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She’s bringing Japanese values - and her quirky take on them - to America. So, I appreciate her stardom and am glad for Kondo’s growing empire of tidy people.
My surroundings would probably give Kondo a heart attack. It’s a positive affirmation of embracing the things in your life that matter, not a guilt-tripping need to cut away stuff willy-nilly.īut the KonMari method isn’t for everyone.įor instance, I’ve never known a single journalist - including myself - whose desk didn’t look like the aftermath of a natural disaster. Instead of tossing out as much as you can stand, Kondo’s brilliant perspective is to decide what you want to keep - by seeing if those items, books, photos or clothes “spark joy” in you. Her method makes perfect sense if you’re interested in cutting clutter in your environment. Kondo worked for five years at a Shinto shrine and was also inspired by the religion’s animist traditions (hence, Kondo greets the homes she enters, and urges clients to thank the items they’re not going to keep). Or, at least, Shinto spiritual traditions, which demand cleanliness. Her “KonMari” method - short for her proper name in Japanese, Kondo Mariko (family name first) - is a brilliant marketing distillation of the compulsive obsessions that caused her as a child to toss out half of her mother’s things when she went on vacation, or caused her to straighten out her elementary school bookshelves, mixed with traditional Japanese cultural values. She has mastered her processes and can show people worldwide with or without language barriers how to fold clothes or use small boxes to organize the flotsam and jetsam of an unruly kitchen pantry shelf. Kondo’s a perfect package for Western television: She’s almost pixielike in her tiny physical presence, but she commands a powerful, confident space as a personality.
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Anyone who’s watched a Japanese movie or anime with subtitles would not think this is a sign of the decline of Western Civilization, by any means. Her Japanese is either interpreted by Marie Iishi, who is awesome at converting Kondo’s rapid-fire Japanese into unstilted conversational English or translated into captions on the screen. The show has gotten positive reviews outside of Ehrenreich’s dumb comment, so her language isn’t hurting Kondo’s celebrity brand. The fact that Netflix chose to have an interpreter on the show and have Kondo speak much of the time in Japanese (she can speak English, but is probably shy about using English - a typical Japanese trait of self-effacement) is a great sign that America is becoming more tolerant and not slipping in stature in the world. And, it reveals that the ugly racist underside of the “politically correct” façade can still fester just beneath the surface of not just white supremacists but also people who should know better. That view of diminishing American “power” is as old school as the Cold War, a shocking and disappointing backward worldview coming from someone who’s supposedly progressive, liberal and forward-looking. As for her language: It’s OK with me that she doesn’t speak English to her huge American audience, but it does suggest that America is in decline as a superpower.”
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“I will be convinced that America is not in decline only when our decluttering guru Marie Kondo learns to speak English,” she wrote.Īfter a torrent of criticism calling out the inherent racism in her comment, Ehrenreich took down her tweet and posted a nonapology: “I confess: I hate Marie Kondo because, aesthetically speaking, I’m on the side of clutter.
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The series has led to Kondo becoming a fulcrum for racial and anti-Japanese sentiment in the past few weeks because of a controversial tweet (now-deleted) by American social justice, feminist and socialist author and intellectual Barbara Ehrenreich. Each episode tugs at the heart and gives lots of tips and ideas for viewers to tidy up their homes … and lives.
In the series, she visits the home of people in the Los Angeles area, where she now lives, ranging from a Japanese American couple of empty-nesters to an African-American family, a gay couple, a lesbian couple, a widow awash in her late husband’s presence - a veritable cornucopia of diversity, equity and inclusion.
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