Dear Behold My Swarthy Face:
Columbia University Press is pleased to announce the publication of Light and Dark: A Novel by Natsume Sōseki, translated and with an Introduction by John Nathan.
• Natsume Sōseki is widely regarded as one of Japan’s greatest writers.
• Light and Dark is considered Soseki’s masterpiece, yet remained unfinished at the time of his death.
• Previously considered untranslatable, the work has largely been unavailable to an English reading audience until now.
• A substantive introduction by Nathan discusses the importance of the novel in Soseki’s canon and its overall place in modern Japanese literature.
Light and Dark, Natsume Sōseki’s longest novel and masterpiece, although unfinished, is a minutely observed study of haute-bourgeois manners on the eve of World War I. It is also a psychological portrait of a new marriage that achieves a depth and exactitude of character revelation that had no precedent in Japan at the time of its publication and has not been equaled since. With Light and Dark, Soseki invented the modern Japanese novel.
Recovering in a clinic following surgery, thirty-year-old Tsuda Yoshio receives visits from a procession of intimates: his coquettish young wife, O-Nobu; his unsparing younger sister, O-Hide, who blames O-Nobu’s extravagance for her brother’s financial difficulties; his self-deprecating friend, Kobayashi, a ne’er-do-well and troublemaker who might have stepped from the pages of a Dostoevsky novel; and his employer’s wife, Madam Yoshikawa, a conniving meddler with a connection to Tsuda that is unknown to the others. Divergent interests create friction among this closely interrelated cast of characters that explodes into scenes of jealousy, rancor, and recrimination that will astonish Western readers conditioned to expect Japanese reticence.
Released from the clinic, Tsuda leaves Tokyo to continue his convalescence at a hot-springs resort. For reasons of her own, Madam Yoshikawa informs him that a woman who inhabits his dreams, Kiyoko, is staying alone at the same inn, recovering from a miscarriage. Dissuading O-Nobu from accompanying him, Tsuda travels to the spa, a lengthy journey fraught with real and symbolic obstacles that feels like a passage from one world to another. He encounters Kiyoko, who attempts to avoid him, but finally manages a meeting alone with her in her room. Sōseki’s final scene is a sublime exercise in indirection that leaves Tsuda to “explain the meaning of her smile.”
Natsume Sōseki (1867–1916) was the foremost Japanese novelist of the Meiji period, known for his books Kokoro, Botchan, and I Am a Cat. He is also the author of Theory of Literature and Other Critical Writings.
John Nathan is Takashima Professor of Cultural Studies at the University of California, Santa Barbara.
Part of the series Weatherhead Books on Asia
To find out more about this book click on this link.
With best wishes,
Columbia University Press
Wednesday, January 15, 2014
Wednesday, January 1, 2014
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Tuesday, November 26, 2013
This just in from Columbia University Press....
Columbia University Press is pleased to announce the publication of The Frontier Within: Essays by Abe Kōbō, Edited, translated, and with an introduction by Richard F. Calichman.
· Abe Kōbō was one of Japan’s greatest postwar writers, known for his novels and plays.
· This book provides a selection of Abe’s lesser known critical essays, which cover his thoughts on literature, history, art, politics, and philosophy.
· Allows readers of Abe’s fiction to more fully appreciate the context in which he operated.
· A substantive introduction by Calichman introduces readers to Abe the critic and intellectual and the historical context and intellectual currents that affected his work.
Abe Kōbō (1924–1993) was one of Japan’s greatest postwar writers, widely recognized for his imaginative science fiction and plays of the absurd. However, he also wrote theoretical criticism for which he is lesser known, merging literary, historical, and philosophical perspectives into keen reflections on the nature of creativity, the evolution of the human species, and an impressive range of other subjects.
Abe Kōbō tackled contemporary social issues and literary theory with the depth and facility of a visionary thinker. Featuring twelve essays from his prolific career—including “Poetry and Poets (Consciousness and the Unconscious),” written in 1944, and “The Frontier Within, Part II,” written in 1969—this anthology introduces English-speaking readers to Abe Kōbō as critic and intellectual for the first time.
Demonstrating the importance of his theoretical work to a broader understanding of his fiction—and a richer portrait of Japan’s postwar imagination—Richard F. Calichman provides an incisive introduction to Abe Kōbō’s achievements and situates his essays historically and intellectually.
Richard F. Calichman is professor of Japanese studies at the City College of New York, CUNY. His previous publications include Overcoming Modernity: Cultural Identity in Wartime Japan; Contemporary Japanese Thought; What is Modernity?: Writings of Takeuchi Yoshimi; and Takeuchi Yoshimi: Displacing the West.
"The Frontier Within redresses the lopsided and biased understanding of Abe Kōbō as solely a writer of fiction. First and foremost a thinker, he was extremely conscious of the fundamental conditions in which language operated and human existence was formed. The essays in this volume provide wonderful insight into Abe Kōbō’s engagement with imperialism, border creation, postwar ‘democracy,’ U.S.–Japan relations, and postwar Japanese Marxism." —Atsuko Ueda, Princeton University, coeditor of Theory of Literature and Other Critical Writings Part of the series Weatherhead Books on Asia To find out more about this book click on this link.
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Wednesday, February 6, 2013
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Lit 365: Morrison
“There are moments when the radical gesture is to do nothing”–Slavoj Žižek, March 14, 2007 interview with Soft Targets.
1. Hachiman 八幡: “One of the most popular Shinto deities of Japan; the patron deity of the Minamoto clan and of warriors in general; often referred to as the god of war. Hachiman is commonly regarded as the deification of Ojin, the 15th emperor of Japan. He is seldom worshipped alone, however, and Hachiman shrines are most frequently dedicated to three deities, the emperor Ojin, his mother the empress Jingo, and the goddess Hime-gami” (Schadé).
2. Hachimangū 八幡宮。A Shintō shrine dedicated to the gods of war; in this story, probably the Tomioka Hachiman located in the blue-collar Fukagawa district of Tokyo. One of more than sixty Hachiman shrines in Tokyo, the Tomioka Hachiman Shrine 富岡八幡神宮 was built around 1625, and is dedicated to the war god, Hachiman. Many of Japan’s major cities— especially cities that have served at the headquarters of the bakufu military government— have shrines to Hachiman.
3. Firebombing of Tokyo 東京大空襲: A total of sixty-seven Japanese cities were firebombed by US forces during WWII. The firebombing of Tokyo began in early 1945 and continued up through the final days of the war. The worst damage was suffered on Mach 10, 1945, when approximately 100,000 civilians were killed and over 1,000,000 homes destroyed. Other than the nuclear attacks on Hiroshima and Nagasaki, the March 10 Tokyo air raids proved to be the deadliest single attack on the Japanese mainland by US forces. The bombing referred to in this story is the infamous March 10 bombing.
4. Kyōka 狂歌: “Mad poems. Waka with a humorous or witty cast of language or thought,” and goes on to note that “word plays involving several meanings were especially popular” (PCJL, 287). The genre, it points out, was intended to “appeal to a popular audience” (287). Among the major collections of kyōka, which is said to begin with the Gyōgetsubō’s Sake Hyakushu in the early 14th century, is the joint work of Ōta Nampo and Akera Kankō, titled Manzai Kyōkashū and compiled in 1783 (361). The PCJL also notes in the same entry: “Kyōka – ‘mad waka’ – were composed from fairly early times, as early as the Kamakura period. But at that period waka was so highly esteemed that ‘mad waka’ was a contradiction in terms, an oxymoron. That fact explains why kyōka really developed in Muromachi, and chiefly in Edo, times. Given the cultivation necessary to effect difference, and the desire to write poems that made the difference, it will be clear that the practice was chiefly that of the warrior aristocracy and of learned townspeople” (360).
5. Ōta Nanpo 大田南畝 (1749-1823), aka Shokusanjin 蜀山人: a late Edo writer of kyōka and kyōshi poetry, who also wrote kokkeibon, hanashibon, kibyōshi and other kinds of prose. He is best remembered though for his seminal works of poetry, most notably Shokusan hyakushu 蜀山百首 (1818), Manzaishū 万歳集 (A Thousand Centuries of Kyōka, 1783), and Neboke sensei bunshū 寝惚先生文集 (Professor Sleepy Head’s Poems, 1767) (PCJL, 216). According to Tyler, he was “the grand master of the kyōka coteries,” and was both a “samurai bureaucrat and a literary light” (188). He was to twentieth-century writers Ishikawa and Kafū the supreme model of Edo culture and elegance, admired for his “anti-establishment stance and iconoclastic humor, his cultivated air of aloofness, his uncompromising adroitness at playing the game of public versus private personae (omote/ura), his disdain for personal revelation, and his ability to generate fictions or fabrications that have an artistic integrity independent of the author’s life” (189). In a time when the I-novel dominated literary salons, “Ishikawa surely found Nanpo’s ‘shadowless’ transparency to be enviably cool” (189).
6. Epiphany: “A Moment of sudden insight. With an upper case ‘e’, Epiphany is a Christian festival that celebrates the appearance of Christ in this world to the Magi, and is celebrated on January 6. In a literary context, it retains a sense of higher, sometimes mystical awareness of how the world actually is (a form of subjective truth). There are many authors, such as George Herbert and William Wordsworth, whose poems seem to contain epiphanic moments. But the term is specifically associated with James Joyce, who used the term himself, and whose characters (particularly those in Dubliners) undergo moments of epiphany. Joyce thought it was the writer’s task to record these flashes of truth when they appear” (Auger, 100).
7. Transcendent Impulse: My term for the impulse (toward transcendence or some sort of mystical experience) that is discernible in many of Ishikawa’s narrators. Needless to say, this impulse is always thwarted by the conditions of reality.
8. Emperor Mu of the Zhou Dynasty (周穆王; circa 985-907 BC) and the Eight Stallions: “The Eight horses of Emperor Mu was a popular decoration on porcelain from the Transitional into the Yongzheng period (1723-35). The story originates from a historical romance, the Mu tianzhi zhuan (An Account of Emperor Mu), which describes the journeys of the fifth emperor of the Zhou dynasty (1023-983 BC) during which he met Xi Wang Mu, the Queen Mother of the West, at Yaozhi (the Jade Pond).
During these travels the emperor’s chariot was pulled by eight horses named after the color of their hair. Another account, the fourth-century book the Shiyiji (Researches into Lost Records) has it that the horses’ names reflected their unusual talents; Number 1 gallops without touching the ground; Number 2 runs faster than birds; Number 3 goes especially fast at night; Number 4 goes as fast as the shadow of the sun; Number 5 is especially well-groomed with a splendid mane; Number 6 runs so fast that one can see a row of ten images of him; Number 7 rides on a cloud; Number 8 has wings.
The Eight Horses of Wang Mu became a popular subject among later poets and artists and a symbol for the vehicle or journeys of any emperor” (Gotheborg).
9. The Toribeno Cemetary 鳥辺野: the customary site for cremation and burial in Kyoto, in the western slopes of Higashiyama. It appears in Genji monogatari and is referred to in the Hōjōki.
10. Bunjin 文人: Literati; Japanese term equivalent to the Chinese wenren, designating those who devoted themselves to studying literature and the arts” (Frédéric, 91).
11. Superfluous Man (or lishny chelovek in Russian): “a character type whose frequent recurrence in 19th-century Russian literature is sufficiently striking to make him a national archetype. He is usually an aristocrat, intelligent, well-educated, and informed by idealism and goodwill but incapable, for reasons as complex as Hamlet’s, of engaging in effective action” (Encyclopedia Britannica). Though Watashi gives us no clues regarding his family’s social status, he certainly fits the rest of this description.
Answer all of the following.
1. Describe the narrative structure. Where is the narrator situated temporally in relation to the events he is describing?
2. Give a concise summary of the story.
3. Discuss the symbolic significance of the bicycle. Discuss Watashi’s interaction with it.
4. Describe the character referred to as “Boots.” What ideas/institutions does he embody? How is he a marked contrast to Watashi?
5. Describe the persona of the narrator. Is he a comic or tragic figure?
6. Discuss the epiphany-like scene on page 48. Consider it in relation to the following scene in which Watashi has his first successful ride.
7. Discuss the significance of the title. What do the moon, moonbeams, etc. represent to the narrator? Identify and discuss other associated images in the work.
8. Describe the young girl and her relationship with Watashi. Why does she say “we won” (52) after the bombing raid?
9. Can this story be read as an allegory? Explain.
10. Explain the significance of poetry/kyōka in the story. Why is Watashi able to compose comic verse again by the end of the story?
11. Discuss the character Gūka. What is Gūka to Watashi?
12. Discuss the ending. Why is Watashi now ready to give away the bike?
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Tuesday, February 5, 2013
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Lit 365: Morrison
1. Metafiction: a mimesis of product rather than of product; fiction that self-consciously addresses the devices of fiction, exposing the fictional illusion. “Fiction about fiction; or more especially a kind of fiction that openly comments on its own fictional status. In a weak sense, many modern novels about novelists having problems writing their novels may be called metafictional in so far as they discuss the nature of fiction; but the term is normally used for works that involve a significant degree of self-consciousness about themselves as fictions, in ways that go beyond occasional apologetic addresses to the reader. The most celebrated case is Sterne’s Tristram Shandy (1760-1767), which makes a continuous joke of its own digressive form. A notable modern example is John Fowles’s The French Lieutenant’s Woman (1969), in which Fowles interrupts the narrative to explain his procedures, and offers the reader alternative endings. Perhaps the finest of modern metafictions is Italo Calvino’s Se una notte d’inverno un viaggatore (If on a winter’s night a traveler, 1979), which begins ‘You are about to begin reading Italo Calvino’s new novel.” (Baldick, ODLT, 203)
2. Self-conscious narrator: A narrator that draws the reader’s attention to the process and mechanics of narration.
3. Death Drive (pulsion de mort) (psychoanalysis): Although intimations of the concept of the death drive (Todestrieb) can be found early on in Freud’s work, it was only in Beyond the Pleasure Principle (1920g) that the concept was fully articulated. In this work Freud established a fundamental opposition between life drives (eros), conceived of as a tendency towards cohesion and unity, and the death drives, which operate in the opposite direction, undoing connections and destroying things. However, the life drives and the death drives are never found in a pure state, but always mixed/fused together in differing proportions. Indeed, Freud argued that were it not for this fusion with erotism, the death drive would elude our perception, since in itself it is silent (Freud, 1930a: SE, XXI, 120).
The concept of the death drive was one of the most controversial concepts introduced by Freud, and many of his disciples rejected it (regarding it as mere poetry or as an unjustifiable incursion into metaphysics), but Freud continued to reaffirm the concept for the rest of his life. Of the non-Lacanian schools of psychoanalytic theory, only Kleinian psychoanalysis takes the concept seriously.
Lacan follows Freud in reaffirming the concept of the death drive as central to psychoanalysis: ‘to ignore the death instinct in his [Freud’s] doctrine is to misunderstand that doctrine entirely’ (E, 301).
In Lacan’s first remarks on the death drive, in 1938, he describes it as a nostalgia for a lost harmony, a desire to return to the preoedipal fusion with the mother’s breast, the loss of which is marked on the psyche in the weaning complex (Lacan, 1938:35). In 1946 he links the death drive to the suicidal tendency of narcissism (Ec, 186). By linking the death drive with the preoedipal phase and with narcissism, these early remarks would place the death drive in what Lacan later comes to call the imaginary order. However, when Lacan begins to develop his concept of the three orders of imaginary, symbolic and real, in the 1950s, he does not situate the death drive in the imaginary but in the symbolic. In the seminar of 1954–5, for example, he argues that the death drive is simply the fundamental tendency of the symbolic order to produce REPETITION; ‘The death instinct is only the mask of the symbolic order’ (S2, 326). This shift also marks a difference with Freud, for whom the death drive was closely bound up with biology, representing the fundamental tendency of every living thing to return to an inorganic state. By situating the death drive firmly in the symbolic, Lacan articulates it with culturerather than nature; he states that the death drive ‘is not a question of biology’ (E, 102), and must be distinguished from the biological instinct to return to the inanimate (S7, 211–12).
Another difference between Lacan’s concept of the death drive and Freud’s emerges in 1964. Freud opposed the death drive to the sexual drives, but now Lacan argues that the death drive is not a separate drive, but is in fact an aspect of every DRIVE. ‘The distinction between the life drive and the death drive is true in as much as it manifests two aspects of the drive’ (S11, 257). Hence Lacan writes that ‘every drive is virtually a death drive’ (Ec, 848), because (i) every drive pursues its own extinction, (ii) every drive involves the subject in repetition, and (iii) every drive is an attempt to go beyond the pleasure principle, to the realm of excess JOUISSANCE where enjoyment is experienced as suffering.
4. Fascism: “Political philosophy [from Latin fasces, the bundle of ax and rods carried before Roman consuls as a symbol of authority]. A political doctrine, in opposition to liberalism and socialism, which was originally proposed in early twentieth-century Italy by Mussolini and the neo-Hegelian philosopher Giovanni Gentile. The doctrine was deeply influenced by the Hegelian theory of the state and combined extreme nationalism with extreme communitarianism. Fascism rejects individualism by claiming that a nation is an organic entity rather than an aggregate of individuals with basic rights. It propounds irrationality and particularity in contrast to rationality and universality. It supports the role of the government as the upholder of moral integrity and the nation’s collective purpose. It advocates an authoritarian state in which the government controls all aspects of social life. In practice, Mussolini’s fascist government denied freedom of speech to individuals and appealed to violence. The term ‘fascism’ was later used to characterize Hitler’s National Socialism (Nazi) and other European regimes influenced by Hitler and Mussolini. Through Hitler, fascism became associated with genocidal anti-Semitism, but other fascist regimes were militaristic. Since the Second World War, the terms has been taken as a symbol of evil, which is applied to any oppressive and totalitarian political regime or action. Some political theorists seek to understand how fascist regimes arose in the context of modernity” (Bunnin, BDWP, 251).
Particularities of Culture
5. Hachiman 八幡: “One of the most popular Shinto deities of Japan; the patron deity of the Minamoto clan and of warriors in general; often referred to as the god of war. Hachiman is commonly regarded as the deification of Ojin, the 15th emperor of Japan. He is seldom worshipped alone, however, and Hachiman shrines are most frequently dedicated to three deities, the emperor Ojin, his mother the empress Jingo, and the goddess Hime-gami” (Schadé).
6. Roei no uta 露営の歌 (Field Encampment Song): Japanese gunka (military song) from 1937. “Marusu no uta” seems to be based on this actual song.
7. Kamata: eki in Ōta-ku, Tokyo; where Fuyuko lives.
8. Sōjiji temple in Tsurumi: temple in Yokohama.
9. Utsunomiya 宇都宮: military outpost in Tochigi-ken
10. Izu nagaoka:
11. Mishima-eki: in Shizuoka-ken, on Izu peninsula.
12. Shizuura- Shizuoka-ken, on Izu peninsula.
14. … [add to the list as you read]
11. Mishima-eki: in Shizuoka-ken, on Izu peninsula.
12. Shizuura- Shizuoka-ken, on Izu peninsula.
14. … [add to the list as you read]
1935: Rapid rise of militarists begins.
1936: Ni-ni-roku jiken 二二 六事件 (“February 26 Incident”): A major coup attempt against the Japanese government by the Imperial Way Faction 皇道派 in which groups of assassins killed or attempted to kill the upper leadership of the government and seize control of key buildings. Fourteen hundred junior military officers took up arms in Tokyo, occupying the Diet, army ministry, and police headquarters. Three cabinet members were killed, including finance minister Takahashi Korekiyo. The rebellion was eventually put down under orders from the emperor.
1937: Rokōkyō jiken 盧溝橋事件 (Marco Polo Bridge Incident): Conflict between Chinese and Japanese troops near the Marco Polo Bridge outside Beijing, which developed into the warfare between the two countries that was the prelude to the Pacific side of World War II. (Britannica Encyclopedia)
1937: Shina jihen 支那事 変 (“China Incident”): incident that led to large-scale hostilities between Japan and China.
1937: Nanking Massacre 南京大虐殺: a mass murder and war rape that occurred during the six-week period following the Japanese capture of the city of Nanking, the former capital of the Republic of China.
1938: Establishment of the National Spiritual Mobilization Movement 国民精神総動員運動の設立: Organization established as part of the controls on civilian organizations under the National Mobilization Law by Prime Minister Fumimaro Konoe.
1938: National General Mobilization Law 国家総動員法: Legislation passed by the Diet of Japan by Prime Minister Fumimaro Konoe to put the national economy of the Empire of Japan on war-time footing after the start of the Second Sino-Japanese War. The National Mobilization Law had fifty clauses, which provided for government controls over civilian organizations (including labor unions), nationalization of strategic industries, price controls and rationing, and nationalized the news media. The laws gave the government the authority to use unlimited budgets to subsidize war production, and to compensate manufacturers for losses caused by war-time mobilization.
*Note on publication: “‘Mars’ Song’ appeared in Bungakkai but was banned within a week of the magazine’s distribution. Unsold copies were seized, and the magazine was ordered to cease publication temporarily. Eventually, Ishikawa and his editor, Kawakami Tetsutarō (1902-1991), were hauled into Tokyo District Court, where they were fined thirty and fifty yen, respectively—a considerable sum at the time and one that neither could hope to pay. Only through the intervention of Kikuchi Kan (1888-1949), then doyen of Japanese letters and editor-in-chief of the prestigious literary journal Bungei shunjū, were the fines paid and the two men released” (Tyler, LOG, 178)
Answer all of the following.
1. Describe the narrator. What is his relation to the world he inhabits? What does he find lacking in the world at present?
2. Describe the narrative structure of the work. What “metafictional” elements are employed? Is the narrator a “self-conscious narrator”?
3. Reality and fiction are initially presented by the narrator as irreconcilable opposites, yet it soon becomes apparent that they are somehow inseparable. Discuss the relationship between reality and fiction, art and life that is evoked in the work.
4. Discuss the character of Obiko 帯子. What female type (or combination of types) does she represent?
5. Discuss the character Fuyuko 冬子 (her tastes, inclinations, personality, etc.). What are the circumstances surrounding her suicide? Can her life and death—and particularly her hobby of feigning various handicaps—be read as an allegory for something? Also discuss the scene at her funeral wake.
6. Discuss the character Sanji.
7. Describe the mood of the times. What images/symbols/elements of militarism/fascism can you identify in the work?
8. Discuss the motif of refusal/resistance that runs through the work. Explain the context, target, significance, and impact of each act of refusal or resistance.
9. Describe the scene at the aquarium. Are the various species of fish metaphors for something? Explain.
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