Silence: A Novel

by Shūsaku Endō

Genres: Fiction, Japan, Asian Literature, Novels

Paperback

About the author

Shusaku Endo (遠藤周作), born in Tokyo in 1923, was raised by his mother and an aunt in Kobe where he converted to Roman Catholicism at the age of eleven. At Tokyo's Keio University he majored in French literature, graduating BA in 1949, before furthering his studies in French Catholic literature at the University of Lyon in France between 1950 and 1953. A major theme running through his books, which have been translated into many languages, including English, French, Russian and Swedish, is the failure of Japanese soil to nurture the growth of Christianity. Before his death in 1996, Endo was the recipient of a number of outstanding Japanese literary awards: the Akutagawa Prize, Mainichi Cultural Prize, Shincho Prize, and Tanizaki Prize.
(from the backcover of Volcano).

Reviews

[James · Rating 5 out of 5]

I first read "Scandal" years ago and was blown away by it. Since then I have read essentially all of his books that have been translated. "Silence" of course is his most well known, but "Deep River" has stayed with me the longest. Endo, who died some years ago in his seventies, was always struggling to reconcile his "Japanese-ness" with his strong Catholic Christian faith. I thought "Deep River" did it the best. The ending spoke most to me about what it should really mean to be a follower of Jesus, probably quite surprising for many people. I also recommend the short story "The Final Martyrs" if you can find it.

[Rick Rapp · Rating 5 out of 5]

Silence is one of the most thought-provoking novels I've encountered in a while. It explores and shakes up conventional ideas about faith, duty, doubt, strength, weakness, and much more. The protagonist is entirely believable as he wrestles with his doubt and his established ideas of faithfulness and martyrdom. Like virtually everything else in life, there is no easy answer. The path he chooses is disturbing and understandable. Listening for God's voice can often be difficult when our own voices within speak so loudly. From a literary point of view, some encounters are predictable and rife with coincidences. But those encounters are necessary for the journey of Father Rodrigues and for his acceptance of a faithfulness he never expected. Highly recommended.

[Kuya Itchan Decena · Rating 5 out of 5]

enjoyed reading 'silence.' gave me a new perspective about matters of faith and religion.

[Michelle · Rating 5 out of 5]

Fantastic!

[janette · Rating 5 out of 5]

The first time I read Silence, I couldn't get into it (which is the vibe I'm getting from the other reviews). But I would highly highly recommend it because it shows how our perceptions of singular truths can be broken down by culture/society.

As ambiguous/confusing as that sounds, I actually wrote an essay on the novel back in high school (I'm in my mid-20s now) and think it breaks down why I think this novel is so powerful.

In Silence, Shusaku Endo argues against the traditional perceptions of martyrdom through Father Rodrigues, a Jesuit in an era of Christian persecution in Japan. The Church’s culture of glorification towards martyrdom and its teachings blind Rodrigues from understanding the suffering around him. However, when his identity and firm roots in the Church are challenged by the darker truths of martyrdom, he commits his most selfless act and apostatizes. In doing so, the author pushes readers to question the morals and intents of the Church in its proselytizing mission. Ultimately, Rodrigues’ journey to epiphany is a reflection and a sharp criticism of the Church’s traditional perceptions of martyrdom.

Rodrigues’ singular lens of faith towards suffering demonstrates his roots in the Catholic Church. Christian theology has dominated Rodrigues’ whole life—he is a product of its teachings and philosophies. Thus, his perspective is limited because the Church has sheltered him from the truths of martyrdom. For instance, during his last night of imprisonment, he hears another man snoring in a “carefree way” (162). Essentially, he is unable to hear the pain that surrounds him. The irony in this situation is grotesque, since the calmness of the guards is absolutely absurd in comparison to the Jesuit’s final fate. Nonetheless, Rodrigues' perception of the sound is far more significant, for its actual origin reveals the deeper workings of his psyche—the understanding of Christianity’s destructive impacts in Japan has not yet reached his subconscious. Moreso, he cannot recognize that the snoring is the “gasping and groaning of helpless men” (167). Regardless of his good intentions, Rodrigues has indirectly subjected innocent peasants to torture. Thus, Rodrigues is dependent on the Church because he cannot see the repercussions of his work as a Jesuit.

Moreover, Rodrigues’ misinterpretation of martyrdom stems from his identity in the Church. In essence, Rodrigues is prideful in his status as a priest and forgets about a true martyr’s intents, which is to love selflessly. Hence, Endo argues that Jesuits, like Rodrigues, must give up their old identities and become independent from the Church. For instance, when the peasants in Tomogi are captured and questioned, Rodrigues can reveal himself to the authorities or continue a secret life of missions. Although he is not willing to apostatize, he instructs Mokichi and Ichizo to give up their faith. In doing so, he establishes his faith’s superiority and separates himself from the commoners. His attitude and actions stem from his “priestly sense of duty” (62), which the Church has created. Later, when imprisoned, Rodrigues faces a similar dilemma—he must apostatize to save the peasants or die for his faith. Even though the Church’s intentions are pure, Rodrigues refuses to comply because authentic love is so often falsely preached. Evidently so, he believes that martyrdom will reassure his status as a priest and give him a title of a martyr. However, when Rodrigues notices that his feelings of “joy and happiness” (45) begin to fade, he is able to see the darker truths of martyrdom.

Rodrigues’ gradual progression to realizing the truth contrasts the Church’s culture of traditionalism. Initially, when the Jesuit puts “both fingers into his ears” (168), he demonstrates the Church’s unwillingness to admit to its past failures in Japan. Prior to the Tokugawa Era, Christianity did in fact grow and thrive due to the influence of the Jesuit priests. However, the government grew fearful of this religion’s influence and forbade it with methods of persecution and terror. Even though the Church had no ill intentions, it was oblivious to Japan’s social and political norms and continuously sent Jesuit missionaries. These Jesuits died from horrendous methods of torture, which the Church glorified as the martyrs’ deaths. Endo argues against the culture of glorification because Jesuits, such as Rodrigues, view martyrdom as an act of crucifixion. Moreso, they cannot see the darker reality of suffering and pain that martyrdom entails. Therefore, when Rodrigues is able to hear the suffering and realize the tragic repercussions of his missionary work, he begins to drift from the Church. As well, Endo begins to associate the diction with death to demonstrate Rodrigues’ change. For instance, Ferreira’s body is “like a ghost” and “thin like a piece of paper,” while the night is “blacker than any before” (166). The description of the latter illustrates the darker realization of the truth—while Rodrigues is in darkness and has not yet been enlightened, he begins to understand the faults of the Church. When Rodrigues begins to see martyrdom from a different perspective, he foils the Church’s traditional views on martyrdom.

Whereas the Church teaches a culture of glorification, Endo argues that martyrdom is not the sacrifice of one’s life but rather an act of selfless love. The Church often portrays martyrdom as an act of death because it glorifies martyrs and crucifixion. Although glorification in itself is not negative, it has portrayed martyrs as heroes of faith. Thus, Rodrigues envisions these martyrs as the epitome of salvation and wants to be “a hero” (110) himself. Because of this culture of misdirected glorification, Rodrigues assumes that he must give up “his life and his death” (83). Silence, on the other hand, contests that martyrdom is selfless, humble love. To elaborate, Endo uses Ferreira as a quasi-character foil to demonstrate the faults in Rodrigues’ beliefs. Ferreira, a former priest, recognizes that selfless love is the most “painful act of love” (170) that one can possibly endure. Painful, selfless love is “giving up everything” (170), including one’s raison d’être. Rodrigues believes that he must sacrifice his life for Christ, but instead, Endo argues that he must live and endure a life of suffering for Christ. In order to do so, Rodrigues must break free from the norms of traditional Catholicism and live a sacrificial life for Christ.

Consequently, Rodrigues’s apostasy proves to be life-changing when he releases himself from his roots in the Church. Endo uses Christ’s image as a symbol of his epiphanic change. The face of Christ, which Rodrigues once envisioned as the “most beautiful thing in his life” (171), is seen as a figure that is “worn down and hollow with the constant trampling” (171). Essentially, Rodrigues changes his perception of Christ, similarly to how he changes his views about martyrdom; the once heroic and glorious act is now one that entails suffering and pain. Upon realizing the truth, the once-prideful priest sacrifices his whole life for Christ. From a secular lens, Rodrigues is no better than Kichijiro, who apostatizes as a “cowardly wretch” (62). However, the former’s apostasy differs from those like Kichijiro because it is comparable to Christ’s selfless act of crucifixion. Rodrigues will be rejected by the Church, like Christ. More similarly so, his act of love is immeasurably greater than mere death, for he now “shares men’s pain” (171) in the world; he has given up his role as a Jesuit and his reason for being, for he has chosen to endure a life without his previous identity in the Church. Thus, Rodrigues’ apostasy is a sacrificial act of humility and selflessness that is void of glory and status.

Inherently so, Rodrigues’ actions entirely change the discourse of the Catholic Church. Essentially, his apostasy undermines his old, traditionalist views because it has given him a newfound, Christ-like love for others, even those like Kichijiro, whom he once rejected. Furthermore, Rodrigues has learned that his identity and stature do not define his salvation. Argumentatively, although seemingly counterintuitive, his apostasy gives him salvation in Christ. Furthermore, his apostasy makes him a martyr, which in turn reveals the flaws of the religious discourse based solely on martyrdom through death. Perhaps Rodrigues’ faith and identity in God may seem misconstrued by the Church’s standards. In actuality, however, he has lessened himself so that he can selflessly serve the Japanese. In doing so, Endo proves that the Catholic Church must turn away from a culture of glorification and self-pride. Although Rodrigues must live alone knowing the truth of his apostasy, Shusaku Endo ultimately argues that Silence is not about God’s silence. Rather, it is about Christians, like Rodrigues, who must endure their lives in silence with selfless love for Christ.

[Matthew Wampler · Rating 2 out of 5]

I heard good things. I just couldn't get into it....

[Dexter · Rating 3 out of 5]

Read this book in advance of the movie and then never went to see the movie. Interesting story, but it just never clicked with me.

[Sara Loudon · Rating 5 out of 5]

If you ever wanted the feeling like you were being torn in half —this is your book.