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frazmacdazz 's review for:
Spring Snow
by Yukio Mishima
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.