Product Description
The first novel of Mishima's landmark tetralogy, The Sea of fertility

Spring Snow is set in Tokyo in 1912, when the hermetic world of the ancient aristocracy is being breached for the first time by outsiders -- rich provincial families unburdened by tradition, whose money and vitality make them formidable contenders for social and political power.

Among this rising new elite are the ambitious Matsugae, whose son has been raised in a family of the waning aristocracy, the elegant and attenuated Ayakura. Coming of age, he is caught up in the tensions between old and new -- fiercely loving and hating the exquisite, spirited Ayakura Satoko. He suffers in psychic paralysis until the shock of her engagement to a royal prince shows him the magnitude of his passion, and leads to a love affair that is as doomed as it was inevitable.

"Mishima is like Stendhal in his precise psychological analyses, like Dostoevsky in his explorations of darkly destructive personalities."

-- Christian Science Monitor

"[The Sea of Fertility] is a literary legacy on the scale of Proust's."

-- National Review

Translated from the Japanese by Michael Gallagher ... Read more

Customer Reviews (51)

"Now that old wars are finished, a new kind of war has just begun; this is the era for the war of emotion..."
Just after author Yukio Mishima finished the final novel in his "Sea of Fertility" tetralogy on November 25, 1970, he disemboweled himself in a ritual suicide--seppuku.Mishima, aged forty-five, believed whole-heartedly in the strengths of the old Japanese emperors and in the strong, aristocratic culture that had evolved from the samurai.Spring Snow, written in 1966, is the first of the four novels of what is generally regarded as his masterpiece, a series which explores the essence of life, the spiritual beliefs which make that life meaningful, the obligations of man to a wider society, the relationship of chance to free will, and the glory of dying for one's beliefs.By using a historical approach, with each of these novels taking place later than the previous one, and by repeating his characters, Mishima allows the reader to see Japanese cultural and social history change over a fifty-year period.

Spring Snow begins in 1912.The Meiji dynasty has ended, and Kiyoake Matsugae is a schoolboy at the exclusive, but rigidly spartan, Peers School. By age fifteen, Kiyoake, schooled in courtly manners, appears ready to make his mark within the court.He does,however, hate the militant atmosphere and prefers a more artistic, emotional life.Satoko Ayakura, two years older, is the daughter of the family where Kiyoake grew up, and when he begins to have romantic feelings for her, he is caught in the philosophical no-man's-land between the harshly rigid values of his school (and much of his culture) and his own feelings of need for warmth and communication.Though she is also attracted to him, he refuses to admit that he needs anyone or anything to be a man, and he alternately encourages and rejects any future relationship.

The novel uses this relationship to illustrate Mishima's themes of change.Though Satoko has virtually no importance because she is a woman, the reader cannot help but identify with her, and Kiyoake, at eighteen, is so conflicted that many contemporary western readers will despair of his achieving any enlightenment at all.The reaction of his friend, Shigekuni Honda, a fellow-student, and of Iinuma, his personal tutor, both of whom are repeating characters in the tetralogy, keep the conflicts in focus and guide the reader to an understanding of the author's purpose.Mishima's several forays into philosophical analysis, in the course of the novel, provide wider perspective into his own attitudes toward life, love, and death, and though they do sometimes feel intrusive and not quite integrated, but they counteract the melodrama and romance which might otherwise overwhelm the narrative.

Mishima describes the houses, clothing, rituals, and even hairstyles of the period in detail, adding to the epic sweep of the novel. The need for a character's real feelings to be hidden, as the required patterns for communication are observed, is both frustrating and enlightening, and his use of symbols from nature add to the atmosphere and the novel's meanings.Despite Mishima's awesome reputation and his notoriety as a result of his ritual suicide, his writing is not esoteric.Instead, he writes in an accessible, descriptive style which graphically conveys the culture of Japan in the days leading up to World War I. Mary Whipple

One of the great love stories
Spring Snow is the first novel in Mishima's Sea of Fertility tetralogy, the series of books whose final pages were delivered on the day of his death by ritual suicide in 1970.It's easy to get wrapped up in Mishima's interesting life and controversial death, but don't do so at the expense of disregarding his great books, of which Spring Snow is one.Mishima is not only one of the great Japanese writers, but he's one of the great writers, period.

Spring Snow is set around 1912-1913 and is about the relationship between Kiyoaki Matsugae, the son of an up and coming rich and influential family, and Satoko Ayakura, the daughter of a traditional aristocratic family.When Kiyoaki was little, his father sent him to live with Satoko's family to learn the elegance of an aristocratic family.As the novel starts, Kiyoaki is 18 living with his parents again, but he and Satoko are in love, even though their actions don't always appear so.Satoko seems to toy with Kiyoaki a bit, and this causes Kiyoaki's feelings to readily fluctuate between love and hate.This is a psychological novel in that Mishima takes us deep into his characters' minds, and we are taken along for a ride with Kiyo's thoughts and feelings, which are by turn self-centered, arrogant, fearful, and petulant.All of Kiyo's waffling instigates the main crisis of the book when Satoko becomes engaged to a Prince despite giving Kiyo ample opportunity to protest the engagement and claim Satoko's hand for himself.

Mishima's writing is rich.He leaves very little to the imagination, crisply describing not only the scenes and what the characters look like, but also their inner thoughts.And not just Kiyo's but other characters too like Honda and Iunuma.In fact Honda, who is Kiyo's best friend, serves as the main witness in the novel, and Mishima gives us much of the granularity of feeling in regards to their friendship, which, like Kiyo's and Satoko's, can be moody and wavering.Iunuma is Kiyo's tutor and a frustrated character due to what he considers the degradation of Japan.In fact, the primary themes of the book revolve around the Westernization of Japan at that time.This is demonstrated most profoundly in the contrast between the rising Matsugae family and the falling Ayakura, but also in smaller ways, such as the occasional western dress of some characters and the Western decorations of the Mastugae home.

At heart though, this is a romance.The resolution of the book is the resolution of Kiyo's and Satoko's love.And as with any great romance, the result may seem predictable after the fact, but it is anything but when you're reading the book.Spring Snow is one of the great books of the 20th century.I would recommend it to anyone interested in Japanese culture or just a good old complicated love story.

Need Tea Reviews
Okay, so I really wanted to read this book after having read the backstory of its creation, and, also, because I read the summaries of all four books in this tetralogy. (This book being the first). It doesn't help that this guy is my favorite Japanese author even though I've never read any of his books. (Read his life story, you'll understand. He's one of the most interesting people I've ever had to learn about.)

I really loved this book! It was awesome. The pacing of the story gradually builds up steam before it plunges towards the finish, much like a wave cresting as it reaches the shore. I love Mishima's writing style. It reminds me of Vladimir Nabokov's writing (and you know how much I love that man) but less extravagant. All of the expectations I had for him were totally met, and I'm so going to read his other books now.

Anyway, the plot of this book was pretty formulaic in the beginning, as it details the slow and subtle build-up between Kiyoaki (the main character) and Satoko's romance. The climax threw me for loop because it was so unexpected. I thought it was going to be some cliche, Romeo and Juliet, they kill each other because they can't stand the idea of being apart from one another, but no, it was completely different. I loved Honda (Kiyoaki's friend), who always was supportive and showed what true friendship is. There were lots of snippets about Buddhist philosophy, but it wasn't written in a preachy way as many other books tend to do. It was more of a educational observance, and one of them was even written through the form of fairy tale.

Definitely try this book out if you want to get into Asian/Japanese authors. You can't go wrong with him. Once I get the money I'm so buying the next book in this tetralogy.

An evocation of a vanished world
Yukio Mishima's "Spring Snow" is inevitably compared to a Japanese garden, a reference perhaps to the delicacy of the descriptions of the novel's various settings or to the way it evokes the personal beauty of the protagonist and his lover. The love story of "Spring Snow" also is often compared to "Romeo and Juliet" in reference to the youth and heedlessness of the two lovers, Kioyaki Matsugae and Satoko Ayakura, as well as to the nurse-figure, Tadeshina, who acts as a go-between. If you have never read a novel by Mishima, however, these comparisons are not especially helpful and don't convey the feeling you'll have when you read "Spring Snow": that a world has opened to view that is so different that you can only admire it and understand it as best you can.

Since the novel is set in a particular historical period, the early Taisho era, at least a cursory knowledge of modern Japanese history is extremely helpful in understanding the tensions in the society of this period between traditional Japanese culture and the powerful forces of Westernization. (A good short history of this period is Ian Buruma's "Inventing Japan: 1853-1964.") "Spring Snow" is a historical novel, one that is as distant to a Japanese reader as it is to an American reader, and in the contrast between the characters ofMarquis Matsugae, Kioyaki's pompous and rather dissolute father, and the Marquis's old mother, whose toughness and humble origins have not entirely been smoothed away by prosperity, one senses Mishima's interest in an age that was disappearing at the time of the novel's setting: 1912. I use the word "interest" rather than "nostalgia," because the other character who recalls an earlier age, Satoko's father, Count Ayakura, is so genteel, so utterly unconnected to the modern world around him, that he invites contempt. I enjoyed this novel very much (and am looking forward to reading the other novels in the "Sea of Fertility" tetralogy). However, I want to stress once more that abasic familiarity with Japanese history and places is enormously helpfuland will increase your pleasure in this novel.

Pomp and Circumstance in the Early Taisho Era for those who love that kind of thing
I must admit I have only read part one of the tetralogy so far, but I don't think that this novel has enough punch to keep me interested for 3 more installments.As for the novel at hand, although there are some very good parts (Kiyoaki and Satoko's rickshaw scene, the grandmother's speech, Honda and Satoko's car ride, just to name a few), overall I couldn't help feeling that what I was reading was the idea for a novel and not something fully executed.So much happens in this novel (a year of time roughly) but most of it takes place in the minds of the characters, not actually between/among them.In that sense, Mishima builds up a lot of anticipation but this is sadly a case of "over-promise and under-deliver."

The last 75 pages are quite long considering that so little action takes place.The best moments are when Mishima has 2 of his characters in close quarters, when they actually talk, sense and react to each other.When the book is bad, it goes into the mind of a character and lets us follow his/her ruminations to unnecessary lengths.There are strong scenes here, but (and normally I hate to say this) the novel would have fared better had it been edited more.It is overblown.I have a feeling I will be going back and reading more of the author's shorter works. ... Read more

Product Description
One of the classics of modern Japanese fiction.Confessions of a Mask is the story of an adolescent who must learn to live with the painful fact that he is unlike other young men. Mishima's protagonist discovers that he is becoming a homosexual in polite, post-war Japan. To survive, he must live behind a mask of propriety.

Christopher Isherwoodcomments—"One might say, 'Here is a Japanese Gide,'....But no, Mishima is himself—a very Japanese Mishima; lucid in the midst of emotional confusion, funny in the midst of despair, quite without pomposity, sentimentality or self-pity. His book, like no other, has made me understand a little of how it feels to be Japanese. I think it is greatly superior, as art and as a human document to his deservedly praised novel, The Sound of Waves." ... Read more

Customer Reviews (25)

good...does the job
I needed it for a college class, but didn't want to pay 15 bucks for a new copy. I got it for 7something including the shipping and it was in great condition. there was a funny red like across the bottom but its not that obstructs the reading. I could probably resell it, its still in good condition, but I liked it so it's a keeper.

I have almost no words (but managed to find some)
What an intense, impassioned narration of this particular man's sexual awakening.The sadomasochist fantasies/feelings that accompany the narrator's sexuality are disturbing, yes - but at the same time, the narrator is so honest, so totally frank with the reader about everything he's experiencing, from his young boyhood to manhood, that I developed a respect for him I would never have thought, on first reading, that I'd have.At the same time, I was filled with compassion for the narrator because he's suffering so acutely -concealing his true self within himself; setting up mental walls...The narrator never asks for pity, but my heart is moved by what he's doing to himself.

This is a riveting novel. The juxtaposition of the narrator's outward "normal" life and the ferocity of his "inner", emotional/sexual feelings, is just brilliant - unnerving, but brilliant.

A sad, sad story
From what I can tell, Yukio Mishima was not a very happy man.

Granted, the only works that I have read of this very prolific author are this and Kinkakuji, but I'm seeing a pattern already, and it doesn't point towards Mishima being a cheerful, laid-back guy.Of course, his suicide by seppuku is also a good indicator that he took things way too seriously.

Published in 1948, Confessions of a Mask addresses a subject that would have been taboo anywhere, not just Japan.The main character, whose name is only given as Kochan, is a young man dealing with the fact that he is homosexual.He begins with one of his earliest memories, seeing a night-soil man and finding him beautiful, which he believes is what set his preferences for life.As he gets older, he doesn't yet realize that he's different from other boys, except in that he's small and thin and gets sick a lot more often.He finds himself entranced by men, especially laborers, and not knowing if this is what he's supposed to be feeling.

His sexual maturity is a sad and stunted thing.The pleasure and rapture that he sees in paintings of St. Sebastian hide dark urges of violence and despair.His boyhood love of a classmate is a secret that gnaws at him until he finally convinces himself that he was never actually in love at all. And his attempts to become "normal" end with nothing by emptiness and sorrow.Kochan has no friends to talk to, no family to lean on, and no way to know if what he's feeling is good or bad.All he knows is that the other boys are fascinated by women, and he's fascinated by other boys.In darkness and isolation, Kochan grows.What he grows into, however, is a pale, lonely and barren man.

Like many gay kids, especially in the pre-internet era, Kochan believes that he is unique.An aberration, a deviation from the norm.As far as he knows, no other boy has felt the way he did, and the only other one he hears of - Oscar Wilde - is long dead.His desire to fit in with the rest of the world leads him to play an elaborate game, to wear a mask so convincing that it nearly convinces himself.Being able to hide who he really is and what he really wants becomes a matter of hiding from himself. And as anyone who's tried that will know, hiding from yourself only works for so long....

Such is the life of a young gay man in wartime Japan.While I'm sure what Mishima has presented here is not the average, it is a depressing picture of what it's like to live in a society where such a deviation from the norm is punishable by societal exile.While I can't claim to know what would have happened to a young man in that era who came out of the closet, the narrator doesn't even seem to consider that as an option, good or bad.Thus I can only assume that the consequences would be dire.

There's no doubt that this book is at least semi-autobiographical.A look at A simple story, well-written and chilling
This book is really not lacking very much. Perhaps some other reviewers came into it with high expectations for some sort of pinnacle of Japanese literature, but I only wanted a story and the story that was delivered was overwhelmingly engaging. As a story of obsession and tragedies of the heart it is certainly comparable to Nabokov. I am not a fan of stories that are just depressing or a mountain of uncomfortable drudgery, but Mishima keeps you out of that pit with his tell-all intellectual writing style, simultaneously mocking all the follies of human existence and pitying himself for being so analytical. The story has its rough edges but you really feel that he focuses on all the right details and nothing is left out, which is the hallmark of a superior writer. This is absolutely a great gift for a gay friend. I am not gay but I felt a very close sympathy for the main character's predicament. It seems to be a thin veil over Mishima's own experience, and perhaps the story is semi-autobiographical.

The translation is pretty good and the Japanese experience shines through, although the setting of the story definitely lends a hand to that.

Gay feelings repressed by cultural forces
Different cultures deal with homosexuality in different ways.

Mishima's sadomasochistic homosexuality asserted itself early.While still a tiny child, he responded instantly to certain kinds of masculine beauty and found a mysterious fascination in images and narratives of heroic men being tortured and, ideally, killed.The supreme example was a picture of the martyred St. Sebastian, bound and riddled with arrows, which the child Mishima experienced as the world's heaviest turn-on.Naive as he was, the young author still knew somehow that his interests were unusual and disgraceful, so he kept them secret--thus he created the metaphorical "mask" to hide his true feelings.The story of his early inner life, with its crushes and fantasies, takes up the first half or so of the book and is fascinating.

But then, during young manhood, Mishima tries to become "normal" and fall in love with a girl.Though he likes her very much, he isn't attracted to her physically.The story of this doomed relationship takes up the second half of the book.Being more or less devoid of incident, and (obviously) lacking in erotic passion, it's tedious and difficult to read.

Confessions of a Mask ends disappointingly but the earlier section of the book gives a candid, moving, and memorable account of a child's confused and troubled emerging sexuality as it deals with the cultural norms of a repressive country.

If you are interested in Japanese culture and homosexuality I would strongly recommend Covering by Kemji Yoshimo.
... Read more

Product Description
When Mishima committed ritual suicide in November 1970, he was only forty-five. He had written over thirty novels, eighteen plays, and twenty volumes of short stories. During his lifetime, he was nominated for the Nobel Prize three times and had seen almost all of his major novels appear in English. While the flamboyance of his life and the apparent fanaticism of his death have dominated the public's perception of his achievement, Japanese and Western critics alike are in agreement that his literary gifts were prodigious.

Mishima is arguably at his best in the shorter forms, and it is the flower of these that appears here for the first time in English. Each story has its own distinctive atmosphere and each is brilliantly organized, yielding deeper layers of meaning with repeated readings. The psychological observation, particularly in what it reveals of the turmoil of adolescence, is meticulous.

The style, with its skillful blending of colors and surfaces, shows Mishima in top form, and no further proof is needed to remind us that he was a consummate writer whose work is an irreplaceable part of world literature. ... Read more

Customer Reviews (5)

Stories by a master of repression & madness
This is a group of Mishima's stories, written between 1946 and 1965, and collected in 1989.He primarily wrote novels, but these stories demonstrate that he could write great short pieces too.I once loved his writing, but I now find a lot of it disturbing.Perhaps this is due to me finding his life and death disturbing - his intense narcissism, his political extremism, and his closeted bi or homosexuality.In his writing he seemed to be after some sort of purity and beauty, but he associated these things with violence and suicide.He lived a life of great success and achievement, but was never satisfied, and began to come unglued toward the end of his life.Still, there is no denying his power as a writer.He could write lines of perfect, radiant prose.He portrayed the subtle inner lives of repressed characters with great power and feeling.

A couple of these are early stories and not especially interesting, altho they do show the young writer beginning to exercise his talent."Sword" is well written, and it showcases Mishima's fascination with kendo and youthful masculinity."Sea and Sunset" is proof that Mishima had a great sense of humor, one that he did not show often enough."Act of Worship" is the real masterpiece of the book, and shows Mishima at the height of his powers, doing what he does best - describing an uptight, repressed woman with the hots for a man who is out of her reach.In this case, an old maid becomes the housekeeper for a brilliant, wall-eyed old poetry professor, a man who commands great respect, but is deeply lonely.He describes their subtle communications and interactions brilliantly.This is worthwhile reading for fans, and a good place to start if you have never Mishima's stuff before.

Seven acts, worth seven times that praise
When I first found Mishima, I wondered why I'd never heard of him before. I quickly fell in love with his style of writing tight, consistent, entertaining, and vexing novels. "The Temple of the Golden Pavilion" is one of my all time favorite novels, and with reading it I found Mishima to be my favorite author.

But I had never read a short story (or play) from him until I found this collection.

Now I feel even more strongly about Mishima, and even more solidly convinced that his detractors have no validity. These seven stories are all radically different; characters, time period, length--but they all hold something very poignant about them. Like the Professor recommending to his maid in "Act of Worship" the beautifully written prose of vast scenery and metaphoric imagery -- I too recommend this collection for those reasons.

"Fountains in the Rain" is a simple and short narrative between two lovers, with Mishima juxtaposing the female's tears' with the fountains they (the couple) stumble upon while in rain. Wonderful layering here, but this is the one "throw-away" story (if you could even call it that). The following, "Raisin Bread", is where the stories take an almost psychologically horrific turn; the subject matter is dark from here on out, but Mishima wields this territory like a blade.

"Sword" is next, one of this collection's two largest stories (the other one being the self-titled) concerning, yes, a kendo/swordplay training school. Characters are introduced quickly and tension is held high as we see guilt and honor flowing together until the final line reveals the story's conclusion. You can feel the sweat on the students' faces and can nearly see the golden hue of the dojo floor.

"Sea and Sunset" takes a very different story (which is itself told inside of another story) about a French farm hand sold into slavery, landing in a Buddhist shrine in Japan. The two items in the title seem to suggest a waning of life for the protagonist. Wonderful little story.

Now, the two most brilliant pieces come next. They express, alone, why I think Mishima is head and shoulders above most any Japanese literature -- and also why his detractors (who claim he falls from being able to create the metaphysical dreamscapes of Haruki Murakami) should reconsider his worth.

"Cigarette" is a personal diatribe from an adolescent that would otherwise be boring if not for being so acutely written. In a few pages, I felt that Mishima and I had had the same childhood. He crossed into territory that many do (think the typical "teen experience" movie) but the end result is something entirely believable and fascinating. The grinding of adolescence on culture; feeling the need to "fit in"; feeling unwelcomed anywhere -- Mishima captures it all with clarity that I have never seen anywhere else. I'll be re-reading this one many times.

When I first started "Martyrdom", I didn't expect it to hold much. Demon King? I wondered. But by the end, I was shocked. This piece holds such poetry and metaphor in every line, and crosses paths between Christian mythology and Japanese idealism. The tortured protagonist (making the last story's main character to look brave in comparison) and his story are probably predictable with the story's title, but there is more than expected, and when I finished this story I could only be reminded of what Murakami had said of Mishima, and I wondered if he had had a chance to read this! It truly moved me like not many of his novels have.

Mishima changed the landscape of Japanese literature. He wrote 40 novels, 18 plays and 20 volumes worth of short stories. He also, unlike many of his influences, was able to see many of them translated into English and made popular among his current generation (also a rare thing among Japanese authors).

His untimely death is what people most remember about him. Let them, then. In my own life, I'll only remember that he changed the way I felt about everything.

A Mixed Collection of Writing
Contrary to what the translator claims in the introduction, based on this collection of short stories, Mishima Yukio's work as a novelist far exceeds in quality that of the short story writer. While some stories are quite good - "Acts of Worship," "Cigarette," and "Sword" come to mind - and demonstrate not only the thought but also the large amounts of research Mishima put into his writing, others only evince lukewarm sentiments or insights into the author's aesthetic tastes. While this in itself is certainly not enough to merit a "low rating," these same sentiments are more effectively conveyed in his novels.
Another complaint is that these stories are presented largely in an ahistorical way. That is, there is little reference to when Mishima wrote them, what he was experiencing at the time, and what the situation of Japan was like, socioeconomically. Understanding these concepts is crucial to understanding Mishima's motives and writing.

Bespeak the author's rigid mentality
Acts Of Worship: Seven Stories is an anthology of short stories by the internationally famous Japanese author Yukio Mishima, who is perhaps most notorious for his dramatic ritual suicide in 1970. Flawlessly translated into English by John Bester, the short stories include: Fountains in the Rain; Raisin Bread; Sword; Sea and Sunset; Cigarette; Martyrdom; and the title piece, Act of Worship, and bespeak the rigid mentality of one born and rigorously raised in the traditions of the samurai caste, long after the era of the samurai. Written with biting insight, sharp ruthlessness and a keen eye for just how much (or how little) human life is worth, Acts Of Worship documents Yukio Mishima as having been an undeniably strong and articulate voice in Japan's modern literary tradition.

Colorful.
This a great collection to get a sense of Mishima's imaginative spectrum of characters and themes.Death and the adolescent psyche are common themes. ... Read more

Product Description
This incisive biography begins withthe spectacularly tragic last day of the militant Japanese novelist, perhaps best known for his monumental four-book masterpiece The Sea of Fertility. ... Read more

Customer Reviews (11)

Notes Toward a Better Mishima Biography
I first started reading Mishima ten years ago when I lived in Japan, and immediately gobbled up Confessions of a Mask, Forbidden Colors, Noh Plays and his novella; Patriotism. A few years ago I also read The Sea of Fertillity series of books (Spring Snow/Runaway Horses/The Temple of Dawn/The Decay of the Angel) that are acknowledged as his 'masterpiece' and, although many readers are guided toward the earlier novels and short stories, I'd definitely suggest the long-haul project of reading The Sea of Fertillity. To understand Mishima these last books are really the ones to focus on, for me.

At the same time as finishing this sequence I found myself picking up second-hand copies of both the biographies mentioned here (I chose Scott-Stokes to focus on). Neither the Nathan book nor Scott-Stokes, in my opinion, really show a deep understanding of Mishima or his books, mainly because they show no deep understanding of the traditions that formed his upbringing and the time that he lived in... I hope that soon translators will delve into the mounds of criticism written on Mishima from within his home country so as to give the reader in English a more rounded sense of him as the complex multi-faceted writer that he was.

What DOES reveal something much more genuine about Mishima is Paul Schrader's little known 1985 film Mishima - A Life in Four Chapters, anyone also interested in Mishima's life should also track down his film Patriotism, released in 1966. It seems that there were rehearsals of his suicide on film and in his books (notably Runaway Horses) that predicted his self inflicted death.

After reading a bunch of his books it struck me that to understand Mishima's death one must understand his life (and this is why I was intrigued by Scott-Stokes title) and, in detail, the Samurai heritage that moulded his life and art. Much of this detail is not present in current perspectives on Mishima in English, and, since Japanese culture has moved away from its imperial past (and, not well known to most researchers, had its constitution written by the U.S after WWII) it may even be difficult to find a Japanese scholar among newer generations who understands the traditions Mishima was trying to protect, particularly toward the end of his life. In fact, the legend that he simply went a bit mad and did away with himself (as hinted at by the news reports in another review) doesn't help the curious observer to understand his final actions.

What I will say is that, from living in Japan a fair while, and from using my own intuition about what people told me, rather than depending on books like Scott-Stokes, an analysis of post-war Japan is needed. Mishima, it is document, had no love for either the radical left or the radical right in the 1960s... he saw a much deeper psychic turning point in the collective mind of his nation that involved the endangerment of its sovereignty, and the spirituality of his people. As well as this, contradictorily, he was hungry for fame and success in a literary culture that focussed less on the fundamentals of Japanese culture and more and more on European literary traditions... and perhaps the later work tries to focus more on what were the true influences on his sense of what art and literature might be, and of what was essential to his view of the Japanese spirit.

(As a side-note to this I'd say I have deep reservations of what Mishima saw as the function of art, possibly because it was deeply dependant on the newly emerging conceptions of what structuralism and post-modernism might do for the human mind, with particular notice given to Mishima's Francophile leanings)

The Japanese, prior to the second world war, had an immense pride in the sovereignty of their nation and I myself spoke to elderly women who mentioned that, when at school (after the war), many of their teachers had gone out into the countryside and committed suicide so as not to 1/admit Japan's defeat in the war in front of their students or 2/not to be subject to the propagandist education system that produced the faux history that the Japanese student protestors of the 1960s inherited.

This is the context in which Mishima's life should be commented on. Those of Mishima's generation had seen, and analysed carefully, both worlds... Japan: pre and post-war. I'd like to quickly suggest, before I wrap up, that there are five historical prongs that any researcher would need to include if they were to understand Mishima's death (and thus; life) coherently and sensibly, and, in that way, be able to write an insightful biography of the man.

Firstly, the undermining of the emperor's role in public life after WWII. Remember that just a decade or so earlier the emperor was worshipped as a human deity on earth. This is a very quick and significant change for those of Mishima's generation.

Secondly, the undermining of the financial systems that were in place in Japan prior to the war. Schrader's film documents that Mishima lay the blame for Japan's spiritual degradation squarely at the feet of the Bank of Japan (an interesting point to follow up on in light of what is happening in Japan presently) who assume, as in Europe and the U.S, a secret governmental role in the affairs of the public, something perhaps more clear to those of Mishima's day than those of our own; so governed by media spin.

Thirdly, the poverty in Japan within at least the first decade and a half after WWII, making students more receptive to forms of social control such as T.V propoganda, along with the beginnings of Japan's modern consumerist culture, exactly at the time that Mishima is becoming more and more acknowledged as a writer.

Fourthly, the undermining of the military in Japan, in fact, it's effective disbanding in all but name after WWII, as well as its constitution stipulating that it must not take part in nuclear arms research (now carried out without much press coverage). More importantly, the military had its roots inextricably bound up with Samurai lineage, and the sixties were the era for its incoming generals to slowly lose this part of their cultural memory... encouraged, in the main, by larger salaries provided by the banks, and thus further devotion to the new consumerist culture that was beginning to become prominent.

Here, I can't help thinking back to the words of another well known writer who died around the same time, Ezra Pound, who, in a letter to his editor for the introduction to a new edition of his Selected Prose, just four months before his death, wrote:

re USURY:
I was out of focus, taking a symptom for a cause.
The cause is avarice.

4th July 1972

It was this same avarice, I suggest, that had caused Mishima's criticism of the military in his own country, and very probably why Schrader's film of 1985 courted such little publicity at the time, given that the same brand of person that made up the generals and politicians that ran Japan at the time also infest the corporate media of the `free world' fifteen years later... with avarice of the individual inextricably linking both author's concerns.

Lastly, as in the U.S, the attempts to limit and therefore co-opt the protest movements in Japan of the mid-late 1960s, and to obscure left and right via corporatism so as to divide the culture and undermine its history and cultural traditions... we can then see these specifically Japanese problems in tandem with the well known assassinations of John F.Kennedy, Robert Kennedy and Martin Luther King and other world events.

In order to research the protest movements of Japan during the 1960s I'd also recommend, with a few reservations, the well known documentary maker Tsuchimoto Noriaki's 1969 film Pre-Partisan

As a footnote any budding biographer would also have to look into Mishima's complex sexual leanings (whether heterosexual, homosexual, bisexual or a combination of all three) specifically with reference to what was tolerated in mainstream society at the time, how Japanese masculinity and the male self image had progressed in Japan before and during Mishima's day, and also, without prejudice, investigate how his sense of his own Samurai lineage with its concordant conceptions of tragedy/virility interplayed (played along with/worked against) his sexual sense of himself (how could an analysis of Kyoko's House or or the Japanese Nausee; Confessions of a Mask, not include these focii?)

If the budding biographer took up all of these things and set themselves a thorough research program (particularly immersing themselves in the Japanese scholarship and commentary of the last half century) then a statisfying brick of a book, marketed and written with both scholars and the general reader in mind, MIGHT help us on our way to having a 'definitive biography' of sorts in English.

below his subject matter; really disappointing
this is the kind of book where, if youve read enough of mishima, you'll feel like you have a better interpretation of him than this biographer. scott-stokes was a financial columnist who knew mishima for the last few years of his life. its impressive that he was the only foreigner at the press conference the day of mishima's death, as well as the funeral, but how he writes about it is not that good; he starts the book with an omniscient naration of mishima's last day, then shifts to actual biography. his appreciation of mishima's suicide is almost derisive, very western.

he admits he didnt read much of mishima during their friendship, and had little interest for biographical reflections like sun and steel. he required a translater during interviews, he doesnt even speak fluent japanese. he also admits he must skip analysing some periods of mishima's work because of the length of his book, but his book is only 250 pages! and i did not agree with what he had to say about the sea of fertility. so much of his description of mishima's early life is based on either regurgitating confessions of a mask or extensively quoting donald keene, mishima's early translator.

the whole mess comes off as scott-stokes trying to profit by filling a niche, the niche of an english biography of an infamous japanese figure five years after his death. theres still probably an article on line which contradicts a lot of his attitude in this biography, and posits he knew Mishima's suicide intentions but didnt know what to do, and now is trying to sell a script about their friendship. bah. oh, and there are only like 12 photos, the importance of which is misrepresented on the back page of my edition.

Fascinating and Powerfully Contradictory Person
This book left me with the impression that I would very much have liked to have a cup of tea and an afternoon conversation with a man who seems to all external indications to have been mad.

I was struck by Yukio Mishima's text Sound of Waves because a the eldest boy of a poor widow gets the rich man's daughter.This seems to me to imply Mishima was questioning the traditional near-cast system that Japanese families lived in and wedded among.A poor boy and rich girl sounds more like a Western fairytale than a Japanese story.Moreover, the reason the poor boy gets the rich girl is doubly shocking.The father of the girl and an owner of a fleet of fishing vessels assigns his captain to "test" his daughter's suitors.He settles on the poor boy as the best suitor because he shows extraordinary dedication, loyalty and bravery in a storm; in short, he is selected for his unique personal characteristics.Again, this seemed very Western and democratic to me.

So it is that Mishima lived an inherently contradictory life and I can't help but wonder if he wasn't a victim of modernity.Anthony Giddens in The Consequences of Modernity notes that life in the modern era is like driving a high speed car on a sheet of ice -- we are moving quickly, but we don't know to where.Could it have been that Mishima suddenly panicked and felt that the direction of Japan was going toward certain self-destruction and for this reason, he was trying to save his country when he took over the military headquarters?He certainly seemed to want to save Japan, but from what is not quite clear.

He remains an enigmatic man, and I wish he had lived on to engage in the dialog of modernity.We will never really know, but based on his novels, I think he could see many of the contractions we live with and he may have been able to recommend alternative solutions we haven't yet considered.

Samurai Re-visited
"The Life and Death of Yukio Mishima" by Henry Stokes is to say the least, an impressive study in abnormal human psychology, literary genius, and tragic insanity.Yukio Mishima was obvioulsy a man of many facets, and one of great complexities.Mishima appears to have viewed himeslf as an "elected angel of the gods" to resurrect the greatness of Imperial Japan. Even more evident were his perverse ideals of self, and..."love."

The book explores Mishima's twisted views of beauty and anachronoistic minglings between fantasy and reality; but always...always hinged on the obsession of death as the ultimate "savior of youth."

Yet, no matter how askewed or, twisted Mishima's ideas of resurrectingYamato Damashii (Japanese fighting spirit), he was without a doubt; Poet and... Samurai.

The author seems to rely almost totally upon Mishima's main literary work: "Confessions of a Mask" to develope his understanding and psychoanalysis of this very complex personality.Although, the author knew Mishima his contact with him was overall, limited compared to others in Mishima's life. None the less, Mr. Stokes is able to give the reader an educated opinion of this extraordinary man who ended his failed coup d' etat by the only way Imperial Japan would have allowed...Hara-Kiri.

"TENNO HEIKA BANZAI....TENNO HEIKA BANZAI...TENNO HEIKA BANZAI!"

The book is somewhat indepth and requires some patience and on-going concentration.It is a unique book about a unique subject, and a unique individual.Well worth the price!!

A Standard Biography
The Life and Death of Yukio Mishima is, simply put, a definitive biography. Henry Scott Stokes knew the author about as well as anyone could.He accompanied Mishima and the members of the Shield Society to cover exercises the military group (formed by Mishima) carried out at Mt. Fuji in 1969 and knew him from 1966 until his suicide by hara-kiri in November 1970.Mr. Stokes includes a lot of detail concerning this training exercise, during which he met Mishima's disciple Morita, who committed hara-kiri with him just over a year later.

Mr. Stokes, being a noted journalist, provides an excellent approach to Mishima's life.At the outset, the sensational death of the artist is related in detail.I liked this approach because Mishima's life and work has been overshadowed by his death, so taking us through the ordeal allows us to concentrate on his life and learn soothing about what made him seek the death he did.

Also valuable is Mr. Stokes' residence in Japan, which gives him invaluable knowledge on Japanese society, giving us a background for many of Mishima's attitudes.The major literary works are explained in excellent detail with what Mr. Stokes considers minor works (such as "The Sailor Who Fell from Grace with the Sea") being only briefly mentioned.This fits well with the aim of the book: to provide an in-depth look at the forces that influenced Mishima.The Sea of Fertility cycle receives a great deal of attention.The book also has a chapter that discusses Mishima's reputation since his death. In this section Mr. Stokes draws some interesting conclusions about the relationship between Mishima and Morita.

I have also read John Nathan's biography of Yukio Mishima, which presents an excellent portrait of the writer, particularly in describing his literary career.However, I find it is Mr. Stokes' book that provides a more in-depth portrait of Mishima. I would still recommend Mr. Nathan's book as a highly readable biography.Mr. Stokes' book is very well written with great attention to detail and should not be missed by anyone seriously interested in who Yukio Mishima was and what drove him.

There is a useful glossary and a chronology of Mishima's life, and is illustrated with photographs and drawings.
... Read more

Product Description
Japanese No drama is one of the great art forms that has fascinated people throughout the world. The late Yukio Mishima, one of Japan's outstanding post-war writers, infused new life into the form by using it for plays that preserve the style and inner spirit of No and are at the same time so modern, so direct, and intelligible that they could, as he suggested, be played on a bench in Central Park. Here are five of his No plays, stunning in their contemporary nature and relevance—and finally made available again for readers to enjoy. ... Read more

Customer Reviews (5)

Mishima in a good mood?
I've been a fan of Yukio Mishima since I first heard of him and watched the film version of Mishima: Life in Four Chapters. I have friends who say he is too morbid, although I find his work deep, serious, it is also fascinating. In this collection, there is actually some bright spots, I even laughed during the first play. My old version of this book was regular paperback size, yellowed, and deteriorating. So I happily bought this newly reprinted version.

There are five plays presented here of different topics and settings, but all are interesting. I wish there were more English translations of his works, I've read them all and want to read more.

Good luck ordering this
Good luck trying to order this book through amazon, it took longer than a month for amazon to get back to me after ordering this to explain that they could not find a way to get it and ship it.

Yes to Noh
Do you know Noh? If you don't know Noh then you don't know Japanese culture. In these modern Noh plays by the great Yukio Mishima, you can find a deep spiritual meaning. In Japan Noh is a kind of religion. No one undersood the Japanese soul as well as Mishima. The themes reveal his own obsessions, such as his fascination with beauty and death. In Sotoba Komachi, we have the Faustian story of the femme fatale. Works of such classical beauty are a welcome change from bestseller novels like Harry Potter. If you have an interest in the Japanese soul then you missing this book is a no-no.

Yukio Mishima-- Five Modern No Plays
These plays represent some of the most advanced, haunting and enchanting writing to be found in dramatic literature.A must for anyone involved in the theatre.

Don't read this if you have a hatred for beautiful writing.
Stark and startlingly beautiful, these plays will grace, enchant, mesmerize and haunt you as long as you live.The No play is here proven to be a fully contemporary vehicle for the exploration of abiding existential questions even while tearing your heart out with the beauty of it all ... Read more

Product Description
Recognized throughout the world for his brilliance as a novelist and playwright, Yukio Mishima is also noted as a master of the short story in his native Japan. Here nine of his finest stories, selected by Mishima himself, represent his extraordinary ability to depict a wide variety of human beings in moments of significance. Often his characters are modern Japanese who turn out to be not so liberated from the past as they had thought. ... Read more

Customer Reviews (13)

Really Good Set of Stories.
Death in Midsummer and Other Stories comes with ten stories that are all great for the most part. One of them is a play with a Kabuki theme. The prose is neither too heavy or too crisp. It reminded me of the pocketbooks translation of, "Spring Snow" which I also enjoyed. Although I enjoyed some stories more than others they were all worth reading and especially so for any fan of Mishima's other works. The set opens up with, "Death in Midsummer" which is a story about... death/loss (surprise surprise). One story that stood out was, "Patriotism." I won't give anything away except that it was one of the more terrifying short stories I've read. It was really brutal but as I've said earlier- worth reading. Another favorite story was, "The Priest of Shiga Temple and His Love." Again, I won't give anything away but the tone of that story did a lot as it came off as religious (and wasn't preachy). So these stories were the highlights for me but again, they were all good and make this set a worhwhile purchase for any Mishima fan or those looking for an introduction to the author... since there is variety in setting and direction for these stories.

Beautiful and slightly painful literature
Mishima writes wonderfully, his themes are so close to the human soul that sometimes they are beautifully painful words to read, but oh if it's worth to read each and every one of his stories in this collection. You'll be a more insightful, soulful human after you are done with this collection of short stories. Inspiring classic literature

Classic mishima yet lacking
This is a collection of stories by yukio mishima ranging on many highly japanese culture influenced topics.

I have been a fan of Mishima since acts of worship and confessions of a mask. This edition, while a collection of stories like acts of worship does not touch on his complete wildness as acts of worship did. Many of the stories in this edition has mostly to do with women and the role they play in society which mishima does well to explain, and elaborate as if he was the woman in these stories himself. Much like he did in "my friend hitler" yet not as surprisingly boring for such an extreme title.

However, the stories do not have the surreal and overtly taboo quality I have grown to love in mishima. I should note that this collection does come with the story patriotism which so many people rave about.

In short, This book is more like mishima lite then anything. Filled with mostly average stories with a good mishima twist or style.

His talent
Yukio Mishima was many things in his life; an author was only one of them. In general, I have more respect for him as a personality than I do for his individual books. I could go on all day about the man himself, but my praise of this or that novel is usually conditional, and when I find myself thinking of books to re-read just for enjoyment's sake, he usually isn't near the top of my list. I think that these stories are some of his highest-quality work, though, and I can recommend them without any reservations, not just to enthusiasts of Japanese culture or the sort of magnificently sick aesthetic that Mishima represents. The title story, although as coldly inhuman as much of Mishima's work, still seems pyschologically accurate. The second story, Three Thousand Yen, is disarmingly and uncharacteristically sweet, but tempered by a more characteristic ending. Patriotism is probably the standout of this standout, with flawless prose, again backing Mishima's vision with a realistic setting. 'Pearl' is clever, and 'Onegata' is another very polished story, a good candidate for anthologization. 'Swaddling Clothes' is a personal favorite, wickedly barbed and haunting. The greatest strength of this collection is that Mishima never seems to be repeating himself - he explores his central themes from different angles, in a variety of styles, and provides something of outstanding artistic merit.

Piercing Clarity
Mishima writes with amazing clarity of thought.His sentences are among the clearest I have ever read.I feel at a loss of words, a "poverty of emotion," as Mishima might call it, in trying to write about Death in Midsummer.The only thing I can say - to even try to do him and his book justice - is READ IT!!! ... Read more

Product Description
In this fascinating document, one of Japan's best known-and controversial-writers created what might be termed a new literary form. It is new because it combines elements of many existing types of writing, yet in the end fits into none of them.

At one level, it may be read as an account of how a puny, bookish boy discovered the importance of his own physical being; the "sun and steel" of the title are themselves symbols respectively of the cult of the open air and the weights used in bodybuilding. At another level, it is a discussion by a major novelist of the relation between action and art, and his own highly polished art in particular. More personally, it is an account of one individual's search for identity and self-integration. Or again, the work could be seen as a demonstration of how an intensely individual preoccupation can be developed into a profound philosophy of life.

All these elements are woven together by Mishima's complex yet polished and supple style. The confession and the self-analysis, the philosophy and the poetry combine in the end to create something that is in itself perfect and self-sufficient. It is a piece of literature that is as carefully fashioned as Mishima's novels, and at the same time provides an indispensable key to the understanding of them as art.

The road Mishima took to salvation is a highly personal one. Yet here, ultimately, one detects the unmistakable tones of a self transcending the particular and attaining to a poetic vision of the universal. The book is therefore a moving document, and is highly significant as a pointer to the future development of one of the most interesting novelists of modern times. ... Read more

Customer Reviews (9)

Probably not for the general reader.
Sun and Steel is a book-length essay which describes Mishima's effort to recover himself from the "corrosive" nature of words through developing his physical beauty and prowess. On the most superficial level it is about bodybuilding. On another level, it is about a man attempting to reclaim his identity later in life, and doing so with discipline and knowledge of the nature of time.

I am honestly not sure that this book is worth reading unless you are generally familiar with Mishima's biography and work. I would recommend that people interested in this book first read Confessions of a Mask and at least one of the novels.

The exception to this recommendation would be readers looking for specific work on bodybuilding in literature. As I side note, I found it interesting to note the similarities between what Kathy Acker and Mishima had to say on the subject. (Wouldn't Mishima have been horrified by the comparison?)

The essay seems written more quickly than other works in the Mishima canon. I had trouble engaging with it at times, and found it more interesting biographically than as a work in its own right.

The book is bound with an Epilogue called F104 and a poem called Icarus. The Best translation felt competent, although there were some noticable typographic errors which I hope were corrected in later editions of the book.

Props to Mishima, a philosopher who walked his talk
This book is a literary type that was once common in Japan, the self-obsessive partial memoir. But Mishima's style, tone, and content are absolutely unique.

He writes about the relation between world and word, body and mind or spirit. But to me, the most interesting aspect of this book, and Mishima's whole outlook is something that's often overlooked. It is this, he could not stand ugliness. He shrank from (his own perception of) ugliness as we would from a rabid rat. So then, how did he define beauty and ugliness? You may call it shallow but no matter, this book makes no apologies: beauty or ugliness lie in physical appearance, body and face.

To most of us there are many kinds of beauty, and maybe that multi-perception keeps us going - we see or imagine the beauty of inner virtue, selfless giving, artistic projection, humility or humor and so on. A wide expansive definition.

But there's room on your bookshelf for somebody who takes an uncompromising view: beauty is the beauty of your body and your appearance. While it can be crafted and guided by external method (who knows what Mishima would have thought of the cosmetic surgery craze now sweeping China), ultimately physical beauty to him is the only important projection of the soul.

The insanely monomaniacal American football coach Vince Lombardi once said "Winning isn't everything - it's the only thing". This book, despite all its meandering and subtle threads, is really saying just that, about beauty - it's the only thing. And Mishima, at mid-life, was losing all illusions about attaining or retaining any personal beauty.

Of course what sheds the interesting backlight on this book for most readers is Mishima's dramatic seppuku at Ichigaya Japan self-defense force headquarters. (Reminds me of the wit who stated, when informed of Sylvia Plath's suicide, "Good career move".) People read this book to try to unravel the mystery of it.

But in light of what I've said above, about beauty and Mishima's uniquely narrow definition of it, this book leaves no mystery to his action. Just as Oscar Wilde's Dorian Gray slashed the ugliness accumulated on his horribly aging portrait, Mishima, lacking a magic painting, did just the same to his own body - sentenced it to death for the crimes of aging and ugliness.

It is entirely summed up by the following single line from 'Sun and Steel':

"I had already lost the morning face that belongs to youth alone."

Please, people, PLEASE!
So Mishima finds out through exercise that he's been wasting his time with the writing.He writes all about that.Attention liberal: this review is helpful.

Mishima turns Mishima inside out
This isn't Mishima's best work.Mostly because he is too close to the subject.At once a guide book on his beliefs and how he transformed himself from "bookish" into a physical specimen.But you can see his troubled focus shift from the internal Mishima to the external Mishima.

To me this is an explanation of something even Mishima doesnt understand.More of a catharsis of the self than a clearly defined work.

Many of the descriptions of Mishima's internal evaluations sound almost as if he was dealing with aspects of Borderline Personality Disorder.Which would make his style of death even more ironic and symbolic.

Don't get me wrong, this is true Mishima -- makes us think and examine ourselves even as he talks of himself.

Any work by Mishima is worth reading and adding to your collection.It took me years to find a copy, now it is available for everyone -- I wouldn't hesitate to buy or read.

-Mike

Fascinating insights into a mysterious character
Every author should write at least one of these books of personal reflection. This is not the only place you can get a glimpse of the inner workings of Mishima's mind ("Confessions of a Mask" and "Patriotism" are good examples).

Of course, this is assuming the book accurately reflects the author's views. If you have read Mishima biographies such as Stokes' "Life and Death of Yukio Mishima" you might agree that "Sun and Steel" is a true reflection of the author's feelings. Otherwise, you might not have a good frame of reference.

It's a good idea not to make this the first of Mishima's works that you read (the aforementioned biography and "Confessions of A Mask" are suitable prerequisites). However, it is an interesting work in its own right.

My main reason for not giving this book 5 stars is that I was longing for more depth into his character than could be provided in so short a work; but maybe that's just because of my fascination with the author's life. ... Read more

Product Description
Set in a remote fishing village in Japan, The Sound of Waves is a timeless story of first love. A young fisherman is entranced at the sight of the beautiful daughter of the wealthiest man in the village. They fall in love, but must then endure the calumny and gossip of the villagers. ... Read more

Customer Reviews (63)

Straightforward and Enjoyable
Yukio Mishima does write some more complex novels (such as Spring Snow) but for a rather short, enjoyable, and quick read this novel is perfect.Though the translation is dated, it is still excellent.The story is timeless and transcends time and place.

The characters are rather interesting, though not very well fleshed out due to the short length of the novel.While I did find the three main characters were much more important to the story, there are several minor characters who are incredibly interesting and intriguing, especially Hatsue's father.

A lot of the book does deal with Japanese customs, but the reader can identify with these characters even from a different culture.Despite cultural differences, we all want the same thing, we all respect honor and loyalty and yearn for love and acceptance.A wonderful message and a wonderful book.

Sound of waves
This was a homework asignment project.The book was interesting but it would not be my choice for pleasure reading. Nothing wrong with the book or writing,Its just not my type of book to read.

Another side of Mishima

The Sound of Waves is a simple and charming story about two young people falling in love, their trials and triumph, on a tiny island that lies in the straits connecting the Gulf of Ise with the Pacific. The 1400 inhabitants of Uta-jima (Song Island) live in a tightly woven, stratified society that mirrors the larger Japanese culture in its essentials, though the island has been bypassed by much of the postwar modernization sweeping over the rest of Japan.

Shinji is 18 when the story opens, a recent graduate of high school where he earned notably poor grades. His inclinations propel him in another direction: that of the robust physical outdoorsman, working on a small fishing boat earning a living harvesting mainly octopus from the sea, whose presence dominates the lives of all the islanders. Shinji's mother, a widow, ekes out a living as a diving woman.

The island's calm routines rarely ever change; thus it is a topic of conversation when a new face turns up on the island. Shinji first sees the unfamiliar girl on the beach as he is going to visit the lighthouse keeper, and later, on the fishing boat, he learns that she is the daughter of Uncle Teru Miyata. One of four daughters, Hatsue, had been put out for adoption to a family of diving women on another island. But when Miyata's only son was killed, he called her back, had her put back in the family register and decided to adopt a husband into the family for her to carry on the name.

Shinji's dormant adolescent feelings have been stirred by his encounter with Hatsue, and he suddenly finds himself distracted by thoughts of her. At the same time, he is reminded that his lowly station in life places her beyond his reach. That night, at a meeting of the Young Men's Association, Shinji learns that Yasuo Kawamoto, the son of a prominent village family, has been invited to a homecoming celebration for Hatsue. It would appear that Kawamoto, whose social standing eclipses Shinji's, is Hatsue's father's likely choice for his daughter's future husband.

The rest of the story relates the growing attraction between Hatsue and Shinji, and the rivalry between Shinji and the self-important Kawamoto, who assumes that he will prevail.

Eventually Hatsue's father arranges to have both Shinji and Yasuo serve as apprentice seamen on one of his ocean-going vessels. Unbeknownst to either of them, he has designed this as a test of their mettle. The one who shows the greatest "get up and go" will win Hatsue's hand.

The steamer sails for Okinawa to pick up a cargo. Shinji throws himself into the life of a sailor, while Yasuo slacks off and brags that he will become the owner of the ship when he marries Hatsue after the voyage (thus enraging the captain). A tense moment arrives when, setting out for home during a typhoon, the ship is forced to return to harbor. Moored to a buoy, the craft lurches in the storm-tossed sea. One of the mooring lines snaps, and the ship's officers are fearful that the others might come loose and they would be set adrift. The captain asks for a volunteer to swim to the buoy and attach another line.

While Yasuo cowers fearfully, Shinji steps forward and dives into the turbulent sea. The mission, though fraught with tension and danger, is a success. The ship rides out the storm and sails for home.

Teru announces that he has decided on Shinji as a husband for Hatsue. The reports of the ship's captain have convinced him that Shinji has the most "get-up-and-go."

It was deceiving to read this book before taking up Temple of the Golden Pavilion and Confessions of a Mask. In those books, written before Sound of Waves, Mishima's complex personality is exposed: his self doubts, homosexuality, obsession with death and blood. Compared with these works, Waves seems completely out of character. The plot is romantic, the characters wholesome and one-dimensional. Even the world they inhabit, an island, stands apart. One wonders why he wrote it? Was it because he knew this story would be a resounding commercial success? Mishima's biographer John Nathan relates that Mishima referred to TSOW as "that joke on the public."

There were, apparently, other commercial novels that remain untranslated. Mishima seems to have pursued two parallel careers, one that brought him predictable financial rewards, the other a riskier artistic path (that nonetheless brought great fame, commercial success, and Nobel Prize nominations). The duality resembles that near schizophrenic divided personality that drove him to extremes throughout his life.

Forbidden Love
"The Sound of Waves" has been described as the Japanese Romeo and Juliet, flowing from the pen of talented author Yukio Mishima. It is set on the mythic island of Uta-Jima,far from modernity's shifting tides. Shinji is a poor fisherman; he loves Hatsue, a daughter of nobility. Despite class differences, can they be together?

"Sound of Waves" is a fascinating,unconventional work. Though Mishima disdained modernity,Shinji and Hatsue defy the class structure. While Japanese culture puts much emphasis on "saving face",the lovers care more about each other than the gossip-mongers around them. Mishima's novel also explores themes that aren't in Romeo&Juliet. Hatsue must prove her virginity. However, her amorous night with Shinji is one of the most erotic ever written. They lie together,naked,yet we are supposed to think nothing happens. Mishima redefines virginity- or his emphasis on it questions the concept in general. He leaves it to the reader. Again, the lovers defy conservative Japanese sexual mores.

"Sound of Waves" is like a perfectly cut crystal,or a spare Japanese sand garden. It is a thing of beauty for contemplation and satori (enlightenment). Like Zen Buddhism,it is about finding beauty in the present moment.

The Sound of Waves reveals the genius of Yukio Mishima
Yukio Mishima (The Sailor Who Fell From Grace with the Sea) is the fascinating subject of two recent DVD releases Mishima: A Life in Four Chapters - Criterion Collection and Patriotism - Criterion Collection. Set in a small fishing village, his 1954 novel, The Sound of Waves (Shiosai), tells the coming-of-age story of Shinji Kubo and his love for Hatsue, the beautiful daughter of the wealthy Terukichi Miyata.Hatsue, much like the pearls she dives for, is the object of much admiration. Soon she and Shinji fall in love, much to the disappointment of Shinji's vengeful admirer, Chiyoko, who schemes to divide the two young lovers by spreading untrue rumours about Hatsue's loss of virginity.While The Sound of Waves is a timeless meditation on the power of love, whether or not Hatsue is virtuous also becomes a central theme of the novel. Mishima uses the sea as a metaphor for the unpredictable, ever-changing nature of life in his novel, a novel which won the Shincho Prize in 1954. The Sound of Waves offers a good introduction to the rare genius of Yukio Mishima.

G. Merritt
... Read more

Product Description
After the early death of her philandering husband, Etsuko moves into her father-in-law's house, where she numbly submits to the old man's advances. But soon she finds herself in love with the young servant Saburo.Tormented by his indifference, yet invigorated by her desire, she makes her move, with catastrophic consequences. ... Read more

Customer Reviews (8)

Desirous
Although this is not one of the best novels of Mishima, I think is quite a good book. The author denudes one of the most painful realities of human condition, the unattainment of love. All the characters are frustrated in their thirst for love, nobody is loved by their beloveds and the weak one has the worst part. Also on this novel (the passage of the night party)you can find one of the most erotic writings in literature. This is a good book about desire and its wicked ways.

Thirst for Tradition
Mishima's _Thirst for Love_ is most readily understood in the context of his other writings and thematic concerns.Throughout his literary career, Mishima was deeply troubled by changes in Japanese culture during modernity (starting around the 19th century) and beyond, particularly after the Asia-Pacific War (1931-1945).He viewed the loss of tradition as devastating to any culture, leaving them without an initial way to healthily exist and understand the processes of life and death.Japan, with its slow accretion of Western culture, was merely one macrocosmic example of this historical trend.

_Thirst for Love_ is in part a fictional presentation of this cultural decline: examples of decay are present throughout the novel, such as Miyo's rejection of traditional dress and customs, Etsuko's obsession with the lower-class farmhand, Kensuke's pathetic pseudo-intellectualism, Saburo's physical transgressions against Etsuko, and numerous others.It is imperative, then, that each of these chracters be frustrated with their actions in life and ultimately reach a sort of destruction, for they are all encapsulations of Mishima's "fallen man," the one without guidance from tradition and sane, known ways of living.

A psychological reading of the book would prove fascinating, particularly of Etsuko, Saburo, Takichi, and Kensuke.

Mishima's characterization in this work is admittedly rather weak, relative to his other novel-length works.Perhaps this is because adding satisfactory details and back history to each of the many characters introduced throughout the book would have proven difficult, if not impossible.Another interpretation offers the possibility of using this character shortcoming as a depiction of what Mishima felt towards each of these characters; to him, there is not much behind these people that is interesting or worth delving in to psychologically.They are his "fallen men," and as such a long, descriptive background and intimate storytelling would seem out of place, casting them into greater heights of worth - in the artist's mind - than warranted.

The beauty of Mishima's prose (and the translation of that prose) is, as usual, quite good.Passages evoking Osaka in the rain, evening in the country, and the throng of crowds and jubilation at the seasonal festival are all excellently composed.

My major faults with the novel derive from its relatively unengaging plot (compared to other works by the author) and the fact that its message has been told and retold numerous times by other authors, psychologists, and philosophers, including the author himself (though at a later point in his career).

dissapointing
Not long ago I was astounded by the brutality, truth, and beauty in my first taste of Yukio Mishima -- The Sailor Who Fell From Grace with the Sea. Randomly picking out his work, the next book I stumbled upon was the Sound of Waves. And eventhough from a critical point of view, the Sound of Waves has its obvious flaws. From a readers point of view, it was a great novel. Next I picked up Thirst For Love, and I was surprisingly dissapointed.

First off, I found ALL the characters in this book dull and unlikeable. With the exception of Etsuko, who is generally unappealing; None of the other characters are really developed. As another reviewer pointed out, it almost seems like important parts of the plot had been taken out of the book. The story itself aimlessly drags along going nowhere, occasionally making similarly aimless detours. But regardless of all of that, it simply isn't an interesting read. There is no outrage, no excitement, no point. Maybe to really understand this story you had to be in Japan at the time, that cultural wall is always present in Japanese literature. However, I found this wall to be too high to climb.

thirst for love
the guy below doesnt know what he is talking about, he didnt understand anything

Unsatisfying early effort from Mishima.
Thirst For Love was only Mishima's second novel, and it shows. It could probably have been made into something great, but the author was either too hasty to finish it or simply didn't know what to do. Despite its great title, it's somewhat of a disappointment. I figure it was an attempt at writing an anti-romance, some kind of complete inversion of the concept of the love story. Well, it wasn't a success. The first half of the book is mired in scenes that don't go anywhere (such as the grotesque flashback where Etsuko's husband dies - did we really need that? why was it included?), and this makes the developments of the second half a bit of a shock. It seemed rather sudden how Etsuko's mild interest in the gardener Saburo turned into complete obsession. Certain aspects of the book sorely needed more attention from the author - Yakichi's attitude toward Etsuko could have been turned into something involving, but ends up being a mere tangent, a check mark on the laundry list of plot points. Had Mishima further developed the backstory of the family, we might have understood what lay behind the enmity between its various members, but it went almost completely unexplained, and said members end up coming across as spiteful for no reason. On the other hand, there are plot lines that are completely pointless and blatantly fabricated and yet are for some reason drawn out to great length - namely, the utterly inane subplot with the socks Etsuko buys.

Admittedly, the bit about the festival conveys the appropriate feeling of frenzy. Also, Mishima does a fine job of showing the dichotomy between the overly sensitive, wounded Etsuko and the utterly uncaring, "light man" Saburo. But these are small parts; the whole just isn't all that good. And let's not even get started on the deliberately "shocking" ending, which goes completely against what little character development Mishima bothered to put in. I got the feeling that he simply didn't know how to end the story, and so took the first way out that occurred to him; it would have been better if he had given it a little more thought. In fact, that can be said of just about everything in this book apart from the title. Feel free to skip it and go straight to the masterpiece The Sound Of Waves. ... Read more

Product Description
The dramatic climax of the SEA OF FERTILITY, bringing together the dominant themes of the three previous novels; the decay of Japan's courtly tradition and samurai ideal, and the essence and value of Buddhist philosophy. ... Read more

Customer Reviews (11)

A fine last volume leading up to a nihilistic but utterly fascinating ending.
Yukio Mishima's THE DECAY OF THE ANGEL is the last volume of his "Sea of Fertility". It is also the last book he wrote. On November 25, 1970 he sent the manuscript off to the publisher, then went to incite the soldiers of Japan's military headquarters to a coup d'etat. When he failed, he committed seppuku. As might be expected, THE DECAY OF THE ANGEL contains much that that relates to Mishima's dissatisfaction with life, and the cosmic nihilism that he promised would be the ultimate theme of the tetralogy comes to the forefront. The ending is also possibly the most shocking in all of literature.

The year is now 1970, and Shikeguni Honda adopts a young orphan named Toru, who he believes is the third successive reincarnation of Kiyoaki. The decay present throughout the book is especially present in Honda, who we meet as as a man of seventy-six and who reaches eighty-one by the novel's end. His physical health, memory, and wife are gone. He keeps company with Keiko, the former neighbour whose secret formed the climax of THE TEMPLE OF DAWN, and they talk inanely about senility and medical ailments. But it's also present in Toru who, although young, possesses none of the beauty of Kiyoaki, the dedication of Isao, or the allure of Ying Chan. In fact, Toru is pure evil, and the bulk of the novel is his plot to destroy his adoptive father. The political commentary here is much more subtle than I expected it to be, considering that Mishima ended his life as a nationalist. Japan is plagued by a loss of its own traditions--Keiko shows interest in Japanese culture, but Honda remarks that she treats it as a hobby instead of authentically living it. The country is overrun with Coca-Cola ads and student radicals. But all in all, it is the mind of Honda that is the important setting, not the country around him.

By far the most impressive part of the novel is its surprise ending, which demolishes the entire "Sea of Fertility" cycle in a most impressive way when Honda meets Satoko again, who tells him either the mundane truth or the secret to enlightenment itself. The lectures on transmigration and the self which formed such a large part of THE TEMPLE OF DAWN are there for a reason, and what Mishima does with the no-self philosophy of Buddhism is awesome. If you've read one or more of the earlier volumes and are uncertain about pressing on, I exhort you to make it through this one. Looking back on the cycle, I admire its clever design, where the first two novels set a precedent and the second two undo it, and the general arc where we track Honda from youth to senescence, and Kiyoaki from a praise-worthy youth to despicable brat is skillfully done. The series as a whole is brilliant, read it all.

A fine last volume leading up to a nihilistic but utterly fascinating ending.
Yukio Mishima's THE DECAY OF THE ANGEL is the last volume of his "Sea of Fertility". It is also the last book he wrote. On November 25, 1970 he sent the manuscript off to the publisher, then went to incite the soldiers of Japan's military headquarters to a coup d'etat. When he failed, he committed seppuku. As might be expected, THE DECAY OF THE ANGEL contains much that that relates to Mishima's dissatisfaction with life, and the cosmic nihilism that he promised would be the ultimate theme of the tetralogy comes to the forefront. The ending is also possibly the most shocking in all of literature.

The year is now 1970, and Shikeguni Honda adopts a young orphan named Toru, who he believes is the third successive reincarnation of Kiyoaki. The decay present throughout the book is especially present in Honda, who we meet as as a man of seventy-six and who reaches eighty-one by the novel's end. His physical health, memory, and wife are gone. He keeps company with Keiko, the former neighbour whose secret formed the climax of THE TEMPLE OF DAWN, and they talk inanely about senility and medical ailments. But it's also present in Toru who, although young, possesses none of the beauty of Kiyoaki, the dedication of Isao, or the allure of Ying Chan. In fact, Toru is pure evil, and the bulk of the novel is his plot to destroy his adoptive father. The political commentary here is much more subtle than I expected it to be, considering that Mishima ended his life as a nationalist. Japan is plagued by a loss of its own traditions--Keiko shows interest in Japanese culture, but Honda remarks that she treats it as a hobby instead of authentically living it. The country is overrun with Coca-Cola ads and student radicals. But all in all, it is the mind of Honda that is the important setting, not the country around him.

By far the most impressive part of the novel is its surprise ending, which demolishes the entire "Sea of Fertility" cycle in a most impressive way when Honda meets Satoko again, who tells him either the mundane truth or the secret to enlightenment itself. The lectures on transmigration and the self which formed such a large part of THE TEMPLE OF DAWN are there for a reason, and what Mishima does with the no-self philosophy of Buddhism is awesome. If you've read one or more of the earlier volumes and are uncertain about pressing on, I exhort you to make it through this one.Looking back on the cycle, I admire its clever design, where the first two novels set a precedent and the second two undo it, and the general arc where we track Honda from youth to senescence, and Kiyoaki from a praise-worthy youth to despicable brat is skillfully done. The series as a whole is brilliant, read it all.

Sea of Silence ...
This is not an intent to (summarize) mishima's sea of fertility... rather it's an approach into analyzing it ... a sort of reading between the lines...

Then ... again, what are we exactly trying to portray?

we would say we are ( intending ) todeliver a semiotic vision of what the sea of fertility represents ... we are not trying to ( read ) it for our reader , rather , we let him read , and help him amidst it , by presenting a cluster ofsigns , keys , semiotics , call it whatever you want , that would - at the end - clarify the road , and that can be grasped by the reader so he can get a wider vision , and a better comprehension of this gigantic universe , which mishima called ( sea of fertility ) ...

But first, why is this bizarre title (sea of fertility)?

mishima himself is going to answer this question , to give it the first ( leading ) sign , that we should know it doesn't crack secrets for us , but merely provides us with a minimum limit , which we can begin our journey from ..

in a note mishima sent to the famous American criticizer Donald Keene , he clearly admits that the reason he chose this title for his tetralogy is a hint for an area of the same designation on the moon's surface not so far of ( the sea of silence ) ... the reason for this reference is to aim at a ( contradiction ) between this vivid and colorful name , and the wasteland it stands for in real ... we can go further on saying that this title combines the image of universal nihilism with the image of ( sea of fertility ) ...

in summer 1945 mishima wanted to write an immense oeuvre that would sum up Miller's famous trilogy ( the rosy crucifixion ) , and that would stress more and more on that ( dark ) side of art ... to write a novel that would take six years of his life , and that would cover - chronogically - those sixty years from 1912 and on ..

That decision , which was the most important one in mishima's practical life , obliged writing this novel in four volumes , in each an individual story , for each a special protagonist , but these characters would not be totally separated from each other ...

How?

The figure in the first volume is the lad kiwaki, the noble descent of the wealthy family of Matsugai, lives a love story, one of its kind that memory would not forget easily, and his friend Honda stands as an eye witness for this superb experience of his...

From that point on , in every volume that succeeds, we can notice that the hero is merely the first one, but after being (reincarnated), to start a new cycle of life, and to let Honda only figure out the connections that ties these four characters...


Mishima Knew very well that his Tetralogy is a rich threshold for everything he learned as a writer ... he told his friends, that when he finishes it, there is only one thing left for him to do ... (suicide) ...and by taking his own life in November 25th 1970, he fulfilled his final quote: the life of men is short, I want to live forever...

( The sea of fertility ) is not an easy read nor its a happy one , it is a lament melancholic presentation of life ... rendered by an artist ...

Staggering
I must admit, I didn't really like this book that much at first.I felt as if Mishima's depiction of Toru (the 'incarnation' this time around), with all the hyper-intelligent, will-to-power stuff, was teetering on the brink of self-parody, especially in an extended first-person section taken from his journal, in which he comes across as a more malevolent version of the narrator of Temple of the Golden Pavilion.And then too the fact that he's just so over-the-top demonic didn't make it any easier to take the narrative entirely seriously.Honda, elevated to the lead part in this and the previous book after supporting roles in the first two, is still an indelible character, but it wasn't really enough, and I was all prepared to give it a rather sour three-star rating.However...however.In the last thirty or so pages, Mishima, in a single blinding burst, turns the entire text upside-down, and ends up by undermining the foundation of the entire Sea of Fertility.I know that seems like a narrative cliché-big plot twists in the end that force one to re-evaluate the entire work-but this, I think it's safe to say, is unlike any other instance of the device that you've ever seen, and Mishima pulls it off brilliantly.I cannot overstate the awe in which I was left.Small wonder he ritually disemboweled himself afterwards-how could you write something like this and go on living?I may not buy into his brand of cosmic nihilism, but that's not important.What matters is, this is the work of a genius at the top of its game.I don't suppose it needs my recommendation, since if you've read the other three books you're not likely to just leave it at that, but I will nonetheless put all my powers of persuasion behind it.Not to be missed.

brilliant
CONFESSIONS OF A MASK *****
THE SAILOR WHO FELL FROM GRACE WITH THE SEA *****
THE GOLDEN TEMPLE*****
SPRING SNOW ****
RUNAWAY HORSES*****
THE TEMPLE OF DAWN***
THE DECAY OF THE ANGEL***** ... Read more

Product Description
A band of savage thirteen-year-old boys reject the adult world as illusory, hypocritical, and sentimental, and train themselves in a brutal callousness they call 'objectivity'. When the mother of one of them begins an affair with a ship's officer, he and his friends idealise the man at first; but it is not long before they conclude that he is in fact soft and romantic. They regard this disallusionment as an act of betrayal on his part - and the retribution is deliberate and horrifying. ... Read more

Customer Reviews (46)

A breathtaking read
Sometimes you comes across a book so beautifully written that it stands out from the rest in just the first few pages.This is one of those books.This is a simple story of a sailor (called Ryuji) who falls in love with a shop owner widower (Fusako) and who eventually get engaged to get married.The woman's son (Noburu) secretly watches the couple make love and starts to hate the sailor for the softer side of his character that he sees, rather than the gruff adventurer hero he has built up in his mind.The son is also part of a gang that practises detached emotional responses to life and who inflict great cruelty on animals to test their detachment.Rather than being truly evil the son is more lead astray than anything else, but this leads the book to it's dark, yet compelling conclusion.

This is one of those books that is beautiful to read, with wonderful poetic descriptions, but it also has an element that leaves you feeling slightly disturbed as well.The early scenes between Ryuji and Fusako have an erotic feel to them, but at no point are they explicit or gratuitous.The sexual energy is explored through simple things like the parting of her mouth, the smell of her body or the eating of a cherry.All simple things, but when written as skilfully as this, very effective.Ryuji's fall from grace with Noboru is quite sad to read, especially as we are made aware of Ryuji's inner thoughts and intent that Noboru can't fathom.This makes the ending all the more chilling and powerful and I was worried how the author was going to deal with the ending, but he managed to finish this with huge impact and style and it is one that leaves you thinking about it long after you have placed the book back on your bookshelf.

Apparently Mishima was nominated for the Nobel Prize three times and with books like this I can see why.It is short, but expertly crafted and the prose is a true pleasure to read.I can't wait to read more by him and if you are considering reading this book then I can definitely say it is worth a try.

Mishima's Haunting Love Story.
Yukio Mishima (The Sound of Waves) is the fascinating subject of two recent DVD releases, Paul Schrader's Mishima: A Life in Four Chapters - Criterion Collection and Patriotism - Criterion Collection. He is perhaps best known for his masterpiece, the "Sea of Fertility tetralogy," which includes Spring Snow (1969), Runaway Horses (1969), The Temple of Dawn (1970), and The Decay of the Angel (1971). (Mishima committed ritual suicide on the day he completed the final book in his tetralogy, November 25, 1970.)Set in a Japanese fishing village, his 1963 novella, The Sailor Who Fell From Grace With the Sea (Gogo no Eikô), tells the disturbing love story of Ryuji, a lonely sailor who finds meaning in his life at sea, and a lonely widow named Fusako, who has a 13-year-old son, Noboru, who rejects the adult world as illusory and hypocritical.Noboru is threatened by Ryuji's love for his mother, which causes him to act out violently in a gang of savage boys, ultimately prompting him to seek revenge upon Ryuji. Mishima's novel was adapted into a very good 1976 film starring Kris Kristofferson and Sarah Miles.The Sailor Who Fell From Grace With the Sea attests to the rare genius of Yukio Mishima.

G. Merritt

Stark and Spare

There are many good reviews here.I've read most of them.They cover masculinity themes, dreaming of glory themes, the desired role of the mother, the difficulty of separating Mishima from his work, nihilism etc.These themes are very well covered in the Amazon reviews and don't need further comment.

There is one important theme that I did not see much discussion on, and that is the theme of control.It is touched on in reviews that mention fascism or Mishima's militaristic ideals, but not developed in any review.

The "captain" is a bully, he manipulates.He strips his apostles of their identities by taking away their names.Further, he has them strip naked.The teaches them violence in stages. When they are totally vulnerable to him, he imbues them with his world view.In compelling them to act, he forces the urgency of the hour.The bully/authority theme weaves into the others of masculinity, glory and Mishima's life but also stands on its own as a description of how authority establishes itself.

Mishima later in his life demonstrates to us that he is not just a writer on, but a practitioner of, the authoritarian process, by training a militia to carry out a his own violent designs.

The characters are well developed and fully believable.Each scene carries the suspense to a strong and chilling climax. It's a short, provocative read.

I picked this up after having read John Nathan's Living Carelessly in Tokyo and Elsewhere: A Memoir.It has a short piece describing the difficulty of creating an English language title for this novel.

A peephole on Japanese perverseness?
A youth gang and a teenager change how we see
a step father. The second mate is a relatively nice sailor
with ambition who loves the mother.
The son is a boy with a love for the sea
and a followers fault.
The result becomes a twisted ending with colorful
prose in between.
Not really as good as The Sound of Waves
but certainly interesting reading for insight into Japan.

Sick, beautiful, euphoric - Mishima couldn't stop
"The Sailor Who Fell From Grace with the Sea" was written at a time where Mishima was at the height of his literary genius. I point mostly towards "Forbidden Colors" and the short stories he was writing in the early 60s, a la "Cigarette". These are character stories, mostly, and discuss a wide range of topics - obsession, aesthetics, morality and death.

Our child protagonist in this story resembles many of Mishima's own frustrations in life including a harsh relationship with his mother, who Noboru feels indifferent toward through much of the novel. Ryuji, the sailor himself, represents what Noboru thinks an ideal man should represent - at least in the beginning.

Mishima has a wonderful way of contrasting light in dark and in one particular scene involving a kitten he contrasts the kitten itself with the darkness of the enclosed barn where it resides. And the following actions show an even darker metaphor underneath. This isn't the best Mishima work that I've read, but for anyone exploring the mind of Mishima himself, you'll want to indulge. ... Read more

Product Description
The chronicle of a conspiracy and a novel about the roots and nature of Japanese fanaticism in the years that led to war--an era marked by depression, social change and political violence. ... Read more

Customer Reviews (18)

Poetic but with Technical Setbacks
This is a novel with gorgeous, even lyrical passages, yet in my view, considerable technical setbacks.

Why do i like Mishima? Becouse he was trained as a lawyer, and from the many years of discerning the nuances of legal practice, he developed a style of writing, that is structured, concise, and sometimes pompous. Concurrently, there is a dark tendency in his writing to place his characters irrationally attracted to themes relating to death, suicide, romantic tragedy or nihilism. The combination of these seemingly opposite forces, creates a mood of unsettling, and reckless passion.

When i read that Kiyoaki, who in Spring Snow had been endowed with an almost supernatural beauty, returned reincarnated in Isao, who was peerless on his purity of intent, i couldn't put the book down. Mishima created such a beautiful case for the purity of dying in defense of Japan and the emperor, that even me, who is on the opposite side of the political spectrum, was rooting for Isao to go ahead with his mission and inevitableseppuku.

If the book would have finished with the ritualistic suicide, it would have actually been beautiful. I won't recount the details of the plot, but there is an unfortunate twist that completely alters the sentiment of the idealistic and poetic opening pages. The denouement creates an anti-climax that forces the reader to question the validity of the values professed initially by the protagonist, to then again in a haste, switched back the storyline to a romantic conclusion in order to salvage the book. I found this thematic ambivalence, a source of irritation and a technical setback that undermines the quality of the book as a whole. Therefore I gave it four starts.

A brilliant novel about young men of pure heart
Japan. 1932. Japanese society is divided, or at least complex. Still with parts of its body and soul in the ancient tradition of the East, yet with ever increasing impulses towards the "Western culture" (In the insemitically correct reality, we of the "West" have infinitely more in common with the traditional culture of the East than we do the current world-wide Weimar Republic, but oh well). Mishima, the author, was more or less a Japanese representative of the "conservative revolution", and was quite well-read in both Eastern and Western literature. His life reminds me in many ways of Corneliu Codreanu and Julius Evola. His well-known dramatic ritual suicide as a protest against the betrayal of Tradition in Japan, and the Japanese submission to American rule, followed him and his radical "Right-wing" organization's (The Shield Society) failure to arouse the Japanese Defence Force into rebelling.

The story of this second book in the brilliant tetralogy known as "The Sea of Fertility" takes place in roughly a year; from 1932-33. These years were marked by increasingly instable political relations in Japan, between those wishing for return to the Tradition of Japan, and those wishing for Japan to become merely another land open to unbridled capitalism and leftist eroding of the Traditional culture. As the four books are also great venues for Mishima to give his view of society, we find the theme of reincarnation quite prominent in the books. Isao Iinuma is the main character, and the reincarnation of Kiyoaki Matsugae, from the previous novel; "Spring Snow". He is working with a group of other dedicated youths and young adults to achieve a society where his Royal Highness; Emperor Hirohito, can take a much more prominent place in ruling the Empire of the Sun, instead of the soulless capitalists as things were then. The group plans to assassinate several leaders of the zaibatsu, and wrest control of the Empire back into the hands of the reactionary monarchists. Make no mistake about it, this book is as "Right-wing" as you can get, there's no explaining away Mishima's obvious political and religious views after you've read this marvellous book. As Mishima writes on page 392; "Japan, [...], where the Emperor was held to be the head of the vast family that was the Japanese people."

You simply have to read this, if you have any interest at all in the period, in Mishima, in monarchism or in a good read at all. 5 stars without a doubt, and I can't wait to read the rest of the series. I try myself to live in the spirit of Mishima, since as he says; "To know and not to act, is not yet to know".

A brilliant novel about young men of pure heart
Japan. 1932. Japanese society is divided, or at least complex. Still with parts of its body and soul in the ancient tradition of the East, yet with ever increasing impulses towards the "Western culture" (In the insemitically correct reality, we of the "West" have infinitely more in common with the traditional culture of the East than we do the current world-wide Weimar Republic, but oh well). Mishima, the author, was more or less a Japanese representative of the "conservative revolution", and was quite well-read in both Eastern and Western literature. His life reminds me in many ways of Corneliu Codreanu and Julius Evola. His well-known dramatic ritual suicide as a protest against the betrayal of Tradition in Japan, and the Japanese submission to American rule, followed him and his radical "Right-wing" organization's (The Shield Society) failure to arouse the Japanese Defence Force into rebelling.

The story of this second book in the brilliant tetralogy known as "The Sea of Fertility" takes place in roughly a year; from 1932-33. These years were marked by increasingly instable political relations in Japan, between those wishing for return to the Tradition of Japan, and those wishing for Japan to become merely another land open to unbridled capitalism and leftist eroding of the Traditional culture. As the four books are also great venues for Mishima to give his view of society, we find the theme of reincarnation quite prominent in the books. Isao Iinuma is the main character, and the reincarnation of Kiyoaki Matsugae, from the previous novel; "Spring Snow". He is working with a group of other dedicated youths and young adults to achieve a society where his Royal Highness; Emperor Hirohito, can take a much more prominent place in ruling the Empire of the Sun, instead of the soulless capitalists as things were then. The group plans to assassinate several leaders of the zaibatsu, and wrest control of the Empire back into the hands of the reactionary monarchists. Make no mistake about it, this book is as "Right-wing" as you can get, there's no explaining away Mishima's obvious political and religious views after you've read this marvellous book. As Mishima writes on page 392; "Japan, [...], where the Emperor was held to be the head of the vast family that was the Japanese people."

You simply have to read this, if you have any interest at all in the period, in Mishima, in monarchism or in a good read at all. 5 stars without a doubt, and I can't wait to read the rest of the series. I try myself to live in the spirit of Mishima, since as he says; "To know and not to act, is not yet to know".

A brilliant novel about young men of pure heart
Japan. 1932. Japanese society is divided, or at least complex. Still with parts of its body and soul in the ancient tradition of the East, yet with ever increasing impulses towards the "Western culture" (In the insemitically correct reality, we of the "West" have infinitely more in common with the traditional culture of the East than we do the current world-wide Weimar Republic, but oh well). Mishima, the author, was more or less a Japanese representative of the "conservative revolution", and was quite well-read in both Eastern and Western literature. His life reminds me in many ways of Corneliu Codreanu and Julius Evola. His well-known dramatic ritual suicide as a protest against the betrayal of Tradition in Japan, and the Japanese submission to American rule, followed him and his radical "Right-wing" organization's (The Shield Society) failure to arouse the Japanese Defence Force into rebelling.

The story of this second book in the brilliant tetralogy known as "The Sea of Fertility" takes place in roughly a year; from 1932-33. These years were marked by increasingly instable political relations in Japan, between those wishing for return to the Tradition of Japan, and those wishing for Japan to become merely another land open to unbridled capitalism and leftist eroding of the Traditional culture. As the four books are also great venues for Mishima to give his view of society, we find the theme of reincarnation quite prominent in the books. Isao Iinuma is the main character, and the reincarnation of Kiyoaki Matsugae, from the previous novel; "Spring Snow". He is working with a group of other dedicated youths and young adults to achieve a society where his Royal Highness; Emperor Hirohito, can take a much more prominent place in ruling the Empire of the Sun, instead of the soulless capitalists as things were then. The group plans to assassinate several leaders of the zaibatsu, and wrest control of the Empire back into the hands of the reactionary monarchists. Make no mistake about it, this book is as "Right-wing" as you can get, there's no explaining away Mishima's obvious political and religious views after you've read this marvellous book. As Mishima writes on page 392; "Japan, [...], where the Emperor was held to be the head of the vast family that was the Japanese people."

You simply have to read this, if you have any interest at all in the period, in Mishima, in monarchism or in a good read at all. 5 stars without a doubt, and I can't wait to read the rest of the series. I try myself to live in the spirit of Mishima, since as he says; "To know and not to act, is not yet to know".

A brilliant novel about young men of pure heart
Japan. 1932. Japanese society is divided, or at least complex. Still with parts of its body and soul in the ancient tradition of the East, yet with ever increasing impulses towards the "Western culture" (In the insemitically correct reality, we of the "West" have infinitely more in common with the traditional culture of the East than we do the current world-wide Weimar Republic, but oh well). Mishima, the author, was more or less a Japanese representative of the "conservative revolution", and was quite well-read in both Eastern and Western literature. His life reminds me in many ways of Corneliu Codreanu and Julius Evola. His well-known dramatic ritual suicide as a protest against the betrayal of Tradition in Japan, and the Japanese submission to American rule, followed him and his radical "Right-wing" organization's (The Shield Society) failure to arouse the Japanese Defence Force into rebelling.

The story of this second book in the brilliant tetralogy known as "The Sea of Fertility" takes place in roughly a year; from 1932-33. These years were marked by increasingly instable political relations in Japan, between those wishing for return to the Tradition of Japan, and those wishing for Japan to become merely another land open to unbridled capitalism and leftist eroding of the Traditional culture. As the four books are also great venues for Mishima to give his view of society, we find the theme of reincarnation quite prominent in the books. Isao Iinuma is the main character, and the reincarnation of Kiyoaki Matsugae, from the previous novel; "Spring Snow". He is working with a group of other dedicated youths and young adults to achieve a society where his Royal Highness; Emperor Hirohito, can take a much more prominent place in ruling the Empire of the Sun, instead of the soulless capitalists as things were then. The group plans to assassinate several leaders of the zaibatsu, and wrest control of the Empire back into the hands of the reactionary monarchists. Make no mistake about it, this book is as "Right-wing" as you can get, there's no explaining away Mishima's obvious political and religious views after you've read this marvellous book. As Mishima writes on page 392; "Japan, [...], where the Emperor was held to be the head of the vast family that was the Japanese people."

You simply have to read this, if you have any interest at all in the period, in Mishima, in monarchism or in a good read at all. 5 stars without a doubt, and I can't wait to read the rest of the series. I try myself to live in the spirit of Mishima, since as he says; "To know and not to act, is not yet to know". ... Read more

Product Description
Ba-ra-kei: Ordeal by Roses is a rare glimpse into the life of the great modern Japanese writer, Yukio Mishima, who ended his life in 1970 by ritual suicide. Many in Japan regarded the suicide as a sensational act. However, the publication of Mishima's final cycle of novels, which had been conceived eight years prior to his death, revealed that his death was carefully considered--a gesture of historical import in perfect accord with the morbid and esoteric aesthetic that pervades his writing.In 1961 Mishima asked Eikoh Hosoe to photograph him, giving him full artistic direction in making these surreal and alluring photographs. The props that surround the writer and the baroque interior of his home are antithetical to the pure Japanese sensibility of understatement and reveal Mishima's dark, theatrical imagination.Afterword by Mark Holborn.Preface by Yukio Mishima.Hardcover, 10 x 14.25 in./100 pgs ... Read more

Customer Reviews (3)

I you are an admirer of Mishima, this book is for you
This is a perfect artbook about this Japanese genius: Yukio Mishima.
Great quality paper and full page photographs.
This book is an open door into the mind of the most controversial and fascinating artist from the last century.

Another aspect of Mishima
A world apart from his words, movies, and actions, this team effort with the famed japanese photographer will surprise.The centerfold image with a sledgehammer starting straight up at the lense is chilling.Black and white photos are offset with unique use of monochormatic coloring to further shock the eye.10 years after finding this one I am willing to part with it. If you are a interested collector contact me at mmurd@hotmail.com

Long Search Rewarded
It took a long time for me to find this book (courtesy of Amazon.com) but it was definetly worth the frustration! This book of photography is a MUST for serious Mishima / Hosoe collectors and fans - it offers not only a set of beautifully taken photos but a deadly and not insignificant insight to both the photographer and his tempramental subject. Buy, beg, steal but whatever you do dont borrow it because you will be a sad man when the day of parting comes........ ... Read more

Customer Reviews (2)

EXCELENTE
ES UN EXCELENTE LIBRO, MERECE LA PENA LEERLO.. SUGESTION, AMOR, SENSUALIDAD E HISTORIA

novela inédita en occidente
Gran novela de Mishima, que navega por la teoría sicológica de un caso real de frigidez femenina en el japón de la década de los sesentas. Investigación exhaustiva en el campo del simbolismo siquiátrico. Recreaciónde personajes con veracidad y claridad. Transcripción de los hechos de unamanera real y detallada. Un trabajo excelente por parte de Mishima. ... Read more

Product Description
Introduction by Donald Keene; Translation by Ivan Morris ... Read more

Customer Reviews (33)

extremely dull
I will admit, I had to read this for class, but I couldn't have been more bored. It just follows our little monk to be in his going crazy.
But lets face it, if you are even looking at this book here, you are either really interested in this type of novel, or have to read it for school/business/other required reading

Yukio Mishima's Sanity in Question
Yukio Mishima's The Temple of the Golden Pavilion is not a particularly interesting or enjoyable read, but its themes unveil the brutality and cruelties of reality that we all must learn in life, as well as one man's quest to discover his place in the world and what he can do change that world in which he tries to survive. With 90% of the novel being the protagonist's self-evaluation and reflections on life, the novel proves slow-starting and cumbersome to readers that may seek an immediate good read instead of a Japanese history and geography lecture. As the story unfolds, so do deep themes of the obsession of power, beauty and its corruptibility, and the search for the self. Introverted and calculating, the protagonist is easily controlled by his emotions for and the influence of his two close friends who, in reality, are as different as light and dark. The novel also offers a closer look into Mishima's psychologically disturbing world, where he is able to twist and manipulate the words of religious texts into his own painfully logical, cynically dark, almost satanic interpretations of Zen Buddhist proverbs and stories. Coming from a traditional, samurai family, Mishima lived during a tumultuous time in a modernizing, Westernizing, post-World War II Japan, and the novel, in some ways, parallels Mishima's resent and resistance of Western influence, as well as his struggle to perceive any value in foreign ideas and coexist daily with all that he hates. Verbose and often circular in thought, The Temple of the Golden Pavilion is not for the faint-hearted reader, but is rewarding to the patient ones willing to suffer Mishima's insane ranting, analyze the text, and understand the method behind this Japanese author's madness.

It kept my interest
This isn't my usual type of novel, and I probably will move on to other authors.An earlier reviewer commented on the similarities to Dostojevski, and in retrospect, I agree, especially when recalling a scene involving a non-Dostojevski book entitled nevertheless, "Crime and Punishment" near the end of the novel.The novel shares some similarities with that of FD.The book is serious and well written, and will have appeal to some readers. I recently toured Tokyo and the nearby temples at Kamakura.That trip enhanced this novel very much for me.I've much to learn about Japanese culture and Buddhism; reading this novel was an enjoyable step in that direction.That said, relative to my favorite tasty Western novels, for me, this represented a kind of bland oatmeal:it was sturdy and good, but somehow lacking.Another reviewer noted the Catholic projection of the translator onto elements of Buddhism; I too found this distracting in the translation.

a very Catholic translation
Although Mishima is one of my favorite authors I am having difficulty getting through this work, largely because of the terminology the translator has used.An otherwise excellent translation is marred by an appalling lack of understanding of Buddhism.Throughout the text on finds terms such as "scripture", "priest", "parishioner", and "mass" -- as if the subject were Roman Catholicism.This kind of metaphor reflects a fundamental misunderstanding of the practice of Buddhism, which is annoying to this reader and would be misleading to others.

Just Saying No
This novel is based on a spectacular true crime. In 1950, a Zen priest, Hayashi, burned down Kinkaku, a beautiful sixteen century temple in Kyoto.The motives of the arsonist priest, like the motives of the student killers at Virginia Tech and Columbine, remain murky.Mishima turnedHayahsi into the fictional priest Mizoguchi in order to dive deeper into the thinking that would prompt such an act.His success is mixed.

Mizoguchi sees himself as ugly and transient and sees the temple as beautiful and eternal.Just as thermodynamics is about lessening the physical gradients between objects, nihilism is an attempt to degrade the psychological distance between the nihilist's inner reality and the outer world that torments him.At first Mizoguchi defines his problem as finding the proper response to beauty, as personified by the Golden Temple; later, he's tormented by his growing distance from all that beauty promises in this world.

Mizoguchi tells the story in the first person, and this challenges the author because Mizoguchi is graceless, inarticulate and resentful toward a world he can't fit into.His transactions with the Superior at the temple, his interactions with his friends Tsurukawa and Kashigawi and his intermittent, mostly impotent brushes with women are all refracted though Mizoguchi's distorted perspective.In fact, Mishima has to cheat and give this unsophisticated country boy the ability to bat around zen dialectics to explain himself and his actions.Mizoguchi's philosophical musings are the least convincing aspect of the novel.

For the novel to work, whether or not we understand Mizoguchi, we at least have to feel sorry for him.For three quarters of the story he's neither interesting enough nor likable enough nor recognizably human enough to pity.In the last two chapters, though, as Mizoguchi makes his final preparations to destroy the temple, the book rises to another level, and we can feel compassion for him, mainly because we feel his painful, irrevocable turning away from any hope of a normal human existence.

Some critics think this is Mishima's finest novel.I don't, partly because Mizoguchi's inner life is only partly believable, partly because the prose reflecting that inner life is often as clotted and plodding as Mizoguchi himself, partly because the inner lives of people who fold their arms and say no to life often aren't compelling.Although it's not an easy book to read, it's worth sticking with for the cumulative effect of the ending, and the complicated reactions Mizoguchi's final actions at the temple stir up in the reader.

Even if the results are mixed in this book, Mishima was a great novelist.For a western reader, his Sea of Fertility tetralogy is perhaps a more interesting and compelling take on Japanese society.
... Read more

Customer Reviews (16)

Amazing insights
Other have attempted to tackle to storyline of this complicate and fascinating novel. I'll only briefly add that the author manages insights (both light and very dark) into the human condition unlike any author I've read before. This is a book that must be returned to after the first (engaging) reading.

Dark but True


I am not, in general, a fan of Mishima's novels; the other two of his books which I have attempted to read I literally could not get through.But this one I read ten years, read again about five years ago, and still recall vividly today.

There are a number of reviews that tend to say things like "this is a window on a very different time and place--it shows us gay life in Japan in the 1950's".It is of course true that a great deal of information specific to its time and place may be gleaned from this novel--that is one of its pleasures--but for me the point is precisely the opposite.I find it a timeless, penetrating, astute account of gay life and gay psychology.A lot of the observations and sketches could have been lifted straight from the gay life of New York in the 1990s.It's possible that today, with the internet and the real movement away from the closet of the last ten or fifteen years, things really have changed, but I'm not sure.

This novel, like all of Mishima's work, is vitiated by the often unrelieved darkness of its view of humanity and of the world.I don't think I would read it again.But if you're the kind of reader who hates a happy ended, is terrified of hollywood sunshine, and thinks that Great Expectations would have been better had the original ending been kept, you will like this.

A tale of forbidden fruit
This is a tale of forbidden fruit.Delicate and bawdy, unapologetic, passionate, the carnal drive of a man.Interesting read, great work of art, and highly recommended.One of my favorite books.A bit dark, but darkness seems to bring life to an infinite aray of colors.

A Japanese Dorian Gray
Yukio Mishima was one of Japan's most prolific writers in the past century and is well known for his The Sound of Waves amongst other works. I've just finished reading Forbidden Colors in a translation by Alfred H. Marks.

Forbidden Colors is the story of Yuichi Minami, a young Japanese student whose beauty overpowers everyone who sees him, irrespective of their sexual leanings. Yuichi is gay and harbors a deep hatred for the strictly heterosexual culture he finds himself in. With the encouragement and guidance of Shunsuke Hinoki, a retired novelist, he marries Yasuko, a young beautiful woman Shunsuke was involved with before she met Yuichi. Yuichi's beauty allows him to carry on simultaneous (asexual) affairs with several different women while also enjoying the indulgence of practically every gay man he meets at Rudon's, an underground gay bar.

Shunsuke's relationship with Yuichi and the young man's overall personality is reminscent of Oscar Wilde's Dorian Gray, and like his victorian counterpart Yuichi is a difficult character to feel any sympathy for. Even though Yuichi feels frustrated about the constraints he finds himself in he never exhibits any tenderness or love for anyone at all. Throughout the length of the book he continues to exploit everyone around him, from Shunsuke, who believes he's using Yuichi to avenge the affronts handed over to him by younger women, to Yuichi's silently suffering wife Yasuko.

If you've enjoyed The Picture of Dorian Gray then you'll probably enjoy Forbidden Colors. I certainly did. Recommended.

"Subtle evil is more beautiful than coarse goodness, and is therefore moral."
Bitter and brilliant, Forbidden Colors is a tough book to like. Someone asked me if I enjoyed it, and I honestly cannot say that I did. It moved me. It filled me with both admiration and pity. It depressed me, and ultimately troubled me. Mishima at his best is a writer of terrible vision. Even though I might not have liked what he had to say in Forbidden Colors, I believe that it is one of his best works.

Forbidden Colors is a relentlessly bitter book. When the imperfect and intellectual collide with beauty, nobody comes off well at all. Women are shrill, easy to manipulate, and stupid. Gay men are grasping and shallow. Even the intellectual writer who starts the whole plot is pilloried for his age, perpetual failure, and incompleteness of hisvision. Only the beautiful emerge relatively unscathed, their shortcomings in other areas obviously unimportant put next to their aesthetic value. It is an unhappy and unkind view of the world. It becomes an unpleasant experience to read since Mishima is such a skilled writer that by the end you suspect that this perspective may be right after all. And which of us can lay claim to the beauty of Yuichi?

This is not an uplifting novel. I gave it five stars despite myself. I admired it tremendously, but when I was done I still almost wished that I had not read it. Recommended for people interested in Mishima, the Japanese modern novel, and representations of gender and sexuality in modern literature. Although sex is at the center of the book, it is not explicit or graphic. Many of the ideas are similar to those in Mishima's essay book Sun and Steel, but Forbidden Colors has the advantage of being much more readable than the non-fiction. ... Read more

Customer Reviews (13)

Interesting but messy
When the idea of reincarnation first appeared on Runaway Horses, i thought it beautiful and craftily weaved into the storyline. However the notion that there is still another reincarnation in the form of a Thai princess, and that the aging Honda have fallen desperately in love with this avatar, appeared to me as ludicrous. It is like expecting the creatures in Alien vs Predator to have a change of heart at the end of the movie and join forces, comical more than moving!

I found the plot disjointed and enmeshed in too many sidestories that seemed to go nowhere. For instance, the first quarter of the book is spent on developing Eastern philosophical concepts that you reckon to bear some weight on the fate of the characters, to find out that the driving force behind all this expectation is just a mundane "crush". Moreover, some of these characters have a purely ornamental quality in this book for if you erase Imanishi and Mrs. Tsubakihara from the text, essentially you have the same story.

According to John Nathan's Bio, Mishima had a bussy schedule at the end of his life, his many compromises had him runnning around all day, to finally collapse at his desk at night to finish up the tetralogy. It is evident in this book that the lack of editing is directly related to this lack of time. Maybe in another reincarnation, under a different pen name and more time, Mishima will deliver a true Japanese Classic.

Review of Temple of Dawn
The story is of a middle-aged Japanese lawyer who goes to Bangkok on business and becomes obsessed with Ying Chan, a young Thai princess. The places he visited are well known to me -- Temple of the Dawn, or Wat arun, the palace at Bang Pa In and later Tokyo, Hakone near Mt. Fuji. I don't understand why the princess does not have a Thai name, There is no hint in the book that the authur, Mishima, will commit seppuku at age 45. Tis is a bit like the suicide of the author of Raintree County, WHICH HELPED MAKE HIS BOOK A BEST-SELLER. tHE OBSESSION OF AN OLDER MAN WITH A YOUNG WOMAN is reminiscent of Humbert's obsession with Lolita in Nabakov;s novel.

The Temple of Dawn
Japan. 1941. Japanese society is divided, or at least complex. Still with parts of its body and soul in the ancient tradition of the East, yet with ever increasing impulses towards the "Western culture" (In the insemitically correct reality, we of the "West" have infinitely more in common with the traditional culture of the East than we do the current world-wide Weimar Republic, but oh well). Mishima, the author, was more or less a Japanese representative of the "conservative revolution", and was quite well-read in both Eastern and Western literature. His life reminds me in many ways of Corneliu Codreanu and Julius Evola. His well-known dramatic ritual suicide as a protest against the betrayal of Tradition in Japan, and the Japanese submission to American rule, followed him and his radical "Right-wing" organization's (The Shield Society) failure to arouse the Japanese Defence Force into rebelling.

The story of this third book in the brilliant tetralogy known as "The Sea of Fertility" takes place mainly in two periods; the first in Thailand and India in 1941, and the second in the immediate post-war years in Japan itself. In the first part war is quickly approaching, while Honda the old lawyer from the previous books discovers his slumbering religious beliefs while on an assignment in Siam and India. Through his job he meets a Thai princess; Ying Chan, whom he suspects is the third reincarnation of Isao and Kiyoaki from the previous two books in the tetralogy. Honda is through the pressure of the oncoming war forced to leave the princess and the Asian mainland behind for the benefit of Japan. This part will be the toughest part for most people, due to Mishimas rather extensive delving in the theme of reincarnation and religion in general. It will put off many readers without a background in comparative religion, but should be understandable by most people with a little effort.

The book then fast forwards to the post-war years in occupied Japan, the Emperor has lost his power due to the American occupation and the glory of Imperial Japan has faded in favour of a Westernized Japan that is quickly loosing touch with its ancient Tradition. Honda, now in his late 50's is a rich man through a sheer luck of fate, and eventually meets the now grown princess from Siam that studies in Japan. He falls in love with her, yet is unable to act on his love due to his belief that "she" is Isao reborn. Through various means Honda tries to certify if Chan is indeed his deceased friend or not, and that is mainly what the latter part of the book centres on. The nostalgic tone of the previous books is gone now, which is understandable considering that the Imperial glory quickly faded due to the great "wealth" that the US brought to post-war Japan.

For me so far the weakest book in the tetralogy, but by all means a good and rich book which fills out the tetralogy nicely. 4 stars and recommended for those that have read the previous books only.

A weaker link in Mishima's tetralogy
This was, for me, the weakest of the three Sea of Fertility novels I have read.One problem has been commented on by almost every reviewer: the theme of the overall work is reincarnation.But traditional Buddhist philosophy regard the soul, and even the self, as illusions.If this is so, then what is it that is reincarnated?A long and complex essay on this takes up far too much of the novel and probably could be understood only by a reader with extensive previous knowledge of Buddhist philosophy.

A more subtle problem is that this book seems to lack the compassion of the earlier volumes.Part of this is the treatment of Honda himself, and perhaps a natural reflection of the fact that Honda, in the timeline of the overall work, is becoming an old man, combined with Mishima's own horror of old age that influenced his suicide a few years after this book was written.Certainly the contrast between the fading age of Honda and this novel's reincarnation of Kiyoaki, a beautiful young Thai princess, is made frequently and rather heavy-handedly.But in other cases Misihima's cruelty seens clearly gratuitous, particularly the case of a pseudo-intellectual and a would-be poetess who are brought in as characters almost solely so that Mishima can mock them before killing them off.This whole subplot struck me as entirely unworthy of Mishima.

Mishima was a genius, though, and there is much in this book that is impressive, fully equal to the brilliance of the two prequels.The dramatic ending has been justly praised by other reviewers.The recent history of Japan is a major focus of the tetralogy, and the descriptions in this story of Tokyo in ruins during and just after the war are harrowing.And the portrayal of Honda's marriage with Rie, two people who have spent their lives together and are growing old together, tied to each other by familiarity and social custom, yet never really united by love, is poignant and remarkable.

Moving, shocking, thought-provoking, and superbly elegantly constructed, the height of the "Sea" so far
In THE TEMPLE OF DAWN, the third book of Yukio Mishima's "Sea of Fertility" tetralogy, we find Shikeguni Honda on business in Thailand. Six years after the death of Isao Iinuma, the former judge is now a successful lawyer, but his interest in practising law is shaken when he meets Ying Chan, a Thai princess who is the second reincarnation of Kiyoaki Matsugae. THE TEMPLE OF DAWN differs greatly from the first two books of the tetralogy. While SPRING SNOW and RUNAWAY HORSES focus mainly on their tragic young men done in by fatal youthful flaws, love and idealism respectively, Honda is the central figure of this volume. All events are filtered through his eyes, and what little we learn about Ying Chan comes from his desperate musings. In its chronology this third volume also differs, for while the first two volumes take place within a span of a couple of years, THE TEMPLE OF DAWN leaps from 1939 through the war years to 1952, and ends with a shocking revelation in 1967.

Honda has changed a lot since we last met him. Right off the bat Mishima tells us that the death of Isao turned Honda from a idealistic man of reason to a nihilist, and nihilism is finally revealed as the big theme of the cycle. Honda continues to change as he grows older in this volume, and this process of growing old, of questioning earlier assumptions, and of searching for some answer to life's mysteries makes for a fascinating plot. Readers will be shocked by the behavior of the protagonist, his wife, and their social circle. This is a novel where every nearly every page punches the reader in the cut, and Mishima appears as much a master of apparently casual revelations as Gene Wolfe. He is also a master of the love story, for love affairs in this book, twisted though they be, come out as much more realistic than Kiyoaki's doomed affection for Satoko.

But beyond the individual personages of the book and their foibles, Mishima wants the reader to consider universal principles of philosophy. Honda spends the war years in a haze, reading through the Buddhist canon and trying to figure it all out as his country is battered around him. While one can enjoy THE TEMPLE OF DAWN without too closely paying attention to ideas of samsara and the self, the novel richly rewards repeat reading. And finally, the book stands out for its amazing ending. I won't give it away, but I will say that Mishima brilliantly alludes to his earlier writings, reinforces his thoughts on "cosmic nihilism", and even pays a tribute to his mentor Yasunari Kawabata.

All in all, this is the finest book of "The Sea of Fertility" that I have read so far, and I really can't recommend it enough. Pick up SPRING SNOW if you haven't yet, and other readers can continue on through this one without fear. ... Read more

Product Description
One of the most powerful short stories ever written: Yukio Mishima’s masterpiece about the erotics of patriotism and honor, love and suicide.By now, Yukio Mishima’s (1925-1970) dramatic demise through an act of seppuku after an inflammatory public speech has become the stuff of literary legend. With Patriotism, Mishima was able to give his heartwrenching patriotic idealism an immortal vessel.  A lieutenant in the Japanese army comes home to his wife and informs her that his closest friends have become mutineers. He and his beautiful loyal wife decide to end their lives together. In unwavering detail Mishima describes Shinji and Reiko making love for the last time and the couple’s seppuku that follows. ... Read more

Customer Reviews (15)

riddled with typos!
The new 2010 "Pearls" edition of Patriotism is so full of typos I wanted to cut my own stomach out. There's no excuse for these mistakes. It took me no more than 40 minutes to read the entire story and it's a shame New Directions couldn't take the time to do so before they sent this thing to press. For example: a sentence that is supposed to read "her socks were no longer sticky with blood" says "her sucks were no longer sticky with blood." Completely appalling stuff--I'll be skipping all the "Pearls" from here on out.

Book Order
Great service. Condition of book was stellar and it was delivered in a very timely manner.

The QuintessentialMishima
"Patriotism" is a deceptively short work, which captures the full impact of Yukio Mishima's life's work in some 50-odd pages. It is as simple and brutally effective as an ice-pick, sharp and beautiful as a wakazashi.
Set during the Feb. 1936 coup attempt in Tokyo, a newly married military officer, left out of the uprising by his compatriots, makes passionate love to his bride, following which they both commit seppuku in perhaps the most graphically detailed description in literature. It is a shocking and inevitable work, written foreshadowing Mishima's own violent end.
I highly recommend this book, for while it may offend the unprepared, it's beauty of language, concise and vivid imagery, as well as it's historical significance, make it essential reading for anyone who loves fine literature. It epitomizes Mishima's dual passions for elegant beauty and bloody death.

A poor work, but perfectly summarizes Mishima life and art
PATRIOTISM is a 1966 novella by Japanese writer Yukio Mishima. Written after his embrace of traditional Japanese social values and four years before his own death by seppuku after a failed coup d'etat, the work concerns a soldier and his wife during a 1936 incident in which some imperial troops mutinied against the emperor. The soldier is dismayed to see his colleagues rise up against the forces of the emperor, and resolves that he and his wife shall kill themselves through seppuku in order to display their ultimate loyalty.

The work is essentially an erotic tale in which the last evening of the soldier and his wife is portrayed as a sexual ecstasy, and as the couple moves towards their fate they are repeatedly praised for their loyalty and dedication as if it were an erotic voluptuousness. "The last moments of this heroic and dedicated couple were enough to make the gods themselves weep," we are told. The death of the soldier moves slowly and meticulously over ten whole pages, with every detail of his gory end lovingly told. Once he is gone, his wife follows, but as Mishima's sexual interests were mainly towards those of his own gender, he finds it difficult to highlight any eroticism of her end, and it is briefly told.

Mishima considered PATRIOTISM his favourite story. Some time after he wrote it, he even organized a movie production in which he played the soldier, shocking European audiences with appallingly realistic gore. His widow considered this whole portrayal a sort of fantasy of his own upcoming death in 1970--she was most probably right--and burned the negative. One can see that PATRIOTISM is a work very linked to the core of Mishima's being.

My feelings about this novella are somewhat divided. On one hand, though a glimpse of a social order that differently considers sex and death might make it as alluring as a Greek tragedy, PATRIOTISM is a work as ignoble as pornography generally is. It certain doesn't compare to Mishima's other books, such as his masterpiece tetralogy "The Sea of Fertility". On the other hand, no other work so encapsulates everything Mishima was, his obsession with sadomasochism, his desire to uphold Japanese culture against modern and Western influences, and an ultimate sort of nihilism.

If you want to know something about Yukio Mishima's life and work but do not have the motivation to make it through all four volumes of the superb "The Sea of Fertility", PATRIOTISM might be for you. I, however, would think the reader would be more content if he picked up SPRING SNOW and settled for a long and exciting journey.

Will spark debate
"Patriotism" is Mishima stripped to the core: a simple tale of the sacrifice of a young couple, willingly and eagerly giving their lives for the emperor.Written by most anyone but Mishima this would be portrayed as a story of regret and tragedy, but in the hands of Mishima, the couple is described in tones extolling their beauty and virtue; death explained in words that evoke images of heat and passion.Mishima does not sugarcoat the experience; he lays it bare for the reader.My personal feelings regarding the content of this short story are at odds with those of Mishima, but I cannot deny the power and skill of "Patriotism".This is the type of book that should be read and discussed, a story that loses no power despite the time that has elapsed since it was written nearly forty years ago.

An interesting note regarding the title: although the original title (Yukoku) is usually translated as "patriotism" in English, the word carries different overtones than the English word "patriotism" or the more common Japanese word "aikoku" or "aikokushin".Yukoku translates more accurately as worry or anxiety over the present state or future of one's country.It is also a homophone for another word that means "evening".When reading this tale, remember these details as well as the fact that Mishima wrote this tale not during the heat and fury of wartime Japan, but twenty years after World War II ended, and this story will take on new nuances.

Patriotism is an intense study in nationalism, wartime-Japan style, as well as a window onto the soul of the enigmatic Mishima. ... Read more

Product Description
Finally back in print: The definitive biography of the legendary Japanese writer-legendary as much for his tumultuous life and macabre suicide as for his Nobel-nominated writings

At forty-five, Yukio Mishima was the outstanding Japanese writer of his generation, celebrated both at home and abroad for The Sailor Who Fell from Grace with the Sea. In 1970 he startled the world by stepping out onto a balcony in Tokyo before an assembly of troops and plunging a sword into his abdomen; a disciple then beheaded him, completing the ritual of hara-kiri. John Nathan's riveting biography traces the life of this tortured, nearly superhuman personality. Mishima survived a grotesque childhood, and subsequently his sadomasochistic impulses became manifest-as did an increasing obsession with death as the supreme beauty. Nathan, who knew Mishima profession-ally and personally, interviewed family, colleagues, and friends to unmask the various-often seemingly contradictory-personae of the genius who felt called by "a glittering destiny no ordinary man would be permitted." ... Read more

Customer Reviews (10)

Comprehensive and detailed account of Mishima's life and death

I have read the Stokes bio and personally I believe this is the better biography to date. I don't believe this bio to be tawdry at all. Nathan takes the reader on a fascinating trip into the live of the personal and somewhat bizarre world of Mishima, without being tawdry. A must!

not comprehensive, but better than scott-stokes
youve got to read both bios for a full picture, though both books obviously had to be written through the filter of a foreigner. nathan was given the ok by mishima's wife, and has a much better list of anecdotes with mishima than scott-stokes. most interesting is the depiction of a trait id read bob dylan also had: mishima was known for entering a literary or artistic scene, rising up as the darling of that movement, then cutting everyone off, publicly deriding that movement and moving onto another one. there are also examples of mishima's homosexuality, which scott-stokes leaves entirely to conjecture.

theres a greater focus on mishima's youth than scott-stokes, but the most questionable issue is the inconsistency between the two books' presentation of mishima's suicide. scott-stokes gives the gritty of it, and the mistakes, while nathan gives an idealised, historicised version. like i said, nathan's is the better written biography (he translated the sailor who fell from grace with the sea, then broke with mishima when he changed camps to translate future nobel laureate kenzaburo oe's a personal matter, instead of silk and insight), but even after reading both bios, well, someone still needs to learn japanese and write a new one, along with translating kyoko's house. it was also a pretty fast read. it was good enough, held my attention.

No respect for the dead
It's sad how John Nathan, who was trusted by Mishima sensei, wrote this biography mostly based on Mishima's sexual tendencies, and aimed to make money from the scandal, like a cheap paparazzo. Maybe that's what the mainstream, vulgar reader wants to learn about. But Mishima's life and work is far from that. His work is a struggle on the paradox between the spirit and the body. That's the main subject of his work. Nathan never mentioned this, he never understood Mishima.Nathan just made money and gained recognition from translating Mishima's "The Sailor who fell...." Then Mishima, before his death, asked Nathan once more to translate another one of his books. Nathan agreed and Mishima trusted him. But thenNathan was offered another easier translation (Kenzaburo Oe's) and better money, so he said no to Mishima at the very last moment. After Mishima's death, John Nathan saw that he could make good money by writing a scandalous bio, selling some private information he had about Mishima. Why was Nathan so interested in writing about that? (making clear and insisting that he is not sexually ambiguous himself, makes me doubt about his sincerity) Is this the work of an honorable man? I can't see your moral health, Mr. Nathan, you'll have to explain this to Yamaraja.....for the reader interested in Mishima: I recommend to read Henry Scott Stoke's biography of Mishima. He was accurate and honorable in his work, and he was Mishima's real friend.

Hiding in Plain View

While Mishima's suicide took those who knew him by surprise (or so it is said), who could not read "Thieves" or "Patriotism" without noting the author's fascination with suicide?In this book John Nathan reviews his life and work and in doing so shows how clearly Mishima's writings show his intent.

Nathan takes the reader through Mishima's oppressed childhood, his life during and following the war, his marriage and eventually the workouts, gravitation to the right wing and his personal army of young men. As you read this book, you draw the conclusion that Mishima's life was his own work of art, building to his ultimate suicide.His political ideas are so disjointed they appear to be his attempt to find a rationale for his final act, which he had decided upon long ago.

Nathan had been on the cold end of Mishima's practice of freezing out those who crossed his lines, deserved or not.In Nathan's case this was translating a novel (which eventually won a Nobel Prize) for another Japanese author at the time he had a verbal commitment to translate a novel of Mishima's. Nathan left Japan for the US without an attempt to reconcile. After Mishima's death, Nathan returned to Japan under contract to write this biography. Mishima's friends and family did not freeze him out, quite the contrary, they cooperated.

I held back a star because I don't think Nathan put all his resources into this.While having known his subject, he doesn't use this insight much, relying instead on Mishima's writings and interviews with others.Also, while he explained some of the changing dynamics of Japanese society I don't think he fully used his nearly unique capacity to interpret in Japan for western audiences.

A relatively satisfying biography with some gaps
John Nathan's MISHIMA: A BIOGRAPHY was the first biography in English of the Japanese novelist, whose 1970 death by seppuku after a failed coup d'etat is just as much a part of his legacy as his works.

In an introduction Nathan briefly summarizes the circumstances of Mishima's death and lists the numerous people interviewed, and then he begins with a history of Mishima's family. From the very start Nathan tries his hand at psychological analysis, feeling that the center of Mishima's being was masochism, and his entire life right up to his suicide itself was a search for pain. Consistent with the early 70's date of Nathan biography is the perspective that Mishima's homosexuality was an expression of mental illness.

Nathan knew Mishima well as a graduate student in Tokyo in the early-to-mid 1960's, and was entrusted by the writer with translating two of his works. There is a lot of rich information from this period. However, Mishima broke contact with Nathan after he refused to translate the second work given to him. From this point, when Mishima became increasingly political, essentially a different person, and Nathan could no longer rely on reminisces of the simple writer he knew, the details become sparser and sparser. Another biography in English, THE LIFE AND DEATH OF YUKIO MISHIMA, by Henry Scott-Stokes offers a better, first-hand perspective on Mishima's final years.

There is a wealth of information about Yukio's early books, and it can be depressing for the English reader to hear about so many novels and plays which will probably never be translated out of Japanese. A grievous omission, however, is that of The Sea of Fertility. Mishima's masterpiece, and to a certain extent a literary manifesto of the ideas that lead to his coup, this tetrology deserved greater attention and analysis.

A curious matter about the life and death of Yukio Mishima is that the more one learns, the more questions one has. And nothing suffices to explain the way he chose to end his life. Nonetheless, John Nathan tries his best in MISHIMA: A BIOGRAPHY, and I would recommend it to fans of Mishima's work. ... Read more

Product Description
Though best known for his novels, Yukio Mishima published more than sixty plays, almost all of which were produced during his lifetime. Among them are kabuki plays and others inspired by No dramas -two types used in classical Japanese theater. Of play-writing Mishima once observed, "I started writing dramas just as water flows toward a lower place. In me, the topography of dramas seems to be situated far below that of novels. It seems to be in a place which is more instinctive, closer to child's play." For English readers, these plays have been one of Japan's best-kept secrets -until now.In this anthology, Hiroaki Sato translates the brilliance and richness of Yukio Mishima's writing into the English language. He has selected five major plays and three essays on dramaturgy, providing informative introductions to guide the reader. Sato's translations offer a broad historical and personal context in which those new to Mishima's work can place his writing. For those more familiar with Mishima, these translations offer another medium in which one can access his ingenious work. ... Read more

Customer Reviews (2)

lackluster
in pretty much each preface to each play and essay, translator sato openly comments on some linguistic flourish in the original he doubts can be reproduced in english. his attitude is mainly one of, "well, here goes nothing." you are forced to take this book as a purely academic venture, an historical document, as opposed to any kind of endeavour worthy of the originals. this is bearable until the last two pieces, where the gist that still comes through is so powerful, so sublime, that the limitations of the translation become all the more irritating.

they're literal translations, so the aesthetic flavour is diluted, sentances run on forever and sound jilted when spoken aloud. these are not performable plays, however compelling their subjects are. at least theres some vestige of mishima's 60-odd plays in english, and i appreciate that. they are however mostly from the last 3 years of his life. sato also translated the book silk and insight, which i am afraid i have now lost interest in reading.

donald keene's trans of five modern noh plays, that's a quality piece. now ive got to head down to robarts library at university of toronto to look at his trans of madame de sade, which is regretably far harder to find, and far more expensive, than this book, having been published once in the late 60s.

Hide the women and children
Imagine the final play in this book coming after a summary of the original tale in which an ancient imperial family has surpassed Freud in arranging family relationships:

"Sutoku (1119-64)--officially the first son of Retired Emperor Toba (1103-56) but actually a son of Toba's father, Retired Emperor Shirakawa (1053-1129) because Shirakawa made Shoshi pregnant after he married her to his son--was installed as emperor when he was four, but was tricked into retirement by Toba in 1141, before ever having a chance to exercise real imperial power.His actual father, Shirakawa, had started the insei, a political arrangement in which the retired monarch wielded far greater power than the ruling one. . . ."(p. 242).

There are a few footnotes in the play `My Friend Hitler' which remind the reader that the translator is trying to capture the style of German political thought that has been staged in Japan.The footnote on page 133 actually begins with "Here, apparently with tongue in cheek, Mishima commits an improbable cross-cultural anachronism.What Hitler refers to . . ."I find it more ironic when Hitler is perplexed that his secret police are acting like secret police:

HITLER:No, you had your own problems.What can you say about the disgusting things the SA did during the last two years?No wonder the Reichswehr was put off.You made hideouts in basements and warehouses; you tortured, kidnapped, demanded ransoms--I've even heard the story that in some districts troopers took their rivals in love affairs into basements, tied them up on the wall, and cut them up.
ROEHM:That lasted only a while.It's just that the young men wanted to mimic what secret police do.I've kept them in check and there's been nothing like that since.(pp. 128-129).

How likely is it that Hitler ever complained to a government official that "your men swagger about so obnoxiously that serious-minded citizens are completely put off, and as soon as they spot one of your men in the distance, they quickly hide their daughters." ?(p. 129).

There are only four characters in the play `My Friend Hitler,' but it helps to have some knowledge of Goering and the rest of the upper echelon of the political hierarchy, including Defense Minister General von Blomberg, one that I do not recall myself, who are rivals of the main characters, half of whom will be liquidated by the final scene at midnight, June 30, 1934.Another thing I didn't know was about Hitler's "law I passed last February after you joined my cabinet, which would give storm troopers wounded during political campaigns the same pensions as soldiers wounded during the war"(p. 129).Things must have been pretty bad for the army to be begging to get into the fight to restore order, but that is what Hitler called "the Prussian National Army's tradition beginning to roar at last."(p. 130).

Surely the main point of "My Friend Hitler" is that being an old friend of young Adolf and a mouse that eats cheese left in a boot is not a perfect defense against imperfect legal proceedings, if you catch my drift.

This book contains a Preface by Hiroaki Sato, five plays by Yukio Mishima, short Backstage Essays on the first production of his play `The Rokumeikan,' including "The Psychology of a Walk-On Role on the Stage" (pp. 60-62) about playing a carpenter who keeps his back to the audience for three or four minutes, during which the play seems "like an invisible monster that moves blindly in a certain direction while sucking them into the maelstrom it has created," (p. 61).There is a transcript of a speech Mishima gave to Kabuki trainees on July 3, 1970 with many footnotes added by Hiroaki Sato on pages 219-239, the explanation of the play on pages 241-245, and finally, "A Wonder Tale:The Moonbow, The Original Tale by Kyokutei Bakin" on pages 246-307.There is no index.The emphasis is on drama rather than history. ... Read more