What do you think?
Rate this book
Quái Đàm - Chuyện Yêu Quái Và Dị Trùng Nhật Bản
Ở Nhật, kem đá, cá vàng, chuông gió, pháo hoa và lễ hội các xứ là những thứ có tính đặc trưng của mùa hè, đem mát lành và thơ mộng đến làm dịu không khí oi nồng. Nhưng ngoài những thứ nghe rất tao nhã ấy ra, Nhật Bản còn một cách làm mát truyền thống, đó là truyện ma quái.
Truyện ma quái được lồng vào rất nhiều hình thức sinh hoạt hè, như kịch kabuki, tấu nói rakugo, trò chơi gọi ma bách vật ngữ. Và đơn giản nhất, là ngồi quây quần với nhau, mỗi người kể một câu chuyện thật rùng rợn, sao cho sống lưng lạnh toát, mồ hôi dầm dề, cứ tự làm mát như thế đến khuya, tiết trời dịu đi là có thể ngủ được.
Ma quái ở Nhật không chỉ có linh hồn người chết, mà còn đồ vật-thực vật-hiện tượng tự nhiên thành tinh, lảng vảng ở nhân gian với tâm tư mục đích vô cùng đa dạng, bày ra những trò rất đỗi ly kì. Tất cả những truyện như thế được xếp vào một thể loại, gọi là QUÁI ĐÀM (chuyện về ma quái hoặc sự lạ).
Nhờ những hoạt động mùa hè ấy, và nhờ cả những bản chép tay quý báu của các tác giả dân gian, kho tàng quái đàm Nhật Bản được lặng lẽ lưu truyền qua nhiều thế hệ. Nhưng cũng trong rất nhiều thế hệ, chúng chỉ đi loanh quanh ở các thành trấn thôn làng trên đảo quốc này.
Phải bước sang thế kỉ 20, kho tàng ấy mới lần đầu phát sáng ra ngoài biên giới, rọi sang châu Âu châu Mỹ, nhờ công sức của một tác giả phương Tây là Lafcadio Hearn.
Ông đã lắng nghe bao truyện xưa tích cũ trên khắp đất Nhật, chắt lọc những điển lạ lùng nổi tiếng nhất và tiến hành nhuận sắc, tái hiện trên giấy bằng những kiến giải và cảm xúc của mình, để tạo ra một tác phẩm rồi đây sẽ trở thành nguồn mạch cho thể loại quái đàm cận đại Nhật Bản.
Tác phẩm đó là QUÁI ĐÀM ~ Chuyện yêu quái và dị trùng Nhật Bản, triệu hồi những yêu quái nổi tiếng như quỷ ăn thịt người, yêu quái cổ dài, vô diện, nàng tuyết… tập hợp những điển tích lạ như uyên ương, Hoichi cụt tai, giấc mơ hóa kiến, kèm một bản ballad dịu dàng hoài niệm về cổ tích phương Tây, cuối cùng là ba tùy bút về thế giới côn trùng, trong đó khéo léo đan cài nhiều cảm nhận về hội họa, âm nhạc, tôn giáo, tiến hóa sinh vật và triết học.
Từ sau QUÁI ĐÀM của Hearn, ma mãnh chúng nó không chịu ở yên đồng sâu nước đọng, mà chuyển về làm ma đô thị, ma trường học… không chỉ trườn bò trên câu chữ, mà vươn lên phim ảnh, kịch nghệ, diễn xướng, bò ra cả màn hình, cuối cùng biến thành một thứ văn hóa kinh dị riêng.
Tác phẩm này cũng đã được chuyển thể thành phim, thành nguồn tham chiếu không thể thiếu khi cần tìm hiểu về yêu ma xứ Phù Tang.
QUÁI ĐÀM ~ Chuyện yêu quái và dị trùng Nhật Bản của Lafcadio Hearn nằm trong tủ sách kinh điển của IPM, sẽ có dạng bìa cứng ở lần đầu phát hành và bìa mềm từ lần thứ hai trở đi.
Truyện ma quái được lồng vào rất nhiều hình thức sinh hoạt hè, như kịch kabuki, tấu nói rakugo, trò chơi gọi ma bách vật ngữ. Và đơn giản nhất, là ngồi quây quần với nhau, mỗi người kể một câu chuyện thật rùng rợn, sao cho sống lưng lạnh toát, mồ hôi dầm dề, cứ tự làm mát như thế đến khuya, tiết trời dịu đi là có thể ngủ được.
Ma quái ở Nhật không chỉ có linh hồn người chết, mà còn đồ vật-thực vật-hiện tượng tự nhiên thành tinh, lảng vảng ở nhân gian với tâm tư mục đích vô cùng đa dạng, bày ra những trò rất đỗi ly kì. Tất cả những truyện như thế được xếp vào một thể loại, gọi là QUÁI ĐÀM (chuyện về ma quái hoặc sự lạ).
Nhờ những hoạt động mùa hè ấy, và nhờ cả những bản chép tay quý báu của các tác giả dân gian, kho tàng quái đàm Nhật Bản được lặng lẽ lưu truyền qua nhiều thế hệ. Nhưng cũng trong rất nhiều thế hệ, chúng chỉ đi loanh quanh ở các thành trấn thôn làng trên đảo quốc này.
Phải bước sang thế kỉ 20, kho tàng ấy mới lần đầu phát sáng ra ngoài biên giới, rọi sang châu Âu châu Mỹ, nhờ công sức của một tác giả phương Tây là Lafcadio Hearn.
Ông đã lắng nghe bao truyện xưa tích cũ trên khắp đất Nhật, chắt lọc những điển lạ lùng nổi tiếng nhất và tiến hành nhuận sắc, tái hiện trên giấy bằng những kiến giải và cảm xúc của mình, để tạo ra một tác phẩm rồi đây sẽ trở thành nguồn mạch cho thể loại quái đàm cận đại Nhật Bản.
Tác phẩm đó là QUÁI ĐÀM ~ Chuyện yêu quái và dị trùng Nhật Bản, triệu hồi những yêu quái nổi tiếng như quỷ ăn thịt người, yêu quái cổ dài, vô diện, nàng tuyết… tập hợp những điển tích lạ như uyên ương, Hoichi cụt tai, giấc mơ hóa kiến, kèm một bản ballad dịu dàng hoài niệm về cổ tích phương Tây, cuối cùng là ba tùy bút về thế giới côn trùng, trong đó khéo léo đan cài nhiều cảm nhận về hội họa, âm nhạc, tôn giáo, tiến hóa sinh vật và triết học.
Từ sau QUÁI ĐÀM của Hearn, ma mãnh chúng nó không chịu ở yên đồng sâu nước đọng, mà chuyển về làm ma đô thị, ma trường học… không chỉ trườn bò trên câu chữ, mà vươn lên phim ảnh, kịch nghệ, diễn xướng, bò ra cả màn hình, cuối cùng biến thành một thứ văn hóa kinh dị riêng.
Tác phẩm này cũng đã được chuyển thể thành phim, thành nguồn tham chiếu không thể thiếu khi cần tìm hiểu về yêu ma xứ Phù Tang.
QUÁI ĐÀM ~ Chuyện yêu quái và dị trùng Nhật Bản của Lafcadio Hearn nằm trong tủ sách kinh điển của IPM, sẽ có dạng bìa cứng ở lần đầu phát hành và bìa mềm từ lần thứ hai trở đi.
175 pages, Hardcover
First published January 1, 1904
622 people are currently reading
9920 people want to read
About the author
Lafcadio Hearn
1,395 books439 followersGreek-born American writer Lafcadio Hearn spent 15 years in Japan; people note his collections of stories and essays, including
Kokoro
(1896), under pen name Koizumi Yakumo.
Rosa Cassimati (Ρόζα Αντωνίου Κασιμάτη in Greek), a Greek woman, bore Patrick Lafcadio Hearn (Πατρίκιος Λευκάδιος Χερν in Greek or 小泉八雲 in Japanese), a son, to Charles Hearn, an army doctor from Ireland. After making remarkable works in America as a journalist, he went to Japan in 1890 as a journey report writer of a magazine. He arrived in Yokohama, but because of a dissatisfaction with the contract, he quickly quit the job. He afterward moved to Matsué as an English teacher of Shimané prefectural middle school. In Matsué, he got acquainted with Nishida Sentarô, a colleague teacher and his lifelong friend, and married Koizumi Setsu, a daughter of a samurai.
In 1891, he moved to Kumamoto and taught at the fifth high school for three years. Kanô Jigorô, the president of the school of that time, spread judo to the world.
Hearn worked as a journalist in Kôbé and afterward in 1896 got Japanese citizenship and a new name, Koizumi Yakumo. He took this name from "Kojiki," a Japanese ancient myth, which roughly translates as "the place where the clouds are born". On that year, he moved to Tôkyô and began to teach at the Imperial University of Tôkyô. He got respect of students, many of whom made a remarkable literary career. In addition, he wrote much reports of Japan and published in America. So many people read his works as an introduction of Japan. He quit the Imperial University in 1903 and began to teach at Waseda University on the year next. Nevertheless, after only a half year, he died of angina pectoris.
Rosa Cassimati (Ρόζα Αντωνίου Κασιμάτη in Greek), a Greek woman, bore Patrick Lafcadio Hearn (Πατρίκιος Λευκάδιος Χερν in Greek or 小泉八雲 in Japanese), a son, to Charles Hearn, an army doctor from Ireland. After making remarkable works in America as a journalist, he went to Japan in 1890 as a journey report writer of a magazine. He arrived in Yokohama, but because of a dissatisfaction with the contract, he quickly quit the job. He afterward moved to Matsué as an English teacher of Shimané prefectural middle school. In Matsué, he got acquainted with Nishida Sentarô, a colleague teacher and his lifelong friend, and married Koizumi Setsu, a daughter of a samurai.
In 1891, he moved to Kumamoto and taught at the fifth high school for three years. Kanô Jigorô, the president of the school of that time, spread judo to the world.
Hearn worked as a journalist in Kôbé and afterward in 1896 got Japanese citizenship and a new name, Koizumi Yakumo. He took this name from "Kojiki," a Japanese ancient myth, which roughly translates as "the place where the clouds are born". On that year, he moved to Tôkyô and began to teach at the Imperial University of Tôkyô. He got respect of students, many of whom made a remarkable literary career. In addition, he wrote much reports of Japan and published in America. So many people read his works as an introduction of Japan. He quit the Imperial University in 1903 and began to teach at Waseda University on the year next. Nevertheless, after only a half year, he died of angina pectoris.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 749 reviews
March 9, 2016
In his wonderfully informative and lengthy introduction Paul Murray states that "Kwaidan" translates as "Old Japanese ghost stories" (p.XX). Kwaidan is subtitled "Stories and Studies Of Strange Things".
Hearn was born in Greece in 1850 and spent his childhood in Dublin, while in America he was a crime reporter in Cincinnati where he remained until 1877 when he moved to New Orleans, moving to Japan in 1890.
Contents:
xii - xxv - Introduction - by Paul Murray
001 - from "Glimpses Of Unfamiliar Japan" (1894)
"By The Japanese Sea" (extract)
"Of Ghosts and Goblins" (extract)
011 - from "Out Of The East" (1895)
"The Dreams Of A Summer Day"
027 - "Kokoro" (1896
"In Cholera-Time"
033 - from "Gleanings In Buddha Fields" (1897)
"Ningyo-no-Haka"
039 - from "Exotics And Retrospectives" (1898)
"Vespertina Cognitio"
049 - from "In Ghostly Japan" (1899)
"Fragment"
053 - from "Shadowings" (1900)
"The Corpse Rider"
"Gothic Horror"
"Nightmare Touch"
071 - from "A Japanese Miscellany" (1901)
"Of A Promise Broken"
079 - from "Kotto" 1902)
"The Legend Of Yurei-Daki"
083 - from "The Romance Of the Milky Way" (1904)
"The Mirror Maiden"
091 - from "Kwaidan" 1904)
"The Story Of Mimi-Nashi-Hochi"
""Mujina"
"Rokuro-Kubi"
"Yuki-Onno"
"Hi-Mawari"
This is a beautifully written and produced book. I want to thank Brian Showers for providing such an great piece of artful book making.
This book was published with the support of the Japan Foundation.
This is copy 83 of 500 copies published, and arrived with a pamphlet of the Lafcadio Hearn gathering In Ireland.
Hearn was born in Greece in 1850 and spent his childhood in Dublin, while in America he was a crime reporter in Cincinnati where he remained until 1877 when he moved to New Orleans, moving to Japan in 1890.
Contents:
xii - xxv - Introduction - by Paul Murray
001 - from "Glimpses Of Unfamiliar Japan" (1894)
"By The Japanese Sea" (extract)
"Of Ghosts and Goblins" (extract)
011 - from "Out Of The East" (1895)
"The Dreams Of A Summer Day"
027 - "Kokoro" (1896
"In Cholera-Time"
033 - from "Gleanings In Buddha Fields" (1897)
"Ningyo-no-Haka"
039 - from "Exotics And Retrospectives" (1898)
"Vespertina Cognitio"
049 - from "In Ghostly Japan" (1899)
"Fragment"
053 - from "Shadowings" (1900)
"The Corpse Rider"
"Gothic Horror"
"Nightmare Touch"
071 - from "A Japanese Miscellany" (1901)
"Of A Promise Broken"
079 - from "Kotto" 1902)
"The Legend Of Yurei-Daki"
083 - from "The Romance Of the Milky Way" (1904)
"The Mirror Maiden"
091 - from "Kwaidan" 1904)
"The Story Of Mimi-Nashi-Hochi"
""Mujina"
"Rokuro-Kubi"
"Yuki-Onno"
"Hi-Mawari"
This is a beautifully written and produced book. I want to thank Brian Showers for providing such an great piece of artful book making.
This book was published with the support of the Japan Foundation.
This is copy 83 of 500 copies published, and arrived with a pamphlet of the Lafcadio Hearn gathering In Ireland.
May 30, 2017
In my country people say that fear has big eyes but in that case we can equally say that it has slanting ones as well . Kwaidan then is an interesting collection of Japan weird stories illustrated with drawings of ghosts, demons and other unusual creatures typical of Japan folklore and myth.
Written by Lafcadio Hearn, Japanese by choice and avocation, in times when eyes of the Japanese people were turned mainly to the West and the inhabitants of the land of the rising sun seemed to feel only contempt to own folk cultural heritage. For lovers of Japan culture and spine - chillers it is required reading. Stories are thrilling, hideous, sometimes touching but most of all highly atmospheric - just in time for a long autumn evening.
3.5/5
October 26, 2014
In Japanese folklore, there is the belief that a disquieted spirit, one who has died still troubled by a deep resentment or anger toward those it considered immoral and malevolent ( such as enemies or murderers), will not let go of its attachment to the physical world, in a sense not having been extinguished or quelled by death; having taken such hostile feelings to the grave, will be unable to rest in peace, and therefore will re-emerge by supernatural means fueled with vengefulness.
Kwaidan or 'weird tales', is a collection of 20 gothic Japanese sketches written by Greek- born, Japanese emigrant Lafcadio Hearn. He created these stories from a mixture of Chinese and Japanese folklore retold over generations through both oral and literary traditions. Kwaidan, published in the same year of Hearn's death (1904), is set in Japan's Edo period (1603-1868) which Hearn renders expertly with vividness and authenticity.
Some of the tales are perhaps stranger and mysterious to the western reader than gruesome in content, as in the short sketch Jikininki - Man-eating Goblin: about a ravenous shape-shifting entity. A priest died having lived a selfish life with an appetite for material things, is reincarnated with an insatiable hunger for the morbid. His digressions in this infernal form is less than ecclesiastic, but one only hopes he says 'grace' before digging in.
Most of the stories tell of ghostly apparitions or reincarnations, of supernatural beings who have taken human form. The following are just two examples of longer pieces in Kwaidan, superbly adapted to film by Masaki Kobayashi in 1964.
The Story of Mimi-Nashi-Hōïchi -
Hōïchi-the-Earless is a fantastic ghost tale built on historical events that took place 700 years prior at the Straits of Shimonoséki (Battle of Dan-no-ura), the last battle between the Heiké and Genji clans where the Heiké, along with their child emperor, were completely annihilated. The sea, the shore and all its creatures had become haunted, so a temple was built to appease the Heiké ghosts.
One evening Hōïchi, a blind lute player at the temple is commanded by a samurai ghost ( naive Hoïchi is unaware that the samurai is a spirit) to sing the ballad of the fallen Heiké. His singing so moves his supernatural audience that he is commanded daily to perform. When the temple priests hear of Hoïchi's daemonic encounters, they attempt to protect him with sutras written all over his body, but plans go grotesquely wrong.
Yuki-Onna -
'The Snow-Woman' is a haunting fantasy, beautifully told: Hearn's best known and most memorable story. Two woodcutters, Mosaku and Minokichi, caught in a snowstorm, take shelter in a vacant boatman’s hut. While Mosaku sleeps, Minokichi is awakened to the vision of a woman in white blowing the frosty breath of death on Mosaku, then moves her gaze to the frightened Minokichi. Yuki-Onna, in a moment of benevolence, spares his life but instructs him never to repeat what he has just witnessed or she will kill him. Many years later this threat comes back to haunt Minokichi in an eerie, chilling twist.
As a fan of Japanese goth, I heartily recommend Kwaidan - a quick, satisfying sampling both in written or movie version, to add spookiness to the season.
Kwaidan or 'weird tales', is a collection of 20 gothic Japanese sketches written by Greek- born, Japanese emigrant Lafcadio Hearn. He created these stories from a mixture of Chinese and Japanese folklore retold over generations through both oral and literary traditions. Kwaidan, published in the same year of Hearn's death (1904), is set in Japan's Edo period (1603-1868) which Hearn renders expertly with vividness and authenticity.
Some of the tales are perhaps stranger and mysterious to the western reader than gruesome in content, as in the short sketch Jikininki - Man-eating Goblin: about a ravenous shape-shifting entity. A priest died having lived a selfish life with an appetite for material things, is reincarnated with an insatiable hunger for the morbid. His digressions in this infernal form is less than ecclesiastic, but one only hopes he says 'grace' before digging in.
Most of the stories tell of ghostly apparitions or reincarnations, of supernatural beings who have taken human form. The following are just two examples of longer pieces in Kwaidan, superbly adapted to film by Masaki Kobayashi in 1964.
The Story of Mimi-Nashi-Hōïchi -
Hōïchi-the-Earless is a fantastic ghost tale built on historical events that took place 700 years prior at the Straits of Shimonoséki (Battle of Dan-no-ura), the last battle between the Heiké and Genji clans where the Heiké, along with their child emperor, were completely annihilated. The sea, the shore and all its creatures had become haunted, so a temple was built to appease the Heiké ghosts.
One evening Hōïchi, a blind lute player at the temple is commanded by a samurai ghost ( naive Hoïchi is unaware that the samurai is a spirit) to sing the ballad of the fallen Heiké. His singing so moves his supernatural audience that he is commanded daily to perform. When the temple priests hear of Hoïchi's daemonic encounters, they attempt to protect him with sutras written all over his body, but plans go grotesquely wrong.
Yuki-Onna -
'The Snow-Woman' is a haunting fantasy, beautifully told: Hearn's best known and most memorable story. Two woodcutters, Mosaku and Minokichi, caught in a snowstorm, take shelter in a vacant boatman’s hut. While Mosaku sleeps, Minokichi is awakened to the vision of a woman in white blowing the frosty breath of death on Mosaku, then moves her gaze to the frightened Minokichi. Yuki-Onna, in a moment of benevolence, spares his life but instructs him never to repeat what he has just witnessed or she will kill him. Many years later this threat comes back to haunt Minokichi in an eerie, chilling twist.
As a fan of Japanese goth, I heartily recommend Kwaidan - a quick, satisfying sampling both in written or movie version, to add spookiness to the season.
November 7, 2019
"Buddhism finds in a dewdrop the symbol of that other microcosm which has been called the soul..."
This is a collection of weird stories taken, mostly, from old Japanese books. Lafcadio acknowledges that many of the stories may have a Chinese origin. Mind you, Lafcadio was a lecturer of English literature in the Imperial university of Tokyo (1896-1903) and a honorary member of the Japan society in London; and he lamented not reading Chinese.
My sensibility guided me especially to the last chapter of the book dedicated to “insect stories” (on butterflies, mosquitoes and ants). His reflections on those animals in parallel with the Buddhist beliefs will astound anyone.
"Deeper thoughts than memory may still be suggested to English poets by the sight of a butterfly and probably will be for hundreds of years to come"
in Interpretations of Literature, by Lafcadio Hearn.
Most interesting (both for me and Lafcadio) were the butterflies’ stories and his presentation of several HOKKUS (17 syllables poems). Just one ahead:
OWARÉTÉ MO,
ISOGANU FURI NO;
CHOCHO KANA!
[Ah! the butterfly! The butterfly when chased it never has the air of being in a hurry].
An insect which deserves all respect, amazement, reverence…because of the Buddhist belief: if a butterfly enters your home it should be treated kindly, because it may be the soul of a dead person or of a living one.
Again Lafcadio stresses: most of these “marvelous” stories are Chinese.
As for mosquitoes, though bored at their number in the nearby Buddhist cemetery, they too deserve respect. Any of them may become an incarnation of those dead.
Finally, the ants deserve a special place of evolutionary speculation on the part of Lafcadio, who exalts their practice of “horticulture and agriculture”, their skill in the “cultivation of mushrooms” and other feats.
Though a resident in the Japanese territory for 14 years, Lafcadio had a lot to learn from Japan,…. an immensity …from a different mind. The Buddhist mind.
"In one of his last essays Lafcadio Hearn said that he would like to be buried in the old Buddhist graveyard behind his garden"
in: "Lafcadio Hearn" by Edward Thomas
This is a collection of weird stories taken, mostly, from old Japanese books. Lafcadio acknowledges that many of the stories may have a Chinese origin. Mind you, Lafcadio was a lecturer of English literature in the Imperial university of Tokyo (1896-1903) and a honorary member of the Japan society in London; and he lamented not reading Chinese.
My sensibility guided me especially to the last chapter of the book dedicated to “insect stories” (on butterflies, mosquitoes and ants). His reflections on those animals in parallel with the Buddhist beliefs will astound anyone.
"Deeper thoughts than memory may still be suggested to English poets by the sight of a butterfly and probably will be for hundreds of years to come"
in Interpretations of Literature, by Lafcadio Hearn.
Most interesting (both for me and Lafcadio) were the butterflies’ stories and his presentation of several HOKKUS (17 syllables poems). Just one ahead:
OWARÉTÉ MO,
ISOGANU FURI NO;
CHOCHO KANA!
[Ah! the butterfly! The butterfly when chased it never has the air of being in a hurry].
An insect which deserves all respect, amazement, reverence…because of the Buddhist belief: if a butterfly enters your home it should be treated kindly, because it may be the soul of a dead person or of a living one.
Again Lafcadio stresses: most of these “marvelous” stories are Chinese.
As for mosquitoes, though bored at their number in the nearby Buddhist cemetery, they too deserve respect. Any of them may become an incarnation of those dead.
Finally, the ants deserve a special place of evolutionary speculation on the part of Lafcadio, who exalts their practice of “horticulture and agriculture”, their skill in the “cultivation of mushrooms” and other feats.
Though a resident in the Japanese territory for 14 years, Lafcadio had a lot to learn from Japan,…. an immensity …from a different mind. The Buddhist mind.
"In one of his last essays Lafcadio Hearn said that he would like to be buried in the old Buddhist graveyard behind his garden"
in: "Lafcadio Hearn" by Edward Thomas
December 14, 2020
Θα ήθελα να αναφέρω κάποια στοιχεία για τον συγγραφέα. Γεννήθηκε στην Λευκάδα το 1850 απο Ιρλανδό πατέρα γιατρο και ελληνίδα μητέρα. Ο πατέρας του λογω επαγγ. υποχρεώσεών έφυγε για την Ινδία. Η μητέρα πήρε τους δυο γιούς της στο Δουβλινο όμως χώρισε με τον ανδρα της. Τα παιδια έμειναν εκει και σπουδασαν. Ο Λευκαδιος δεν ξαναειδε την μητερα του. Η μητερα γυρισε στα Κυθηρα. Σαν μεγαλωσε εφυγε στην Αμερικη για καποιο διάστημα. Απο εκει πήγε στην Ιαπωνία για επαγγελματικούς λόγους. Παντρευτηκε εκανε οικογένεια και συνέχισε την συγγραφή ιστοριών. Απεκτησε την Ιαπωνική υπηκοότητα και αλλαξε όνομα καθώς και θρησκεία. Μέσα απο τα έργα του μαθαίνουμε πολλά για τους Ιάπωνες και την ζωή τους την εποχή εκείνη. Πεθανε το 1904. Τουτο το βιβλίο περιέχει σύντομες ιστορίες με σαμουραι φαντασματα και άλλα πολλά.
September 14, 2015
I have started posting reviews again, at the request of my friends. If you like them, please take time to visit my blog also, where I talk about other things in addition to book reviews.
I first encountered Lafcadio Hearn in an Anthology of American stories, in a weird little story: The Boy Who Drew Cats. It was a creepy Japanese fairy tale about a boy whose artistic productions (which were solely of a feline persuasion) came to life and did away with a goblin rat. As a short story, it did not possess much of a literary quality (IMO), so it was filed away somewhere in the back of my mind as a curious little oddity and forgotten.
But Mr. Hearn’s name being very unusual, I remembered the story immediately when I saw this book, almost thirty years after I read it. In the meantime, my interest in myths, legends and fairy tales had become something of a passion. Moreover, I still carried my adolescent love of horror stories and had relatively recently been introduced to Japanese horror, more subtle and frightening than the American variety. So this book was something of a godsend.
Lafcadio Hearn was something of an outsider in the West: his only talent, it seems, was writing gory newspaper reports. As with maverick Westerners in the nineteenth and twentieth centuries, he found refuge in the mystic East; in this case Japan. It is the great fortune of all of us that Hearn decided to translate these creepy gems (which might have remained confined to Japan) for the rest of the world.
***
“Kwaidan” means “Ghost Stories”, which the first part of this collection contains (the second part contains “insect studies” from a “folkloric” standpoint which is not very interesting). These seventeen stories are the traditional “around-the-campfire” type, part and parcel of a people living in tune with their environment not yet spoilt by the encroaching monster of urbanisation. Being from a country full of wood-spirits and water-sprites myself, I could relate.
There is Hoichi, the blind bard who is enchanted into playing for a company of ghosts and who is protected by the Buddhist sutras written upon his body (“Mimi-Nashi-Hoichi”); people turning into trees and trees, into people (“Ubazakura”, “Aoyagi”, “Jio-Roku-Sakura”); and goblins and ghosts galore (“Jikininki”, “Yuki-Onna”, “Rokuro-Kubi” etc.). There are also a couple based on the Japanese belief (now made famous by The Grudge) that a person who dies in great anger leaves behind an angry ghost. I was struck by the similarity of many of these tales to the stories I heard as a child in Kerala – one (“Mujina”) is an exact copy of an urban legend (well, with a different type of ghost) prevalent during the late eighties.
In the second part, Hearn tries to compile legends, myths and beliefs about butterflies, ants and mosquitoes. These make mildly interesting reading, but lacks depth.
A fast read, and a worthwhile one for readers who are interested in the beings which inhabit the primordial depths of our psyche.
I first encountered Lafcadio Hearn in an Anthology of American stories, in a weird little story: The Boy Who Drew Cats. It was a creepy Japanese fairy tale about a boy whose artistic productions (which were solely of a feline persuasion) came to life and did away with a goblin rat. As a short story, it did not possess much of a literary quality (IMO), so it was filed away somewhere in the back of my mind as a curious little oddity and forgotten.
But Mr. Hearn’s name being very unusual, I remembered the story immediately when I saw this book, almost thirty years after I read it. In the meantime, my interest in myths, legends and fairy tales had become something of a passion. Moreover, I still carried my adolescent love of horror stories and had relatively recently been introduced to Japanese horror, more subtle and frightening than the American variety. So this book was something of a godsend.
Lafcadio Hearn was something of an outsider in the West: his only talent, it seems, was writing gory newspaper reports. As with maverick Westerners in the nineteenth and twentieth centuries, he found refuge in the mystic East; in this case Japan. It is the great fortune of all of us that Hearn decided to translate these creepy gems (which might have remained confined to Japan) for the rest of the world.
***
“Kwaidan” means “Ghost Stories”, which the first part of this collection contains (the second part contains “insect studies” from a “folkloric” standpoint which is not very interesting). These seventeen stories are the traditional “around-the-campfire” type, part and parcel of a people living in tune with their environment not yet spoilt by the encroaching monster of urbanisation. Being from a country full of wood-spirits and water-sprites myself, I could relate.
There is Hoichi, the blind bard who is enchanted into playing for a company of ghosts and who is protected by the Buddhist sutras written upon his body (“Mimi-Nashi-Hoichi”); people turning into trees and trees, into people (“Ubazakura”, “Aoyagi”, “Jio-Roku-Sakura”); and goblins and ghosts galore (“Jikininki”, “Yuki-Onna”, “Rokuro-Kubi” etc.). There are also a couple based on the Japanese belief (now made famous by The Grudge) that a person who dies in great anger leaves behind an angry ghost. I was struck by the similarity of many of these tales to the stories I heard as a child in Kerala – one (“Mujina”) is an exact copy of an urban legend (well, with a different type of ghost) prevalent during the late eighties.
In the second part, Hearn tries to compile legends, myths and beliefs about butterflies, ants and mosquitoes. These make mildly interesting reading, but lacks depth.
A fast read, and a worthwhile one for readers who are interested in the beings which inhabit the primordial depths of our psyche.
September 23, 2018
Sizi etkilemek istemem... Ama etkilemek zorundayım; korku, garip, tekinsiz öyküleri, meselleri seviyorsanız, bir batılının gözünden süzülüp gelen bu uzakdoğu mücevherlerini kaçırmayınız. Her seferinde "Bu Uzakdoğuluların sorunu ne dostum?" dedirten türde gelişkin bir tanrılar, canavarlar, türlü varlıklar vitrini. Gülmek, ders almak ve delicesine ürkmek için Can Yayınları sunumuyla sizlerle. Tahmin edilemeyen tedirginlik garantili reçeteler. Üstelik hasta bile değilsiniz. Ayrıca Lafcadio Hearn bunları anlatırken dipnot olarak verdiği bilgiler, "hasta değildiniz ama olacaksınız" pis sırıtışı. Buyrunuz :)
Want to read
June 25, 2017I came across a manga based on Yuki Onna (the Snow Woman) that reminded me that I meant to read this, someday.
July 21, 2024
افسانه های قدیمی ژاپنی برای من فوق العاده جذابن!
یکی از جذابیت هاشون هم اینه که اگر مثلا هزاران افسانه راجع به ارواح مختلف در ژاپن وجود داشته باشه، اکثر این ارواح اسم خاص خودشونو دارن!
مثلا؛
_جیکی نیکی: اگر فردی در زندگیش طمع کار باشه وقتی که بمیره روحش به شکل یک دیو برمیگرده و اجساد مردگان رو میخوره *_*
_روکورو کوبی: ارواح خبیثی که نشانه های قرمز عجیبی با یک سیاهی بر گردنشون دارن و سرهاشون از بدنشون جدا شده و حرکت میکنهO_o
_مونونوکه: ارواح انتقام جو(یا بهطور کلی ارواح در ادبیات کلاسیک ژاپنی و دین عامیانه هستن که گفته شده کارهایی نظیر تسخیر کردن افراد و رنج دادن اونها، بیماری، یا حتی مرگ انجام میدن)•_•
از روی چهار داستانِ این کتاب، یک فیلم سینمایی ساخته شده
که از متفاوت ترین و خاص ترین فیلمهایی بود که دیدم!
اگر عاشق افسانه های ژاپنی یا خود ژاپن هستید قطعا کیف میکنید از دیدنش!!!
اسم فیلم کوایدان هست، به معنی افسانه ها و داستانهای ارواح،
گویا اسم اصلی کتاب هم همینه!
(چه قصد خوندن کتاب رو داشته باشید چه نه، پیشنهاد میکنم حتما فیلم رو ببینید!)
یکی از جذابیت هاشون هم اینه که اگر مثلا هزاران افسانه راجع به ارواح مختلف در ژاپن وجود داشته باشه، اکثر این ارواح اسم خاص خودشونو دارن!
مثلا؛
_جیکی نیکی: اگر فردی در زندگیش طمع کار باشه وقتی که بمیره روحش به شکل یک دیو برمیگرده و اجساد مردگان رو میخوره *_*
_روکورو کوبی: ارواح خبیثی که نشانه های قرمز عجیبی با یک سیاهی بر گردنشون دارن و سرهاشون از بدنشون جدا شده و حرکت میکنهO_o
_مونونوکه: ارواح انتقام جو(یا بهطور کلی ارواح در ادبیات کلاسیک ژاپنی و دین عامیانه هستن که گفته شده کارهایی نظیر تسخیر کردن افراد و رنج دادن اونها، بیماری، یا حتی مرگ انجام میدن)•_•
از روی چهار داستانِ این کتاب، یک فیلم سینمایی ساخته شده
که از متفاوت ترین و خاص ترین فیلمهایی بود که دیدم!
اگر عاشق افسانه های ژاپنی یا خود ژاپن هستید قطعا کیف میکنید از دیدنش!!!
اسم فیلم کوایدان هست، به معنی افسانه ها و داستانهای ارواح،
گویا اسم اصلی کتاب هم همینه!
(چه قصد خوندن کتاب رو داشته باشید چه نه، پیشنهاد میکنم حتما فیلم رو ببینید!)
February 25, 2017
Lafcadio Hearn, çok ayrıksı bir yaşama sahip bir yazar. Hayatının erişkinliğe kadar olan yıllarını Avrupa ve Amerika'da geçiren yazar; sonraki durağı olan Japonya'da deyim yerindeyse büyüleniyor ve Japonya'ya yerleşmenin yanında tam bir Japon olma yolunda kendini geliştirip bir Japon olarak ölüyor. 1800lü yılların sonunda, bu tarz göç ve adaptasyon hikayesi pek çok olan bir şey olmadığından, Hearn bir öncül oluyor ve önemli çalışmalara imza atıyor.
"Kvaidan", Hearn'in Japonya'da iken dinlediği ve derlediği kadim Japon korku hikayelerinden oluşuyor. 20 öykü var içinde. Bazıları Çin kültürü menşeili olan öyküler; günümüzde korkutucu olmaktan ziyade Japon mitolojisinin izlerini sürebileceğimiz halk anlatıları ve efsaneleri olarak değerlendirilebilir. Korku hikayelerinin bir kültür hazinesi olduğunu düşünüyorum. Afrika'nın mistik kabile öyküleri, Avrupa'nın Hristiyanlıkla gelişen, Ortaçağ'da güçlenen şeytan odaklı öyküleri, Müslüman dünyanın Kuran'ı Kerim destekli cinli büyülü öyküleri, İskandinavların mitolojilerine yaslanan epik ve rahatsız edici öyküleri vb... Japonların da bu anlamda dünyanın hiçbir yerinde göremeyeceğimiz zenginlikte birikimleri var. Zaten günümüzde de Japon korku sinemasının bu derece popüler olması, modern zamanlarda gerçek bir korku edebiyatı furyasına tanıklık edebilmiş olmaları hep bundan sebep. Bunun kökenine inmek ve anlayabilmek için bu kısa hikaye kitabı çok güzel bir kaynak. Okurken zaman zaman ismi geçen mistik canlıları internet üzerinden araştırarak çok güzel görsellere de ulaşabilirsiniz.
Kitabın özellikle ilk çocukluk yıllarını atlatmış gençlere çok güzel bir hediye olabileceğini düşünüyorum. Onları korkutmaktan ziyade dünya kültürlerinin çeşitliliği ve zenginliği hakkında; Japonya nezdinde kafalarında bir fikir oluşmasını sağlayacaktır diye umuyorum.
Herkese iyi okumalar!
7/10
"Kvaidan", Hearn'in Japonya'da iken dinlediği ve derlediği kadim Japon korku hikayelerinden oluşuyor. 20 öykü var içinde. Bazıları Çin kültürü menşeili olan öyküler; günümüzde korkutucu olmaktan ziyade Japon mitolojisinin izlerini sürebileceğimiz halk anlatıları ve efsaneleri olarak değerlendirilebilir. Korku hikayelerinin bir kültür hazinesi olduğunu düşünüyorum. Afrika'nın mistik kabile öyküleri, Avrupa'nın Hristiyanlıkla gelişen, Ortaçağ'da güçlenen şeytan odaklı öyküleri, Müslüman dünyanın Kuran'ı Kerim destekli cinli büyülü öyküleri, İskandinavların mitolojilerine yaslanan epik ve rahatsız edici öyküleri vb... Japonların da bu anlamda dünyanın hiçbir yerinde göremeyeceğimiz zenginlikte birikimleri var. Zaten günümüzde de Japon korku sinemasının bu derece popüler olması, modern zamanlarda gerçek bir korku edebiyatı furyasına tanıklık edebilmiş olmaları hep bundan sebep. Bunun kökenine inmek ve anlayabilmek için bu kısa hikaye kitabı çok güzel bir kaynak. Okurken zaman zaman ismi geçen mistik canlıları internet üzerinden araştırarak çok güzel görsellere de ulaşabilirsiniz.
Kitabın özellikle ilk çocukluk yıllarını atlatmış gençlere çok güzel bir hediye olabileceğini düşünüyorum. Onları korkutmaktan ziyade dünya kültürlerinin çeşitliliği ve zenginliği hakkında; Japonya nezdinde kafalarında bir fikir oluşmasını sağlayacaktır diye umuyorum.
Herkese iyi okumalar!
7/10
August 25, 2016
This book is divided into 2 sections, the longer one called "Kwaidan," which means 'weird tales' (there are 17 of them) and a shorter section called "Insect-Studies," which is comprised of 3 different essays about butterflies, mosquitoes and ants. All the writings are from a Japanese perspective, though Hearn points out where the tradition is even older and likely comes from an earlier Chinese telling.
In the "Kwaidan" section I was reminded of other folklorists who've done the same kind of 'archiving' for other communities. The details in the stories may be very different from other traditions, but many times the fears embodied in the stories seem the same, giving them a universal feel. Certain stories even helped explain the modern-day Japanese horror stories and movies in which the spirit cannot rest because of a grudge it held at the time of its earthly death.
I previously knew how much at peace Hearn felt in Japan, knowing that here is where he found his true home, becoming a citizen and marrying a local woman. The well-written essays with his philosophical musings show how much he had embodied the essence of Japan.
In the "Kwaidan" section I was reminded of other folklorists who've done the same kind of 'archiving' for other communities. The details in the stories may be very different from other traditions, but many times the fears embodied in the stories seem the same, giving them a universal feel. Certain stories even helped explain the modern-day Japanese horror stories and movies in which the spirit cannot rest because of a grudge it held at the time of its earthly death.
I previously knew how much at peace Hearn felt in Japan, knowing that here is where he found his true home, becoming a citizen and marrying a local woman. The well-written essays with his philosophical musings show how much he had embodied the essence of Japan.
October 7, 2024
Ik had nog nooit van Lafcadio Hearn gehoord en ook niet van deze verzameling Kwaidan, of Japanse spookverhalen die blijkbaar wel bekendheid en populariteit geniet, gezien het aantal edities dat ik hier aantrof. Mijn eeuwige nieuwsgierigheid naar Japanse cultuur en literatuur (die laatste liefst zonder katten op de cover), twee positieve quoteringen op GR (dank Occy en Bart!) en de uitnodigende cover in de etalage van Cronopio, een parel van een kleine boekhandel in Antwerpen met een verfijnd en uitgelezen aanbod en oog voor Japanse literatuur, zorgden voor een boeiende ontdekking.
Spookverhalen dekt misschien niet helemaal precies de lading, maar dat is dan ook de enige aanmerking die ik heb op dit door Koppernik alweer mooi uitgegeven en door Barbara de Lange knap vertaalde werkje. De verhalen die Lafcadio Hearn - een ruim honderd jaar geleden in Japan geïntegreerde westerling met Grieks-Ierse roots - zijn oud en hebben niet zelden een Chinese oorsprong. Volkslegenden en religieuze tradities met vaak samoerai en monniken als protagonist dragen Hearns voorkeur weg en hij weet de details met de nodige vertaal- en voetnoten te duiden.
Het voelt dan ook aan alsof deze auteur behalve verteller ook onderzoeker wil zijn. Je steekt heel wat op over tradities, gewoonten, animisme en bijgeloof uit het oude Japan. Tegelijk zijn de verhalen fascinerend en gevarieerd. Ik moest daarbij denken aan Spirited away, de nog altijd tot mijn verbeelding sprekende, bekroonde anime van Hayao Miyazaki, waarin ook hoofden voorkomen die los van een lichaam kunnen leven, een figuur zonder gezicht rondloopt en een riviergod en halfdoorzichtige wezens de schemerzone tussen leven en dood bevolken.
Na de spookverhalen volgt nog een kort deel met als titel 'Insectenstudies'. Daarin ontpopt Hearn zich tot een échte onderzoeker die al schrijvende o.a. vergelijkingen maakt tussen de mensenwereld en die van de vlinders, muggen en mieren. Vooral dat laatste essay zorgt voor boeiende filosofische en sociologische inzichten (met het perspectief van Hearns tijd) en zegt tussen de lijntjes ook iets over de Japanse cultuur waarin het individu in dienst staat van de samenleving. Hearn weet zijn gedachten over een samensmelting of opheffing van egoïsme altruïsme helder en verfijnd te verwoorden.
Dat laatste is ook wat Jannie Regnerus zo goed kan in haar romans en reisverhalen. Zij schreef het nawoord bij deze Kwaidan, waarin ze zowel het leven en werk van Hearn onder de loep neemt als put uit haar eigen herinneringen aan een langer verblijf als kunstenaar in Japan. Iets waar ze reeds over schreef in Het geluid van vallende sneeuw. Kortom: intrigerende ontdekking!
Spookverhalen dekt misschien niet helemaal precies de lading, maar dat is dan ook de enige aanmerking die ik heb op dit door Koppernik alweer mooi uitgegeven en door Barbara de Lange knap vertaalde werkje. De verhalen die Lafcadio Hearn - een ruim honderd jaar geleden in Japan geïntegreerde westerling met Grieks-Ierse roots - zijn oud en hebben niet zelden een Chinese oorsprong. Volkslegenden en religieuze tradities met vaak samoerai en monniken als protagonist dragen Hearns voorkeur weg en hij weet de details met de nodige vertaal- en voetnoten te duiden.
Het voelt dan ook aan alsof deze auteur behalve verteller ook onderzoeker wil zijn. Je steekt heel wat op over tradities, gewoonten, animisme en bijgeloof uit het oude Japan. Tegelijk zijn de verhalen fascinerend en gevarieerd. Ik moest daarbij denken aan Spirited away, de nog altijd tot mijn verbeelding sprekende, bekroonde anime van Hayao Miyazaki, waarin ook hoofden voorkomen die los van een lichaam kunnen leven, een figuur zonder gezicht rondloopt en een riviergod en halfdoorzichtige wezens de schemerzone tussen leven en dood bevolken.
Na de spookverhalen volgt nog een kort deel met als titel 'Insectenstudies'. Daarin ontpopt Hearn zich tot een échte onderzoeker die al schrijvende o.a. vergelijkingen maakt tussen de mensenwereld en die van de vlinders, muggen en mieren. Vooral dat laatste essay zorgt voor boeiende filosofische en sociologische inzichten (met het perspectief van Hearns tijd) en zegt tussen de lijntjes ook iets over de Japanse cultuur waarin het individu in dienst staat van de samenleving. Hearn weet zijn gedachten over een samensmelting of opheffing van egoïsme altruïsme helder en verfijnd te verwoorden.
Dat laatste is ook wat Jannie Regnerus zo goed kan in haar romans en reisverhalen. Zij schreef het nawoord bij deze Kwaidan, waarin ze zowel het leven en werk van Hearn onder de loep neemt als put uit haar eigen herinneringen aan een langer verblijf als kunstenaar in Japan. Iets waar ze reeds over schreef in Het geluid van vallende sneeuw. Kortom: intrigerende ontdekking!
December 6, 2017
Not what I expected. This collection came across more like the author telling me ABOUT weird tales than actual storytelling. As a result, it was really hard for me to get into any of them, save for the title story.
August 7, 2020
Olmadı be Lafcadio, sen kalk minnacık adandan çık Japonya’ya git kültürüne merak sal, oku ve kulaktan kulağa yayılan öyküleri derle toparla kitap yap, olacak iş mi demek istiyorum sana.
Olur muydu, olabilirdi belki de, kim bilir belki de olmuştur ama ben anlayamamışımdır seni. Bir Türk’ün gidip Haiku yazması, bir Fransız’ın gelip kaside düzmesi gibiydi bana hissettirdiklerin. Yarım yamalak ve biçimsiz. Kitabı benim için okunur kılan en önemli etmen Aykut Ertuğrul’un açıklayıcı ve akıcı önsözü oldu, bütün kitabı kendisi yazsaymış daha güzel olurmuş hatta.
Kitap Japon kültürüne özgü mini öykülerden oluşuyor. Tarzını nasıl anlatsam bilemiyorum; bizim anneannelerimizin anlatarak çoluk çocuğu korkuttuğu üç harfliler, ayakları ters dönmüş, içine iblis girmiş tuhaf mistik hikayeleri alıp içine Japon kültürüne özgü elementleri ekleyin ve bunu biraz korkutup biraz ders vermek istediğiniz insanlara anlatın dilden dile dolaşsın, işte tam böyle bir eser çıkmış ortaya. Hikayelerin başında okurda uyandırılan merak duygusu, sonunda “bu neydi şimdi?” diye sordurtarak, devamı hiç gelmeyecek bir dizinin ilk bölümünün bitmesi gibi bir his uyandırıyor. Dış etkilere kapalı, bağ kurulması zaten zor olan Japon kültürünün en ücra köşelerinden seçilmiş, üzerimde yankı yaratmayan bir seçmece oldu.
Olur muydu, olabilirdi belki de, kim bilir belki de olmuştur ama ben anlayamamışımdır seni. Bir Türk’ün gidip Haiku yazması, bir Fransız’ın gelip kaside düzmesi gibiydi bana hissettirdiklerin. Yarım yamalak ve biçimsiz. Kitabı benim için okunur kılan en önemli etmen Aykut Ertuğrul’un açıklayıcı ve akıcı önsözü oldu, bütün kitabı kendisi yazsaymış daha güzel olurmuş hatta.
Kitap Japon kültürüne özgü mini öykülerden oluşuyor. Tarzını nasıl anlatsam bilemiyorum; bizim anneannelerimizin anlatarak çoluk çocuğu korkuttuğu üç harfliler, ayakları ters dönmüş, içine iblis girmiş tuhaf mistik hikayeleri alıp içine Japon kültürüne özgü elementleri ekleyin ve bunu biraz korkutup biraz ders vermek istediğiniz insanlara anlatın dilden dile dolaşsın, işte tam böyle bir eser çıkmış ortaya. Hikayelerin başında okurda uyandırılan merak duygusu, sonunda “bu neydi şimdi?” diye sordurtarak, devamı hiç gelmeyecek bir dizinin ilk bölümünün bitmesi gibi bir his uyandırıyor. Dış etkilere kapalı, bağ kurulması zaten zor olan Japon kültürünün en ücra köşelerinden seçilmiş, üzerimde yankı yaratmayan bir seçmece oldu.
September 2, 2021
Phần Yêu quái thì vì toàn truyện kinh điển nên đã lờ mờ đọc hay xem ở đâu rồi. Anw, thường thì thể loại truyện ma quái không được đánh giá cao nhưng các truyện thuộc về dân gian lắc lơ thì rất thú vị. Như đọc Grimm vậy =)) đơn giản nhưng sâu sắc, nhất là vụ "nazoraeru". Đọc giải trí mà không thấy phí thời gian.
Phần Dị trùng thì mới mẻ hơn. Buồn cười nhất vụ con đực chỉ được coi là "cái xấu tất yếu" =))) chắc sẽ đọc lại phần "kiến" một lần nữa. Nhưng có một trùng hợp khiến tôi rất thích cuốn này là đúng khi đọc đến phần "Bướm" thì một con bướm trắng từ vườn bay vào phòng tôi và cứ ở đó tới giờ. Trước đó tôi đang hơi mệt mỏi vì tranh luận trong ngày, tự dưng bỗng thấy nhẹ nhõm, đẹp đẽ vô cùng, bèn đứng dậy xoay xoay vẫy tay như bướm.
Phần Dị trùng thì mới mẻ hơn. Buồn cười nhất vụ con đực chỉ được coi là "cái xấu tất yếu" =))) chắc sẽ đọc lại phần "kiến" một lần nữa. Nhưng có một trùng hợp khiến tôi rất thích cuốn này là đúng khi đọc đến phần "Bướm" thì một con bướm trắng từ vườn bay vào phòng tôi và cứ ở đó tới giờ. Trước đó tôi đang hơi mệt mỏi vì tranh luận trong ngày, tự dưng bỗng thấy nhẹ nhõm, đẹp đẽ vô cùng, bèn đứng dậy xoay xoay vẫy tay như bướm.
May 29, 2015
Sí, lo admito. Soy de esas personas que ven un libro mínimamente relacionado con Japón y se lanzan a por él sin contemplación ninguna. A estas alturas no creo haber sorprendido a nadie, pero el que aún no me conozca ha de saber que siento una irreprimible y a veces preocupante filiación nipona. Y si a esto le añades un elemento de tipo terrorífico, la salivación se multiplica de manera exponencial. Pero a pesar de mis elevadas exigencias, he tenido la suerte de encontrar en el interior de este magnífico volumen que recopila la obra completa de Lafcadio Hearn (figura de vital importancia en la difusión internacional del folclore, mitos y cuentos populares japoneses) todo lo que buscaba. Aunque hay ciertos aspectos estéticos que no me han terminado de convencer, interpretaciones libres que hace el propio Hearn sobre la cultura oriental y el hecho de que algunos cuentos estén a medio terminar, el conjunto de la obra me ha parecido de una calidad y relevancia indudables. Entre las páginas de Kwaidan hallaremos infinidad de historias de carácter trágico o aleccionador protagonizadas por demonios, fantasmas, divinidades sintoístas, espíritus vengativos y otras criaturas sobrenaturales que pudieran pillar desprevenido a todo aquel que esté familiarizado con la visión occidentalizada del terror japonés que hoy día ofrece la industria del entretenimiento. Plagada de notas, referencias, explicaciones aclaratorias y rematada por una excelente introducción que resume la biografía del autor y contextualiza su obra, esta edición de los cuentos escritos por Lafcadio Hearn es una auténtica pieza de coleccionista que ningún amante del género de terror (no digamos ya de lo japonés) debería pasar por alto. Avisados estáis.
July 17, 2015
A much more in-depth look at this book can be found here at my online reading journal; otherwise, here's a brief look.
I'm late to the Lafcadio Hearn party, having only read two stories in this collection before picking up this book -- "The Story of Mimi-Nashi-Hoichi" and "Yuki-Onna," which have long been personal favorites. There are seventeen actual "Kwaidan" in this book, and then a section by Hearn called "Insect Studies," three compositions that in their own right are definitely worth reading. Ranging from out-and-out creepy ghost stories to monks roaming the countryside where various monsters, demons and other creatures seem to abide, there is never a bad note struck throughout the entire collection.
At seventeen stories, I'm not about to go into each one, but my favorites in this volume are "The Story of Mimi-nashi Hoichi," "Yuki-Onna," "Rukoru-Kubi," and "The Dream of Akinosuke." All are intense, and all are simply excellent.
The stories are short but their length doesn't affect their potency; by virtue of being stories that have been handed down over several centuries, the reader also gets a look at ancient Japan from different angles, from the world of the samurai on down to that of the lowliest peasant. It is a world of constant upheaval in terms of the physical world and also vis a vis the traditional social order. One major exception is "Hi-Mawari," a story that takes place in Wales, obviously penned by Hearn himself. After the kaidan section is finished, the reader moves into Hearn's "Insect Studies," where he dwells on butterflies, mosquitoes and ants. While you might be tempted to skip them, don't. They're absolutely fascinating, drawing on traditional folklore, etc. from Japan and China.
I realize that not everyone is going to admire these stories like I do, but I love all things Japanese and this collection was simply superb. It might just be a good opening into all sorts of kaidan for a novice reader, and there are several works available in English that would make for great follow-up reading.
I absolutely loved this book and I can't recommend it highly enough.
I'm late to the Lafcadio Hearn party, having only read two stories in this collection before picking up this book -- "The Story of Mimi-Nashi-Hoichi" and "Yuki-Onna," which have long been personal favorites. There are seventeen actual "Kwaidan" in this book, and then a section by Hearn called "Insect Studies," three compositions that in their own right are definitely worth reading. Ranging from out-and-out creepy ghost stories to monks roaming the countryside where various monsters, demons and other creatures seem to abide, there is never a bad note struck throughout the entire collection.
At seventeen stories, I'm not about to go into each one, but my favorites in this volume are "The Story of Mimi-nashi Hoichi," "Yuki-Onna," "Rukoru-Kubi," and "The Dream of Akinosuke." All are intense, and all are simply excellent.
The stories are short but their length doesn't affect their potency; by virtue of being stories that have been handed down over several centuries, the reader also gets a look at ancient Japan from different angles, from the world of the samurai on down to that of the lowliest peasant. It is a world of constant upheaval in terms of the physical world and also vis a vis the traditional social order. One major exception is "Hi-Mawari," a story that takes place in Wales, obviously penned by Hearn himself. After the kaidan section is finished, the reader moves into Hearn's "Insect Studies," where he dwells on butterflies, mosquitoes and ants. While you might be tempted to skip them, don't. They're absolutely fascinating, drawing on traditional folklore, etc. from Japan and China.
I realize that not everyone is going to admire these stories like I do, but I love all things Japanese and this collection was simply superb. It might just be a good opening into all sorts of kaidan for a novice reader, and there are several works available in English that would make for great follow-up reading.
I absolutely loved this book and I can't recommend it highly enough.
October 16, 2020
In short, this is like reading somebody else tell a story that they had heard from somebody else. Sometimes the author captures what makes the story interesting, sometimes the story is out of place, or misses the tone and narrative suspense of the original.
The essays on ants and butterflies - with translated poetry! - were a pleasant surprise.
The essays on ants and butterflies - with translated poetry! - were a pleasant surprise.
September 11, 2019
Not the best compilation of Japanese tales I've read. I didn't like the author's voice much. Maybe I'll read it again in English to see if it improves. However, in here there's some wide known and interesting tales like Yuki-onna or Urashima Taro.
January 25, 2022
New Orleans writer, Lafcadio Hearn, actually spent much of his life in Japan, and so is best known for his work in awakening the West to Japanese culture and folklore. "Kwaidan: Stories and Studies of Strange Things" is perhaps one of his most famous examples, as cinema-buffs and horror fans likely are familiar with the beautiful 1965 masterpiece by Masaki Kobayashi named simply "Kwaidan" which means "ghost story."
"Kwaidan" is a collection of fairy tales, ghost stories, and tidbits of Japanese culture that he picked up from conversations and readings during his travels, and indeed, some stories feel incomplete or lack context. He admits where the oral tradition and his limited knowledge of the language may fail to adequately capture the essence of certain narrative meanings or religious beliefs. But overall, this is essential reading.
Standouts include "Hoichi The Earless," "The Woman of the Snow," "Rokorokubi," and "Jikininki." In such tales, we've got priests battling flying goblin heads, wives reincarnated to fulfill old promises, faceless yokai spirits, corpse-eating ghouls, and a host of other fantastic tales. One of my favorites concerned the mythical land of Hōrai, and Hearn talks of one of the sites where this legendary place may have really existed. He describes how the air is full of ghosts, which makes the sun shine differently and makes people think the same thoughts and feel the same feelings as people from thousands of years ago. He also describes local customs of the people in the region that contain reminents of ancient magic.
The last third of the book then completely changes course and concerns "Insect Studies" of Japanese and Chinese beliefs regarding butterflies, ants, and mosquitoes. Here, Hearn allows his own voice to be heard as he waxes philosophic over the potential for humans to evolve socially like the ants as well as how ancient beliefs and traditions have led to mosquito infestations in Buddhist graveyards. This section seems to be completely divergent from the ghost story theme, but remains an interesting sampling of the ancient superstitions of the area.
Though definitely a hodgepodge, "Kwaidan" is always engaging, enlightening, awe-inspiring, and entertaining. So while the snows are whirling outside, curl up with some warm sake, turn on a selection of biwa and shamisen music, light some incense, and enjoy your travels. It receives my highest recommendation.
"Kwaidan" is a collection of fairy tales, ghost stories, and tidbits of Japanese culture that he picked up from conversations and readings during his travels, and indeed, some stories feel incomplete or lack context. He admits where the oral tradition and his limited knowledge of the language may fail to adequately capture the essence of certain narrative meanings or religious beliefs. But overall, this is essential reading.
Standouts include "Hoichi The Earless," "The Woman of the Snow," "Rokorokubi," and "Jikininki." In such tales, we've got priests battling flying goblin heads, wives reincarnated to fulfill old promises, faceless yokai spirits, corpse-eating ghouls, and a host of other fantastic tales. One of my favorites concerned the mythical land of Hōrai, and Hearn talks of one of the sites where this legendary place may have really existed. He describes how the air is full of ghosts, which makes the sun shine differently and makes people think the same thoughts and feel the same feelings as people from thousands of years ago. He also describes local customs of the people in the region that contain reminents of ancient magic.
The last third of the book then completely changes course and concerns "Insect Studies" of Japanese and Chinese beliefs regarding butterflies, ants, and mosquitoes. Here, Hearn allows his own voice to be heard as he waxes philosophic over the potential for humans to evolve socially like the ants as well as how ancient beliefs and traditions have led to mosquito infestations in Buddhist graveyards. This section seems to be completely divergent from the ghost story theme, but remains an interesting sampling of the ancient superstitions of the area.
Though definitely a hodgepodge, "Kwaidan" is always engaging, enlightening, awe-inspiring, and entertaining. So while the snows are whirling outside, curl up with some warm sake, turn on a selection of biwa and shamisen music, light some incense, and enjoy your travels. It receives my highest recommendation.
October 6, 2018
Kitabın ilk bölümünde Japonya ve Çin'in geleneksel kültüründen derlenmiş tuhaf daha doğrusu hayaletli, cinli korku hikayeleri var. Aslen Yunan olan Lafcadio Hearn sonradan Japonya'ya yerleşmiş ve kendini bu ülkeye ait hissetmiş. Bu arada da hayran olduğu uzak doğu kültürünü tanıtmak için elinden geleni yapmış. Kitaptaki öyküler sözlü edebiyatın tüm özelliklerini taşıyor. Okurken kendi nineniz sanki size cinli, hortlaklı mezarlık öyküleri anlatıyor gibi hissediyorsunuz. Çocukken okusam mutlaka etkilenirdim. İyi ki o zaman okumamışım :=) bu yaşımda ise açıkçası okumasam da olurmuş.
ikinci bölümün daha keyifli bir okuma sunduğunu söyleyebilirim. uzak doğu kültüründe kelebekler, böcekler ve karıncalarla ilgili mitler deneme formatında, Lafcadio Hearn'ın dilinden nefis anlatılmış. Özellikle Karıncalar ile ilgili bölümde doğru ve batı toplumlarında, bireysellik, ideal toplum, özgürlük, sorumluluk üzerine Hearn hem kendi fikirlerini hem de öncülü filozofların görüşlerini aktarmış.
ikinci bölümün daha keyifli bir okuma sunduğunu söyleyebilirim. uzak doğu kültüründe kelebekler, böcekler ve karıncalarla ilgili mitler deneme formatında, Lafcadio Hearn'ın dilinden nefis anlatılmış. Özellikle Karıncalar ile ilgili bölümde doğru ve batı toplumlarında, bireysellik, ideal toplum, özgürlük, sorumluluk üzerine Hearn hem kendi fikirlerini hem de öncülü filozofların görüşlerini aktarmış.
July 4, 2025
La raccolta che ho appena finito di leggere, trattasi di un libro diviso in due parti: la prima di storie spaventose dal Giappone di yōkai, fantasmi e demoni, appunto i Kwaidan, storie straordinarie, piene d'atmosfera e ricche del folklore dell'antico Giappone; poi una seconda dedicata a degli studi fatti dall'autore sugli insetti. Io mi chiedo il perchè di questa parte. Che senso avrebbe, in questo libro? Boh!
Poi vorrei fare due appunti sull'edizione, che mi ha fatto girare la testa fin da subito e che mi ha rovinato e non poco la lettura: perchè ci sono così tante pagine bianche e un font così mastodontico? Perchè le immagini/illustrazioni sono tutte al centro e poi, soprattutto, perchè non c'entrano nulla con i racconti raccolti qui?
Non capisco :S
https://www.youtube.com/watch?v=dJi6y...
Poi vorrei fare due appunti sull'edizione, che mi ha fatto girare la testa fin da subito e che mi ha rovinato e non poco la lettura: perchè ci sono così tante pagine bianche e un font così mastodontico? Perchè le immagini/illustrazioni sono tutte al centro e poi, soprattutto, perchè non c'entrano nulla con i racconti raccolti qui?
Non capisco :S
https://www.youtube.com/watch?v=dJi6y...
April 13, 2021
Para el lector de Lafcadio Hearn en español no hay otro libro como este: Valdemar reúne aquí los mejores cuentos japoneses de fantasmas, haciendo un recorrido por toda la obra fantástica del autor. Lectura obligada junto con el ya mencionadísimo
En el país de los dioses
de Acantilado, pues entre ambos conforman la visión integral de Hearn. Voy más lejos y me atrevo a decir que el resto de libros suyos publicados en nuestra lengua son como las piezas del cielo en un gran puzzle: conforman el marco de la imagen, pero sin aportar ningún detalle significativo, y quienes no estén enamorados del tuertecillo adorable pueden obviarlos.
Hay tantos relatos reunidos en este volumen que es difícil exponer alguno en concreto, sobre todo teniendo en cuenta que la extensión media de cada uno no llegará a las diez páginas. Es, por lo tanto, un libro para ir catando a sorbitos de vez en cuando, y en mi opinión no es bueno empacharse metiéndose más de cuatro o cinco textos seguidos. Al acabarlo, la sensación es la de haber hecho un gran viaje. Melancolía instantánea.
Sobre la edición de Valdemar, comentar un par de cosillas que no me han gustado. La primera, el extenso prólogo, que a ratos tira más de cotilleo que otra cosa. Se me hizo pesado e innecesario. La segunda y más grave, la decisión de incluir un tomo póstumo popurrí de cuentos, cuya autoría en varios casos es desconocida y se la encasquetan a Hearn sin más. El tono de estas historias es relajado, muy divulgativo —a veces parece que se trata de un libro escolar—, y choca con el resto de manera estrepitosa. Algo difícil de comprender, pues cerrar con el último cuento del Kwaidan original, que además es una especie de ensayito sobre el reino de las hadas nipón, habría sido redondo. No obstante, sería injusto que lo que considero un criterio editorial equivocado afecte a mi valoración, de modo que mantengo la nota máxima. Eso sí: recomiendo encarecidamente no leer esta parte (que serán unas treinta páginas) o hacerlo en algún otro momento distinto al final.
Hay tantos relatos reunidos en este volumen que es difícil exponer alguno en concreto, sobre todo teniendo en cuenta que la extensión media de cada uno no llegará a las diez páginas. Es, por lo tanto, un libro para ir catando a sorbitos de vez en cuando, y en mi opinión no es bueno empacharse metiéndose más de cuatro o cinco textos seguidos. Al acabarlo, la sensación es la de haber hecho un gran viaje. Melancolía instantánea.
Sobre la edición de Valdemar, comentar un par de cosillas que no me han gustado. La primera, el extenso prólogo, que a ratos tira más de cotilleo que otra cosa. Se me hizo pesado e innecesario. La segunda y más grave, la decisión de incluir un tomo póstumo popurrí de cuentos, cuya autoría en varios casos es desconocida y se la encasquetan a Hearn sin más. El tono de estas historias es relajado, muy divulgativo —a veces parece que se trata de un libro escolar—, y choca con el resto de manera estrepitosa. Algo difícil de comprender, pues cerrar con el último cuento del Kwaidan original, que además es una especie de ensayito sobre el reino de las hadas nipón, habría sido redondo. No obstante, sería injusto que lo que considero un criterio editorial equivocado afecte a mi valoración, de modo que mantengo la nota máxima. Eso sí: recomiendo encarecidamente no leer esta parte (que serán unas treinta páginas) o hacerlo en algún otro momento distinto al final.
July 15, 2024
تقریبا یک سوم از کتاب حالت essay داره و بی ربط به مابقی کتاب.
داستانها اما بی اندازه اتمسفریک، خارج از فورمول و سرشار از موتیف های ژاپنی هستن و برای علاقمندان به فولکلر منبع سرخوش کننده ای از اشارات به زندگی روزمره مردم ژاپنِ قدیم الایام.
داستانها اما بی اندازه اتمسفریک، خارج از فورمول و سرشار از موتیف های ژاپنی هستن و برای علاقمندان به فولکلر منبع سرخوش کننده ای از اشارات به زندگی روزمره مردم ژاپنِ قدیم الایام.
January 26, 2025
I have always found reading folklores and ghost stories soothing; this is no exception.
I highly recommend checking out Masaki Kobayashi's Kwaidan (1964), which is based on four of the tales in this collection.
3.5 stars
I highly recommend checking out Masaki Kobayashi's Kwaidan (1964), which is based on four of the tales in this collection.
3.5 stars
October 8, 2018
Cuốn này đã nằm trong wishlist sinh nhật tớ ngay từ lúc tớ đọc bài giới thiệu của IPM, và vốn bản tính sợ ma sợ quỷ nhưng lại tò mò và thích đọc về ma quỷ, tớ háo hứng đến ngày được đọc vô cùng. Bạn tớ đặt trước trên Fahasa để ship thẳng tới nhà tớ khi có hàng, nhưng đợi cũng khá lâu mới có sách đọc. Cuốn này tớ cũng buddy read cùng Chee nữa, nên khởi đầu hồi hộp lắm =)) Đúng ra là định để tháng 10 đọc cho Halloween nhưng mà đọc trước để tháng 10 up review cũng hợp không khí mà nhở =))
Tớ đọc cuốn này mỗi ngày một truyện, thường là vào buổi tối mỗi ngày đi làm về, có truyện dài, có truyện thì ngắn lắm, được 2-3 trang là hết. Những câu truyện mang hơi hướng của truyện dân gian, có cái gì đấy giống với truyện cổ tích đánh yêu quái của Việt Nam vậy. Các nhân vật cũng có những kẻ mộng mơ, người anh hùng, mỹ nhân, yêu quái yêu tinh, hay những điều kì lạ trong đời sống.
“Quái đàm” được chia làm hai phần chính, một là “Yêu quái”, hai là “Dị trùng”. Những truyện đầu tạo cảm giác giống được kể truyền miệng hơn; ngược lại những truyện gần cuối tác giả chiêm nghiệm và đưa suy nghĩ cùng cảm xúc của bản thân vào nhiều hơn hẳn.
Điều tớ ưng ở cuốn này là có những truyện có phần tả cảnh mê phết—như đoạn trích bên dưới, hoăc không gian truyện kì bí mộng ảo khá là bay. Với một người thích đọc văn tả cảnh như tớ thì những đoạn không gian trong truyện đẹp đẽ hay kì dị đều làm tớ hứng thú, kiểu tăng thêm độ creepy cho câu chuyện vậy.
Điều tớ không ưng ở cuốn này là có những truyện kết nhanh quá =)) Nói thế nào nhỉ, thanh niên quen với plot twist các kiểu con đà điểu rồi, bỗng nhiên đọc truyện mà vừa thấy hơi twist thì truyện kết cái rụp. Làm tớ kiểu Ơ ơ thế thôi á? Mỗi thế thôi? =)) Cái kết chóng vánh và lãng xẹt oimeoi đúng phong cách của truyện dân gian. Bên cạnh đó thì cũng có truyện kết day dứt phết, không bị nhạt nhòa mà đem đến cảm giác sâu lắng cho truyện.
Vì thế tổng kết lại, đây không hề là một cuốn sách chán ngán, vẫn có những cái hay độc đáo riêng, nhưng nói thật em nó không như mong đợi của tớ sau khi đọc bài giới thiệu của IPM và bìa 4.
Tiki đang off 40% anh em có thử tí cho biết =)))
Tớ đọc cuốn này mỗi ngày một truyện, thường là vào buổi tối mỗi ngày đi làm về, có truyện dài, có truyện thì ngắn lắm, được 2-3 trang là hết. Những câu truyện mang hơi hướng của truyện dân gian, có cái gì đấy giống với truyện cổ tích đánh yêu quái của Việt Nam vậy. Các nhân vật cũng có những kẻ mộng mơ, người anh hùng, mỹ nhân, yêu quái yêu tinh, hay những điều kì lạ trong đời sống.
“Quái đàm” được chia làm hai phần chính, một là “Yêu quái”, hai là “Dị trùng”. Những truyện đầu tạo cảm giác giống được kể truyền miệng hơn; ngược lại những truyện gần cuối tác giả chiêm nghiệm và đưa suy nghĩ cùng cảm xúc của bản thân vào nhiều hơn hẳn.
Điều tớ ưng ở cuốn này là có những truyện có phần tả cảnh mê phết—như đoạn trích bên dưới, hoăc không gian truyện kì bí mộng ảo khá là bay. Với một người thích đọc văn tả cảnh như tớ thì những đoạn không gian trong truyện đẹp đẽ hay kì dị đều làm tớ hứng thú, kiểu tăng thêm độ creepy cho câu chuyện vậy.
Điều tớ không ưng ở cuốn này là có những truyện kết nhanh quá =)) Nói thế nào nhỉ, thanh niên quen với plot twist các kiểu con đà điểu rồi, bỗng nhiên đọc truyện mà vừa thấy hơi twist thì truyện kết cái rụp. Làm tớ kiểu Ơ ơ thế thôi á? Mỗi thế thôi? =)) Cái kết chóng vánh và lãng xẹt oimeoi đúng phong cách của truyện dân gian. Bên cạnh đó thì cũng có truyện kết day dứt phết, không bị nhạt nhòa mà đem đến cảm giác sâu lắng cho truyện.
Vì thế tổng kết lại, đây không hề là một cuốn sách chán ngán, vẫn có những cái hay độc đáo riêng, nhưng nói thật em nó không như mong đợi của tớ sau khi đọc bài giới thiệu của IPM và bìa 4.
Tiki đang off 40% anh em có thử tí cho biết =)))
March 3, 2011
I recently joined the group "Friends of Lafcadio Hearn" here on GR's without knowing who he was. So I did my research. He was a British/Greek/American author, who moved to Japan in 1890, and was key in introducing Japanese culture to the West.
Kwaidan is a collction of 20 short, strange tales, taken from old Japanese books - a ghostly woman dressed in white appears before a young woodcutter and makes him promise never to tell, a mysterious face shows up in a cup of tea, a girl with no features has a face as smooth as an egg. And there are samurais, monsters, floating heads and much more. Bizaare and full of the supernatural, Kwaidan is a look into Japan's past. It's fun and easy to read.
Here's the link for the "Friends of Lafcadio Hearn" group for anyone who might be interested.
http://www.goodreads.com/group/show/4...
Kwaidan is a collction of 20 short, strange tales, taken from old Japanese books - a ghostly woman dressed in white appears before a young woodcutter and makes him promise never to tell, a mysterious face shows up in a cup of tea, a girl with no features has a face as smooth as an egg. And there are samurais, monsters, floating heads and much more. Bizaare and full of the supernatural, Kwaidan is a look into Japan's past. It's fun and easy to read.
Here's the link for the "Friends of Lafcadio Hearn" group for anyone who might be interested.
http://www.goodreads.com/group/show/4...
March 31, 2021
Leer una obra de Lafcadio Hearn es adentrarse en un viaje al pasado. Puedes sentir la fascinación por un universo desconocido en donde conviven con total naturalidad samurais, geishas, monjes, shoguns y campesinos junto a espectros, fantasmas, criaturas medio humanas y medio animales y, en definitiva, todo tipo de integrantes de uno de los folclores mitológicos más interesantes que puedes descubrir.
Es cierto que para disfrutar de ese viaje es necesario tratar de adaptarse a la peculiar manera que tienen de entender la vida en el lejano oriente. La filosofía budista, así como toda clase de corrientes religiosas que recorren la geografía del país nipón, está plagada de dogmas en los que la virtud de los hombres acapara un papel destacado en su integridad. A través de los numerosísimos relatos que recopila Hearn en este libro, vamos entendiendo como las acciones que realizamos en nuestra vida tienen consecuencias inmediatas, tanto en esta plano de existencia como en los siguientes. Las personas que obran guiados por esos dogmas verán recompensadas su devoción, mientras que aquellos que actúan lejos de ellos terminan sufriendo las terribles consecuencias de sus actos.
Eso convierte este maravilloso libro en una sucesión de relatos en los que descubrirás todo tipo de criaturas. Algunas fascinantes, capaces de llenar tu corazón de alegría, aportarte riquezas o satisfacer los deseos más humanos que que van desde lo económico al más puro amor. Pero también nos encontramos con el lado oscuro del camino, plagado de fantasmas vengativos y rencorosos que esperan su momento para reclamar lo que es suyo.
Los relatos suceden sin pausa y tienen la capacidad de fascinación propia de Lafcadio, encargado de recopilar todas esas historias olvidadas para mostrarlas al público occidental. Todo un deleite imaginativo que convierte una recopilación como esta en toda una referencia en cuanto a las historias fantásticas del país del sol naciente.
En definitiva, una auténtica invitación a una manera de entender el mundo que huele a magia por todos lados.
September 24, 2019
Imprimiendo un toque personal, un extranjero se dedica a recoger leyendas tradicionales de Japón. A lo largo de los relatos predomina el componente fantasmagórico, con espectros relacionados con maldiciones que persiguen a los protagonistas. El amor, generalmente trágico, es también un hilo frecuente que recorre este volumen, donde también asistimos a originales mezclas de terror con humor y trasfondos llenos de sueños y fantasía. Aparecen algunas leyendas muy famosas, como la de Taro Urashima, intercaladas con otras leyendas de fuentes muy variadas e incluso relatos inventados por el autor.
Cito mis relatos favoritos:
"La historia de Mimi-Nashi-Hoïchi" - un músico ciego acude a tocar de forma clandestina a una audiencia privada de un importante mandatario.
"El sueño de Akinosuké" - un joven que va al campo con sus amigos se queda dormido y sueña un aparente mundo ideal mientras recorre los pasillos de un gran palacio.
"La historia de Aoyagi" - un soldado hace una parada en una colina, refugiándose en una cabaña donde conoce a la familia de una chica muy especial.
"Urashima" - la conocida historia del pescador Taro Urashima, quien descubre a una mujer en el mar... y también encuentra una maldición.
"La monja del templo de Amida" - una mujer encadena una serie de desgracias que le hacen convertirse en monja y dedicarse a cultivar lo pequeño.
Cito mis relatos favoritos:
"La historia de Mimi-Nashi-Hoïchi" - un músico ciego acude a tocar de forma clandestina a una audiencia privada de un importante mandatario.
"El sueño de Akinosuké" - un joven que va al campo con sus amigos se queda dormido y sueña un aparente mundo ideal mientras recorre los pasillos de un gran palacio.
"La historia de Aoyagi" - un soldado hace una parada en una colina, refugiándose en una cabaña donde conoce a la familia de una chica muy especial.
"Urashima" - la conocida historia del pescador Taro Urashima, quien descubre a una mujer en el mar... y también encuentra una maldición.
"La monja del templo de Amida" - una mujer encadena una serie de desgracias que le hacen convertirse en monja y dedicarse a cultivar lo pequeño.
Displaying 1 - 30 of 749 reviews