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Available again, a newly translated collection of twenty-three stories from one of the most influential figures in modern Japanese literature. "He employs devices from those long poetic traditions in order to create in modern prose his remarkable effects: juxtaposition of image upon image to open up the depths of feeling lurking behind placid surface reality." Washington Post"We owe Martin Holman this insight, for in rendering these important early writings into English, it is he who has shown us that the author in his youth was already the mature Yasunari Kawabata."Japan TimesYasunari Kawabata is widely known for his innovative short stories, some called "palm-of-the-hand" stories short enough to fit into ones palm. This collection reflects Kawabata's keen perception, deceptive simplicity, and the deep melancholy that characterizes much of his work. The stories were written between 1923 and 1929, and many feature autobiographical events and themes that reflect the painful losses he experienced early in his life.
- Sales Rank: #793150 in Books
- Brand: Brand: Counterpoint
- Published on: 1998-08-29
- Original language: Japanese
- Number of items: 1
- Dimensions: 8.00" h x .41" w x 5.00" l, .40 pounds
- Binding: Paperback
- 176 pages
- Used Book in Good Condition
From Library Journal
Included in this selection of short stories are two of the author's more successful pieces. Both were first published in Japan, in 1925. The title story is about a university student's travels though Tokyo. During his trip, he meets a group of traveling entertainers and falls in love with a dancing girl. Later, he discovers that she is a child, which alters his feelings for her. "The Diary of My Sixteenth Year" details the painful relationship between a boy and his dying grandfather. An overwhelming sense of sadness and isolation permeates both these stories; at the end of each, the main character feels completely alone and unloved. The remaining stories are characterized by melancholy. The Japanese social and family relationships depicted are often vague and difficult for Westerners to understand, and much is lost in translation. For larger collections?Janis Williams, Shaker Heights P.L., Ohio
Copyright 1997 Reed Business Information, Inc.
Review
"Kawabata lusted for purity; his characters live the contradiction." -- Boston Globe
Language Notes
Text: English (translation)
Original Language: Japanese
Most helpful customer reviews
6 of 6 people found the following review helpful.
Exquisite
By Mostly Mozart
When Yasunari Kawabata won the Nobel Prize for Literature in 1968, the three works cited were his novels Thousand Cranes, The Old Capital, and Snow Country. His story "The Dancing Girl of Izu" is, in my opinion, the equal of any of his novels. Kawabata published the story in 1926, when he was twenty-six or twenty-seven years old, and there are autobiographical elements in it.
The story itself is superb, a coming of age story every bit as great as Salinger's The Catcher in the Rye, although it couldn't be more different in tone. The rest of the book consists of other stories written between 1923 and 1929, and "Diary of My Sixteenth Year", an account of the time when Kawabata was caring for his dying grandfather, who had taken him in when Kawabata's parents died when he was three. "Diary of My Sixteenth Year" is of primarily historical interest. The remaining twenty-one stories, all of them quite short, are quite good, as well.
I know no Japanese, so I cannot comment on the accuracy of J. Martin Holman's translation, but I can definitely say that he and Kawabata have together produced a work of great literature here.
6 of 6 people found the following review helpful.
A lonely view of love
By therosen
This is an interesting mix of Yasunari Kawabata's early work, well before he was Japan's literary superstar, and well before the works that would ultimately win him the Nobel prize. The title story (I can't say titular, can I?) is of a college student's crush on the youngest member of a dancing troup. Most likely autobiographical, it leaves the reader sharing Kawabata's youthful loneliness. The second larger short story (there's no better way to describe it) is Diary of My Sixteenth Year, which covers the disappating love of a youth and his dying grandfather.
The remaining stories are much shorter, ranging from 3 to 10 pages each. Birthplace is an interesting story of abandonment and leaving one's home behind. Burning the Pine Boughs is as much about reading between the lines as reading what's on the page. Oil is a deep work of overcoming childhood loss.
Three common themes permeate these stories. First is the idea of an imperfect, sour or unatainable love. Second is the idea that at least somehow many of them are autobiographical. Third is that much is left unsaid in the stories. In a sense they are a prose form of Zen art, where what is unsaid can be more important than what is put to paper. Despite being distinct, one can read inferences between the stories (the hands for prayer in both Master of Funerals and Hands, for example) and perhaps that is enough to tie them all together.
Although Snow Country is commonly referred to as Kawabata's greatest accomplishment, these stories were more accessible and emotionally powerful.
12 of 13 people found the following review helpful.
Innocence and love, age and death, riddles with no meaning
By Zack Davisson
"The Dancing Girl of Izu and Other Stories" is an odd collection of sorts, mixing an elegant, straight-forward short story together with some autobiography and a fluttering of palm-of-the-hand tales. Each element contributes a unique flavor, and a different facet of Kawabata's style.
J. Martin Holman proves himself again a master translator of Kawabata, retaining the flow and most importantly the feeling of the originals, far more than other translators I have read. The only flaw I found was that he splits the book into two sections, which I personally found a bit jarring. I think it more naturally flows into three distinct chapters.
"The Dancing Girl of Izu" is as fine a short story as you are likely to read anywhere. Every necessary element is contained, with no superfluous decoration. It is heartbreaking in its subtlety, and masterful in its craft. Everything important is unsaid. Kawabata can manipulate emotions so deeply using so little, leaving the reader with an aching emptiness as great as that of the narrator. Beautiful, and fully worth the cost of the collection alone.
"Diary of my Sixteenth Year," "Oil," "The Master of Funerals" and "Gathering Ashes" are four short autobiographical sketches of Kawabata's relationship with his only relative, a blind grandfather who would figure into several tales. Not factual per se, but true impressions. They present an intimate portrait of youth trying to understand the aged, of responsibility and resentment of responsibility, and of the numbness of death. The stories are presented as recovered diary accounts Kawabata wrote when he was 16, and they may be so. I believe the feelings, and that is enough.
The third section contains the 18 remaining unpublished palm-of-the-hand stories, Kawabata's personal trademark and contribution to literature. A page or three at the most, each story functions like a Zen koan, a story or riddle with no obvious meaning used as a contemplation tool by meditating monks to clear their minds and make them go hmmm...as they try to decipher. Koans have been called "extremely brief vignettes enabling the individual to hold entire universes of thought in mind all at once," and I think this sums it up nicely. Do not attempt to decipher these palm-of-the-hand stories, but instead read them and feel them and go hmm...
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