What do you think?
Rate this book
ANGO SAKAGUCHI FARSAS Y ENSAYOS
Un yogui borracho que quiere tentar a su discípulo, un académico vengativo que se convierte en una ráfaga de viento, dos familias que buscan esconder un funeral para no perderse las báquicas celebraciones de una boda, un monje que altera las leyes de la gravedad con sus flatulencias… Son sólo algunos de los extravagantes personajes que presentan estas farsas -en su mayoría nunca antes traducidas del japonés-, acompañadas de una serie de ensayos -tampoco traducidos antes- que ofrecen nuevas miradas sobre un autor irrisorio y su obra grotesca, y hacen de este libro una invitación a adentrarse en el irreverente mundo farsesco de Ango Sakaguchi.
ANGO SAKAGUCHI
Nacido bajo el nombre de Heigo Sakaguchi, fue un novelista y ensayista japonés. Junto a Osamu Dazai y Sakunosuke Oda, se le considera como uno de los denominados buraiha, un grupo de escritores disolutos que expresaron su ausencia de objetivos y crisis de identidad luego de la Segunda Guerra Mundial.
Edad recomendada: Adultos.
ANGO SAKAGUCHI
Nacido bajo el nombre de Heigo Sakaguchi, fue un novelista y ensayista japonés. Junto a Osamu Dazai y Sakunosuke Oda, se le considera como uno de los denominados buraiha, un grupo de escritores disolutos que expresaron su ausencia de objetivos y crisis de identidad luego de la Segunda Guerra Mundial.
Edad recomendada: Adultos.
232 pages, Paperback
Published January 1, 2023
1 person is currently reading
14 people want to read
About the author
Ango Sakaguchi
617 books139 followersFrom Niigata, Sakaguchi (坂口安吾) was one of a group of young Japanese writers to rise to prominence in the years immediately following Japan's defeat in World War II. In 1946 he wrote his most famous essay, titled "Darakuron" ("On Decadence"), which examined the role of bushido during the war. It is widely argued that he saw postwar Japan as decadent, yet more truthful than a wartime Japan built on illusions like bushido.
Ango was born in 1906, and was the 12th child of 13. He was born in the middle of a Japan perpetually at war. His father was the president of the Niigata Shinbun (Newspaper), a politician, and a poet.
Ango wanted to be a writer at 16. He moved to Tokyo at 17, after hitting a teacher who caught him truanting. His father died from brain cancer the following year, leaving his family in massive debt. At 20, Ango taught for a year as a substitute teacher following secondary school. He became heavily involved in Buddhism and went to University to study Indian philosophy, graduating at the age of 25. Throughout his career as a student, Ango was very vocal in his opinions.
He wrote various works of literature after graduating, receiving praise from writers such as Makino Shin’ichi. His literary career started around the same time as Japan’s expansion into Manchuria. He met his wife to be, Yada Tsuseko, at 27. His mother died when he was 37, in the middle of World War II. He struggled for recognition as a writer for years before finally finding it with “A Personal View of Japanese Culture” in 1942, and again with “On Decadence” in 1946. That same year, the Emperor formally declared himself a human being, not a god. Ango had a child at 48 with his second wife, Kaji Michio. He died from a brain aneurysm at age 48 in 1955.
Ango was born in 1906, and was the 12th child of 13. He was born in the middle of a Japan perpetually at war. His father was the president of the Niigata Shinbun (Newspaper), a politician, and a poet.
Ango wanted to be a writer at 16. He moved to Tokyo at 17, after hitting a teacher who caught him truanting. His father died from brain cancer the following year, leaving his family in massive debt. At 20, Ango taught for a year as a substitute teacher following secondary school. He became heavily involved in Buddhism and went to University to study Indian philosophy, graduating at the age of 25. Throughout his career as a student, Ango was very vocal in his opinions.
He wrote various works of literature after graduating, receiving praise from writers such as Makino Shin’ichi. His literary career started around the same time as Japan’s expansion into Manchuria. He met his wife to be, Yada Tsuseko, at 27. His mother died when he was 37, in the middle of World War II. He struggled for recognition as a writer for years before finally finding it with “A Personal View of Japanese Culture” in 1942, and again with “On Decadence” in 1946. That same year, the Emperor formally declared himself a human being, not a god. Ango had a child at 48 with his second wife, Kaji Michio. He died from a brain aneurysm at age 48 in 1955.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
December 24, 2025
Llegué a este libro de Sakaguchi después de leer sus relatos (Una mujer y la guerra, ed. Satori) y buscar algo de su narrativa traducida por otras manos. Fuera de Satori, esta era la única opción.
El volumen, como bien indica el título, está dividido en dos partes: farsas y ensayos. La primera parte contiene literatura —como el propio Ango nos lo aclarará al final de la segunda parte— que hoy, más allá de etiquetarla como “farsa” o “de lo absurdo”, es “autoficción” y que arroja mucha luz sobre Una mujer y la guerra o La idiota, verdaderas genialidades en el panorama literario de la era Showa.
La segunda parte es de suyo interesante, porque muy poco se conoce fuera de Japón del Ango “ensayista”. En ella leeremos qué entendía el autor por literatura farsesca y obtendremos claves para entender mejor el resto de su obra.
En suma, me parece un volumen muy bien logrado, equilibrado y que nos acerca mucho a un autor fundamental de las letras japonesas.
El volumen, como bien indica el título, está dividido en dos partes: farsas y ensayos. La primera parte contiene literatura —como el propio Ango nos lo aclarará al final de la segunda parte— que hoy, más allá de etiquetarla como “farsa” o “de lo absurdo”, es “autoficción” y que arroja mucha luz sobre Una mujer y la guerra o La idiota, verdaderas genialidades en el panorama literario de la era Showa.
La segunda parte es de suyo interesante, porque muy poco se conoce fuera de Japón del Ango “ensayista”. En ella leeremos qué entendía el autor por literatura farsesca y obtendremos claves para entender mejor el resto de su obra.
En suma, me parece un volumen muy bien logrado, equilibrado y que nos acerca mucho a un autor fundamental de las letras japonesas.
Displaying 1 of 1 review