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4.04 AVERAGE
4.04 AVERAGE
Life altering book from the greatest Japanese writer of the 20th Century. Beginning in the Pre-WWI years of the incredible Meji Restoration in Japan, Mishima traces the changing nature of the Japanese milieu through the micro-lens of an adolescent boy- Kiyoaki Matsugae, the son of a rising nouveau-riche family which who were once lower-tier samurais, and Satoko Ayakura, the daughter of an aristocratic family fallen on hard times.
emotional
reflective
sad
medium-paced
Strong character development:
Yes
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
DNF. I actually enjoy this, the translation and characterisations. Kiyoaki is a very compelling character. However, I am reading a library copy and I read too slow, I do not wish to rush through this book just to meet the due date and miss out on appreciating the book. I will reattempt/purchase a copy to finish it.
Spring Snow reminded me a lot of Thomas Mann's 'The Magic Mountain', with its focus on a wealthy young man coming of age under the reader's gaze, and its frequent philosophical excursions. Fascinating reflections on free will, transmigration of souls, natural law, e.g.
Mishima writes with that classically Japanese sensitivity to the natural, and seamlessly blends in some profound points of symbolism.
This book was also an interesting insight into Japanese high society at the end of the Meiji era. The attractions of the West were clear, while maintaining a very strong sense of Japan's unique identity. It has a lot to say about the place of personal duty to one's family, state or emperor. We are given elegant portraits of what it looks like to promote oneself at the expense of the other/collective, and the opposite (especially in the recurring image of the soldier). This is certainly relevant to the author, given the manner of his death.
Makeup, and its dual ability to enhance one's looks and to breed disease, is another frequent symbol. It allows individuals to dissemble, but also to better play the role assigned to them in the game (or stage) of life in imperial Japan. Interesting too how we are given so little insight into the thoughts of any female character, in contrast to the superfluity we receive of Kiyo's.
The tone throughout was measured, meticulous, and beautiful, though still with a forward impetus retaining the reader's interest, and avoiding the book slipping into mere sentimentality (as much as Kiyo himself is guilty of this).
Having finished the book, I was left with the impression of having encountered an epic, perhaps because of the seriousness of its subject matter, but more (I think) because of its beautiful proportions. Mishima's characters will certainly stay with me.
Mishima writes with that classically Japanese sensitivity to the natural, and seamlessly blends in some profound points of symbolism.
This book was also an interesting insight into Japanese high society at the end of the Meiji era. The attractions of the West were clear, while maintaining a very strong sense of Japan's unique identity. It has a lot to say about the place of personal duty to one's family, state or emperor. We are given elegant portraits of what it looks like to promote oneself at the expense of the other/collective, and the opposite (especially in the recurring image of the soldier). This is certainly relevant to the author, given the manner of his death.
Makeup, and its dual ability to enhance one's looks and to breed disease, is another frequent symbol. It allows individuals to dissemble, but also to better play the role assigned to them in the game (or stage) of life in imperial Japan. Interesting too how we are given so little insight into the thoughts of any female character, in contrast to the superfluity we receive of Kiyo's.
The tone throughout was measured, meticulous, and beautiful, though still with a forward impetus retaining the reader's interest, and avoiding the book slipping into mere sentimentality (as much as Kiyo himself is guilty of this).
Having finished the book, I was left with the impression of having encountered an epic, perhaps because of the seriousness of its subject matter, but more (I think) because of its beautiful proportions. Mishima's characters will certainly stay with me.
"Just as a stream returns to its normal course after a flood, Kiyoaki's predilection for suffering began to reassert itself."
"At that moment she held an irresistible attraction for him... it was the lure of the forbidden, the utterly unattainable, the proscribed. He wanted her in this way and no other."
Set in Japan in 1912, after the Russo-Japanese War Spring Snow captures a society in flux in startlingly crisp prose.
"Beautiful, elegant, imposing, she was like a flower at its moment of perfection."
David Mitchell calls this an "austere love story", but I think Kiyoaki and Satoko's romance is secondary to Kiyoaki's preoccupation with his perception of self.
Kiyoaki is a young nobleman, handsome and deeply introspective. He has everything he could ever want yet he yearns for some great purpose to devote himself to. Mulling over why Kiyoaki is so annoying, I realised that my frustration stems from how alien his motivations are. The pursuit of happiness is so ingrained within me that his cultivation of beautiful melancholy and grandiosity seems shallow. All of his insurmountable problems are quasi-masochistically self made.
Having trouble marshalling my thoughts on this one. I'll return to this review later, I don't want to ramble on incomprehensibly. Suffice to say, I disliked the experience of reading this novel because I just wanted slap Kiyoaki the whole time. The reincarnation and laws of manu stuff was tedious as well. However, there are moments of incredible beauty and it throws up a lot of grist for the mental mill. Hmm, conflicted.
"At that moment she held an irresistible attraction for him... it was the lure of the forbidden, the utterly unattainable, the proscribed. He wanted her in this way and no other."
Set in Japan in 1912, after the Russo-Japanese War Spring Snow captures a society in flux in startlingly crisp prose.
"Beautiful, elegant, imposing, she was like a flower at its moment of perfection."
David Mitchell calls this an "austere love story", but I think Kiyoaki and Satoko's romance is secondary to Kiyoaki's preoccupation with his perception of self.
Kiyoaki is a young nobleman, handsome and deeply introspective. He has everything he could ever want yet he yearns for some great purpose to devote himself to. Mulling over why Kiyoaki is so annoying, I realised that my frustration stems from how alien his motivations are. The pursuit of happiness is so ingrained within me that his cultivation of beautiful melancholy and grandiosity seems shallow. All of his insurmountable problems are quasi-masochistically self made.
Having trouble marshalling my thoughts on this one. I'll return to this review later, I don't want to ramble on incomprehensibly. Suffice to say, I disliked the experience of reading this novel because I just wanted slap Kiyoaki the whole time. The reincarnation and laws of manu stuff was tedious as well. However, there are moments of incredible beauty and it throws up a lot of grist for the mental mill. Hmm, conflicted.
This just wasn't my kind of book. I understand why it's written the way it's written. But this has a lot of sexism and misogyny that infuriated me. I just couldn't make myself pick it up to read further. But then it also has some beautiful prose in between which I think should be appreciated.
This book is said to be a classic in Japanese literature and a favourite among many, it just wasn't for me.
This book is said to be a classic in Japanese literature and a favourite among many, it just wasn't for me.
Content Warnings
Graphic: Sexism
I liked the book, the proof is that I finished it, but the main character was getting on my nerves all the time. Still, if you're wondering if reading or not... definitely give it a try!
Spring Snow is a novel that is about as perfect as they come—think Yin-Yang. It blends equal amounts of story, philosophy, and poetry, and keeps a wide focus on characters, story, romance, setting, language... Spring Snow shows Mishima's superb talents as an author. He pieced this story together with such a gorgeous landscape filled with the most vivid of descriptions. And though I found the second half of the book to be less riveting, it is still stitched together so nicely that I cannot complain.
Aside from the beautiful language Mishima used (have I mentioned that already?), I most enjoyed the destructive personality of the novel's primary character, Kiyoaki (I'm hesitant to say “protagonist” because, though I personally saw Kiyoaki as the protagonist, an argument could be made that it was Honda). Kiyoaki is an extremely confused, manipulative young man but Mishima never called him such. He didn't label him as being a victim of a psychological malady either by today's standard or the standard of the time. This may not be intentional, but given Mishima's precise handling of every sentence, I have to believe that he knew what he was doing. By not labeling Kiyoaki or even pointing out his eccentricities, it becomes difficult for the reader to not have conflicting feelings toward him, much as in the way Kiyoaki has conflicting feelings for every person he comes in contact with.
Spring Snow is a dark romance that shares much, in my mind, with Wuthering Heights. I wonder if elements of the second half of Emily Brontë's masterpiece will creep into some of the later books in this series, The Sea of Fertility. One thing that I do hope to see in one of the subsequent books is more about the Siamese princes. Their inclusion in Spring Snow did not seem vital. I hope, to keep with my belief that Mishima was very careful with every detail he included, they will serve a greater purpose later in the series.
I look forward to meeting Kiyoaki's reincarnated self in Runaway Horses. I think it will be interesting to see how Mishima took this character and reshaped him into a completely different one.
Aside from the beautiful language Mishima used (have I mentioned that already?), I most enjoyed the destructive personality of the novel's primary character, Kiyoaki (I'm hesitant to say “protagonist” because, though I personally saw Kiyoaki as the protagonist, an argument could be made that it was Honda). Kiyoaki is an extremely confused, manipulative young man but Mishima never called him such. He didn't label him as being a victim of a psychological malady either by today's standard or the standard of the time. This may not be intentional, but given Mishima's precise handling of every sentence, I have to believe that he knew what he was doing. By not labeling Kiyoaki or even pointing out his eccentricities, it becomes difficult for the reader to not have conflicting feelings toward him, much as in the way Kiyoaki has conflicting feelings for every person he comes in contact with.
Spring Snow is a dark romance that shares much, in my mind, with Wuthering Heights. I wonder if elements of the second half of Emily Brontë's masterpiece will creep into some of the later books in this series, The Sea of Fertility. One thing that I do hope to see in one of the subsequent books is more about the Siamese princes. Their inclusion in Spring Snow did not seem vital. I hope, to keep with my belief that Mishima was very careful with every detail he included, they will serve a greater purpose later in the series.
I look forward to meeting Kiyoaki's reincarnated self in Runaway Horses. I think it will be interesting to see how Mishima took this character and reshaped him into a completely different one.
challenging
emotional
sad
slow-paced
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
My tag line for this book would be: A sullen rich kid is consumed by a forbidden love.
The sullen rich kid is Kiyoaki, the 19 year old son of a Tokyo marquis who has propelled his family into the upper tier of the early-20th century Japanese elite. The forbidden love is Satoko, a sublimely beautiful and perfectly elegant young lady Kiyoaki has grown up with. The setting is circa 1912 in Tokyo, a fascinating era in which Western influence is beginning to take hold in Japan. Kiyoaki's father is very much taken with Western culture and Mishima's poetic language offers a vivid snapshot into this transitional period.
Kiyoaki is privileged, self-centered and morose and it is these character flaws that generate the conflict in the book, as he is incapable of navigating the powerful emotions of desire and love with success. Instead, his flawed character quickly sends him (and Satoko) into a spiral of self-destruction for it is only once he has lost Satoko forever to another man does he realize that he is in fact "in love" with her. Now, in my humble world, being "in love" with someone usually involves respect, deep appreciation for the other, courage and selflessness. Kiyoaki does not exhibit any of these qualities - ironically, it's his best friend who does - so it was hard for me to take his feelings very seriously and I tended to regard him as an annoying infatuated teenager. He never won me over and in the end, his death was more of a relief than a tragedy.
The sullen rich kid is Kiyoaki, the 19 year old son of a Tokyo marquis who has propelled his family into the upper tier of the early-20th century Japanese elite. The forbidden love is Satoko, a sublimely beautiful and perfectly elegant young lady Kiyoaki has grown up with. The setting is circa 1912 in Tokyo, a fascinating era in which Western influence is beginning to take hold in Japan. Kiyoaki's father is very much taken with Western culture and Mishima's poetic language offers a vivid snapshot into this transitional period.
Kiyoaki is privileged, self-centered and morose and it is these character flaws that generate the conflict in the book, as he is incapable of navigating the powerful emotions of desire and love with success. Instead, his flawed character quickly sends him (and Satoko) into a spiral of self-destruction for it is only once he has lost Satoko forever to another man does he realize that he is in fact "in love" with her. Now, in my humble world, being "in love" with someone usually involves respect, deep appreciation for the other, courage and selflessness. Kiyoaki does not exhibit any of these qualities - ironically, it's his best friend who does - so it was hard for me to take his feelings very seriously and I tended to regard him as an annoying infatuated teenager. He never won me over and in the end, his death was more of a relief than a tragedy.