern perspective that Oishi represents. It also suggests that the spiders may hold significance beyond the physical, which Oishi’s scientific approach may fail to grasp.

3. Why does Oishi note that the spiders were previously confined to the hospital area, and what implication does their spread have for the story?

Oishi notes that an old man had said the spiders were confined to the hospital area, but since his cottage is on the other side of the island, their presence indicates they are spreading. This observation implies that the spiders are not static but are expanding their range, which could signal a growing threat or a supernatural contagion. The hospital setting may be significant, possibly linking the spiders to illness or death. Their spread into Oishi’s home suggests that no one is safe, raising the tension and foreshadowing that the spiders—and whatever they represent—will play a larger role in the narrative.