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Yukio Mishima
Reviews Mishima's life and times, discusses, his major works, and looks at important themes in his novels
200 pages, Hardcover
First published October 1, 1989
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Displaying 1 - 2 of 2 reviews
April 1, 2023
Oh dear. This is an analysis of the work of Yukio Mishima, but Peter Wolfe has selected a subject whom he doesn’t particularly like!
Writing in the 1980s, Wolfe assumes right wing political movements are backward-looking and irrelevant. He was wrong at the time and looks even more blinkered today.
This is a boring, stodgy book. “Mishima’s writing takes us to Japan” Wolfe concludes, but he also asserts that Mishima failed to create “a body of work Japanese in sensibility.” Wolfe’s distance from Japan, and his need to approach Mishima through translation, does not prevent this beleaguered biographer from making such sweeping (and inane) judgments.
Much of the book, especially the chapters on The Sea of Fertility tetralogy, are mere plot recitation. Wolfe is especially awkward in his encounters with male sexuality. He is quick to label “deviancy” as representing evil and corruption, seemingly without grasping the context of Japanese history and culture.
Why 3 stars and not less? I feel sorry for the poor guy — labouring over his assigned chore, spending so much time with books that remained unfathomable. This author is confounded by his topic, in over his head, and flailing.
I added the cover here. This wholesome preppy image of Mishima says a lot about what this biography finds presentable. No shirtless muscle fanatic brandishing a sword for this book!
Writing in the 1980s, Wolfe assumes right wing political movements are backward-looking and irrelevant. He was wrong at the time and looks even more blinkered today.
This is a boring, stodgy book. “Mishima’s writing takes us to Japan” Wolfe concludes, but he also asserts that Mishima failed to create “a body of work Japanese in sensibility.” Wolfe’s distance from Japan, and his need to approach Mishima through translation, does not prevent this beleaguered biographer from making such sweeping (and inane) judgments.
Much of the book, especially the chapters on The Sea of Fertility tetralogy, are mere plot recitation. Wolfe is especially awkward in his encounters with male sexuality. He is quick to label “deviancy” as representing evil and corruption, seemingly without grasping the context of Japanese history and culture.
Why 3 stars and not less? I feel sorry for the poor guy — labouring over his assigned chore, spending so much time with books that remained unfathomable. This author is confounded by his topic, in over his head, and flailing.
I added the cover here. This wholesome preppy image of Mishima says a lot about what this biography finds presentable. No shirtless muscle fanatic brandishing a sword for this book!
August 21, 2011
There are no thunderbolts, but interesting analysis.
He doesn't bring much to "The Sound of Waves", but he's probably assuming you can work that one out for yourself.
I don't think I entirely agree with his take on Ryuji's consent to the ending of "The Sailor Who Fell from Grace with the Sea". But I need to re-read and see.
I'm more forgiving of "Forbidden Colours". Peter finds faults with the plotting and characterisation; he seems to think that your young male characters have to be more than just sexy.
In fact, he's rather cruel about Kiyoaki in "Spring Snow"; calls him a "first-rate brat". Peter would have liked more from Satoko, says she's the best woman Mishima ever wrote and much more interesting than Kiyo.
Peter makes a small mistake about "Thirst for Love" that confused me and started me thinking that I'd made a horrible mistake. The POW in Siberia is Yakichi's son not, as Peter suggests, his son-in-law. I've gone back to check. It's important because it would mean that the woman living in the house would be his daughter, rather than his daughter-in-law.
He doesn't bring much to "The Sound of Waves", but he's probably assuming you can work that one out for yourself.
I don't think I entirely agree with his take on Ryuji's consent to the ending of "The Sailor Who Fell from Grace with the Sea". But I need to re-read and see.
I'm more forgiving of "Forbidden Colours". Peter finds faults with the plotting and characterisation; he seems to think that your young male characters have to be more than just sexy.
In fact, he's rather cruel about Kiyoaki in "Spring Snow"; calls him a "first-rate brat". Peter would have liked more from Satoko, says she's the best woman Mishima ever wrote and much more interesting than Kiyo.
Peter makes a small mistake about "Thirst for Love" that confused me and started me thinking that I'd made a horrible mistake. The POW in Siberia is Yakichi's son not, as Peter suggests, his son-in-law. I've gone back to check. It's important because it would mean that the woman living in the house would be his daughter, rather than his daughter-in-law.
Displaying 1 - 2 of 2 reviews