Showing posts with label Japan. Show all posts
Showing posts with label Japan. Show all posts

Wednesday, October 10, 2012

A hundred battles, a hundred losses

This month I begin with Ch'ae Man-Shik's short story "A Ready-Made Life" translated by Kim Chong-un and Bruce Fulton. It was first published in 1934 in the journal Shindonga. As for the writer, he is a novelist, an essayist, and a critic, often considered a satirist. His works are widely known.

As for the short story itself, I came across it as a follower of ktlit.com. A website dedicated to the translation and dissemination of Korean literature.

The story itself immediately opens with an interview. P is an unemployed, educated man being interviewed and denied by K. The context of the drama is within the early 20th century, the dawn of modernization, after the rise of intellectuals and a propagation of education, post-Japanese Imperial Period, during the evident domination of Japan over Korea. Now, from the rejection given to P proceeds a dejected summation of his living situation, the harsh condition in which he is forced to live, eating sparingly, not being able to pay his room rent, leading a meagerly existence, etc. I add that the description and the existential manner in which the character recounts his surroundings and his life has a touch of Dostoyevsky. P is also a divorced man with a son. Although his son does not live with him at the opening of the story, it is made clear that due to his family's inability to continue to care for him, they will be sending P's son over to him in Seoul. Yet they do not know that P is hardly able to support himself as he has not found a job.
Japanese woodblock print, The First Sino-Japanese War. Japan in Korea.
Source: http://www.japanfocus.org/-Wada-Haruki/2934
In the trajectory of the story there are very few characters presented, the two introduced after P, are also unemployed and hopeless, friends of the protagonist. Both have likewise been educated and are intellectual men. The dejection of all the characters is poignantly felt. And the irony is that being educated and an intellectual is a void endeavor leading to unemployment. The stark line between the country as a passing farming nation, and moving unto becoming modernized is evident. The job market is saturated, yet those that have been educated cannot make themselves nor even know how to go about retroceding and forming part of the farming population. The educated intellectuals are displaced.
"Ready-made commodities turned shopworn."
The story can be divided in two seamless parts, the first if the already described rejection during the interview and the description of P's existence, then, P's confrontation with a prostitute.

Drunk and in a bar, P and both of his friends go to a brothel. There P is thrown, by his two friends, towards a young prostitute. He panics and runs out when she is willing to sell her integrity, her sex, for a beggarly price. This leads to a digression on the worth of integrity, in which P spends a considerable time debating.

The story ends in an ambiguous manner. It is clear P does not want his son to be educated and fall into the same trap he himself fell and therefor, what becomes of P as he takes in his son is left open-ended.

Why do I recommend this short story by Ch'ae Man-Shik? Because the themes, albeit during a time that has passed, are still relevant today. The tone of P's hopelessness, the use of education during unstable economic times, the value of a person's integrity in regards to money, are all still current. How much is integrity and virtue worth?
"You can't put your heart into work if your stomach is empty." 
The story itself can be found here, in PDF form. It is well worth a read. 

Thursday, May 31, 2012

The last Haiku

Well, it's official, summer is here. The days are blazing and the nights are sweltering, and I find myself in front of a fan or any A/C unit in proximity. To finish off the month of May, which happened to whiz by me, I will end with a few last Haiku to carry us all into June. The first one paints an image relating to the night, I begin with this one hoping that the blanket of the night sky will cool the heat of the day.

A lovely thing to see:
Utsukushi ya
through the paper window's holes
shoji no ana no
the Galaxy.
ama-no-gawa.


Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/
page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html


A morning-glory  vine
Asagao no
in its full bloom, has thatched
Hana de fuitaru
this hut of mine. 
iori kana.


–Kobayashi Issa (1763-1828)


And I end with a farewell to spring.


"Marvelous!" I say,
Mezurashi to
and with each single thing I see
miru mono goto ni
springtime fades away. 
haru ya yuku.


–Takai Kito (1741-1789)





Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/
page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html
*From the Anthology of Japanese Literature compiled and edited by Donald Keene.

Thursday, May 24, 2012

Haiku: Tokugawa Period

Ooooh how the sun is shinning in these parts. It is oh so very hot. The rains that were pouring these passed weeks are nowhere to be seen. It's about that time to dust away the bathing suit, throw it on, and head to the beach for some cooling down. With that, here is a Haiku to versify the day.


Come to me– with each other
Ware to kite
let's play– little sparrow
asobe yo oya no
without any mother.
nai suzume.

–Kobayashi Issa (1763-1828)
Trans. by Harold G. Henderson




Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html
Now I hope the rest of you out there have a sunny and lovely day wherever you are.






Source:
http://nevsepic.com.ua/art-i-risovanaya-grafika/page,2,1143-raboty-ot-hirosige-utagavy-171-rabot.html


*From the Anthology of Japanese Literature compiled and edited by Donald Keene.

Monday, May 21, 2012

Haiku: Tokugawa Period

The summer is speeding up in its arrival and I'm finding myself with more free time than usual. To get back on track in sharing more Haiku, here are two more.

If the times were good,                                      Yo ga yokuba
I'd say, "Sit down!–one more of you!"              mo hitotsu tomare
flies around my food.                                         meshi no hae.


I found this one oddly cute, even though it's about flies circling in on the food that is being eaten.
This last one is also about insects, but it is less unappealing.


In its eye                                                           Toyama no  
the far-off hills are mirrored–                            medama ni utsuru
dragonfly!                                                         tombo kana.




Scrolls of The Tale of Genji, Bamboo River. Source:
http://dailylife-tokyo.blogspot.com/2009_11_01_archive.html
*From the Anthology of Japanese Literature compiled and edited by Donald Keene.

Saturday, May 12, 2012

Haiku: Late Tokugawa Period

The rains have abated here in this island. I am currently writing this post with the night enveloping me, that being so I will start off with Haiku that captures the night.


 Night that ends so soon:                          Mijika yo ya
 in the shallows still remains                     asase ni nokoru
 one sliver of the moon.                            tsuki ippen.
 –Yosa Buson (1716-1784)



Traditional Edo Period scene. Woodcut. Source:
http://www.imagekind.com/Edo-Period-Japanese-Scene-art?IMID=69a960f6-10cd-46a6-9351-8d9f3e57382b



 The grove in spring:                                   Haru no mori
 the birds that catch the birds– they too        tori toru tori mo
 are slumbering.                                           neburi kana.
 –Takakuwa Ranko (1726-1798)



And now to end with a different theme.


Get out of my road                                  Soko noite
and allow me to plant these                     take uesase yo
bamboos, Mr. Toad.                                hikigaeru.
–Miura Chora (1729-1780)


Plum Blossoms in Midnight, Mishima Shoso.
Source:
http://mokuhankan.com/conversations/archives/prints/
*From the Anthology of Japanese Literature compiled and edited by Donald Keene.




Thursday, May 3, 2012

The Haiku: Matsuo Basho

Spring is slowly giving way to summer and before that happens I would like to capture the essence of spring, present and passing, while welcoming the warm summer months. This being said, I am going to dedicate the month of May to the Haiku. Definition from The New Oxford American Dictionary:
 haiku |ˈhīˌkoō; ˌhīˈkoō|
noun ( pl. same or -kus )a Japanese poem of seventeen syllables, in three lines of five, seven, and five, traditionally evoking images of the natural world.• an English imitation of this.ORIGIN Japanese, contracted form of haikai no ku ‘light verse.’
Matsuo Basho, Autumn. Source:
http://montanawriter.com/2010/12/31/poetry-review-matsuo-basho/
I find the Haiku beautifully expresses nature in a concise and vivid form. Every couple of days during this month I will share a Haiku ranging from Matsuo Basho and his school to the late Tokugawa period or Edo period (1603-1867) in Japanese history. All of the works featured will be taken from my Anthology of Japanese Literature compiled and edited by Donald Keene. Since I have both the english translation and the romanized japanese words, I will be included both, the english and the japanese. The first is going to be by Matsuo Basho, one of the most famous and iconic Haiku masters. 



A village where they ring                     Kane tsukanuno bells! –oh, what do they do             mura wa nani wo kaat dusk in spring?                                haru no kure.–How very cool it feels:                        Hiya-hiya to taking a noonday nap, to have           kabe wo fumaetethis wall against my heels.                 hirune kana.


Matsuo Basho. Source:
http://petrumihaisacu.blogspot.com/2012/03/basho-haiku-o-primavara-nevazuta-de.html

Wednesday, February 1, 2012

Joruri, The Art of the Puppet Theatre

http://ynt.yafjp.org/en/performing-arts/
Bunraku "Gionsaireishinkoki" (KIRITAKE Kanjuro) National Theater Collection
A few weeks have passed and Junichiro's words still resonate in my mind. Hence, going along with the first post I made this year and with the theme of Japanese tradition, I am sharing a brief essay I read on my anthology of Japanese literature, Chikamatsu on the Art of the Puppet Stage.


Chikamatsu (1653-1725) is a Japanese playwright who wrote for the Bunraku, or puppet theatre as well as the Kabuki. As opposed to Kabuki,  the art of living actors, Joruri seeks to give life to inanimate objects. Therefore, the plays should resound clearly and expressively in the written word, and likewise, should transfer unto a stage in the same vivid manner. The aim is to compel in the audience specific emotions. According to Chikamatsu, Joruri creates a sphere where, for the sake of art, words and facts are communicated that would have, in any other form, remained silent. Much like the evocative power of poetry. This art form, being centered on inanimate objects, allows the writer and the audience to journey through uncharted waters of the psyche, it enables hidden truths to shine through that would not have otherwise been seen in daily life. The essay also delves into the pathos in theatre, how it is a matter of restraint. Of containing the emotions while pulling the audience in.

While speaking of the puppet theatre and playwriting, Chikamatsu firmly resides within the territory of art. Postulating the question, what is art? According to him, it is about playing with light and shadow, the real and the unreal, and molding these elements with stylization so as to compel and delight minds.
Even though this essay is about theatre and those elements that create Bunraku, it reveals much more to the reader, especially if said reader has artistic inclinations. It speaks about the aesthetics on appealing to a public, and on another spectrum, reveals aspects of Japanese tradition that retains value within the realm of this post-modern era.
http://ajw.asahi.com/article/cool_japan/culture/AJ2011101411068
A scene from the bunraku classic Hirakana Seisuiki at the National Theater in September.
(Provided by the National Theater)
"Art is something which lies in the slender margin between the real and the unreal."
If the subject is of interest see these other sites for further info.
YokoHama Noh Theatre
Blog on Japanese culture
Bunraku at Princeton
On Chikamatsu

Monday, January 9, 2012

Every worm to his taste: Junichiro Tanizaki

http://booktrek.blogspot.com/2010/07/some-prefer-nettles-tanizaki-junichiro
I went to New York City. It was during thanksgiving and the weather was lovely. While there, as always, I bought quite a few books. On my last full day there I was walking down 4th ave. and I stumbled upon a bookseller with a nice selection of classics. Rummaging through the boxes I found a Junichiro Tanizaki novel and I knew I had to have it. At the moment I didn't have cash so I did the next best thing, I put the book back and walked away, hoping to find an atm. I did, a few blocks down. Money in hand, I hurried back to the bookseller, hoping to find the book still there. Thankfully, the gods were in my favor that day, or maybe there just isn't a surplus of Japanese literature aficionados. Whichever. I bought the book.
I read the novel as soon as I returned to this small island I currently live in, and it is beautiful.
"Some Prefer Nettles" is a book of contrasts. Traditions versus change and modernity. Old versus new. It presents these contrasts through the microscopic view on the demise of a marriage. An introspective panorama on the effects of disappearing traditions and the melancholic consequences these changes can have on a marriage. Misako and Kanama, the married couple, are worlds apart residing in the same house with a child in the middle. The interesting aspect of the narrative is that both are aware of their lost love and connection, both openly entertain outside lovers, yet neither of the two want to face the implications of a divorce. In the background of the story is staged the transcendental tradition of the puppet theatre, given as a backdrop to the underlying theme of the novel.
Tanizaki weaves a story of poetic nostalgia of things past, and the quality residing in those elements of traditional culture. He clearly reveals the effects a foreign culture has on a native culture. His perspective is clearly for the conservation of custom and the beauty of customs, but he presents his perspective in a non-biased manner, portraying the full spectrum of sides, the outside and the domestic. Customs as they are, sometimes gritty. There is also a very interesting comparison between the crumbling marriage and Misako's father and his mistress O-hisa, who is 30 years her senior.
Living in the globalized world we all reside it is important to grapple with these questions of what is native and what isn't. To be able to see and understand the full scope of implications of losing or conserving one's traditions as this world continues to strive for globalization. It is important to be able to know and appreciate one's indigenous historical background as well as to be able to sift through the mire of modernity that is thrown in one's way continually, so as to be able to retain the useful and discard the degenerative.
It is for all these reasons that I found Tanizaki's work beautiful and relevant besides that fact that the portrayal of the traditional Japanese puppet theatre is magnificent.
http://visualabstracts.wordpress.com/2010/09/24/some-prefer-nettles-junichiro-tanizaki-1955/

Wednesday, July 28, 2010

Departures: Okuribito (2008)

A beautifully tasteful film everyone should experience. Departures tells the story of a married man who finds himself at a crossroads in his life; he has lost his job as part of an orchestra, he is a cellist, and is forced to move back home with his wife and search for a new job. This is where the plot thickens and he rediscovers himself, his purpose. Unbeknown to him, due to a misunderstanding in a job classified, he takes on a job as a Nokanshi or "encoffineer", which is one who prepares the body of the deceased for burial and likewise for entry into the next phase of life. This ensues a whole gamut of feelings for the protagonist, Daigo Kobayashi, concerning his deceased mother and his estranged father.
This is a film about discovery, with a poignant look at forgiveness family and death.
Director: Yôjirô Takita
Writer: Kundô Koyama



Tuesday, July 27, 2010

Geisha, a Life

I find that when one wants to understand another culture different than ones' own it is necessary to grasp the elements and the diversity that helped shape the culture and the people.
Being this the case, I picked up a book entitled Geisha, a Life. This book is a memoir of one of the most well-known Geishas of Japan, Mineko Iwasaki. Before I go on, it must be said first that I have read Arthur Golden’s Memoirs of a Geisha. This book, Geisha a Life, was highly engrossing, I devoured it in a mere couple of days, and it was also revealing. In it one enters the karyukai, "the flower and willow world" and I was able to catch a glimpse of a rich and intricate culture that is a vital element to Japanese culture in its entirety. What is great about this book is that it doesn't emphasize the romanticized view the western world has on this very little known world, the karyukai, but it gives the reader a thorough, outlined explanation of the intricacies of this world and its history. One is able to get a little of everything: history, reality and even a bit of romance and we see all this through the eyes and experiences of Mineko Iwasaki, a real Geisha who retired at the age of 29. This book felt real, it was concise and poetic in all the right places and enlightening all on it own. Highly recommended.
To elaborate a bit more, I read this book as preparation before delving into the classic, The Tale of Genji by Murasaki Shikibu, which I will be tackling in a few weeks. As part of preparation I also purchased a great little anthology on Japanese literature compiled and edited by Donald Keene, which I highly recommend to anyone interested in such a rich and culture.

Iwasaki, Mineko. Geisha, A Life. Trans. Rande Browne. New York: Washington Square Press, 2003. Print.
296 pages
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