” Even now Oki’s words had not faded from her memory. The dialogue in his novel echoed them and seemed to have taken on a life apart from either Oki or herself. Perhaps the lovers of old were no more, but she had the nostalgic consolation, in the midst of her sadess, that their love was forever enshrined in a work of art. ” (126)
This eloquent and lyrical novel allures to a motif, the strange and nihilistic self-love pf the character Otoko. Ueno Otoko has established to be a successful painter in Kyoto. At age 16 she gave birth to a stillborn child from a forbidden love affair with a married man, Oki Toshio, who is almost twice her age. She managed to escape from mental hospital after her suicide attempt because of her unrequited love for Oki.
I suppose even a woman’s hatred is a kind of love. (94)
The novel begins as Oki, now in his mid fifties, is on a train to Kyoto for the New Year’s Eve belling tolling, which gives him an occasion to visit Otoko, whom he has not seen for 24 years. Otoko, too, has remained single and unmarried since the traumatic affair. During the visit, Oki meets Keiko, Otoko’s young portege and lover, in whom he sees the full bloom of Otoko’s lost beauty and passion. His affair with her has been an instrument to his success in literary career—he used the affair with Otoko to write his first novel, which brought hurt and humiliation to Otoko but wealth and fame to himself. Keiko sets out single-mindedly to revenge for Otoko by seducing Oki and his son Taichiro, using her beauty as a weapon.
Kawabata’s story takes place in that ethereal realm that lies between abstraction and reality. In the novel her writes Oki has immortalized his passion for Otaoko. Otoko wants to express her sense of loss, her grief and affection for the child she had never raised in her painting. Keiko wants to prove her love for Otoko by seeking a revenge for her. They are all entwined in this destiny but that neither one of them is comfortable with this destiny. They are all connected in a morbid way, and so their reflections abound, multiply, and reinforce the same locales and images. In a sense, they are lost in the confusion between image and reality.
Kawabata’s style is simple and light, but the novel is carefully constructed such that past events are often called and accumulated in the narrative to render a timeless quality. Since there is a poetic flow to it, the book is better relished slowly, to allow that bewildering array of reflections on the part of the characters to soak in. The recurring imagery—those flowers, temples, stone garden—all ingrained in characters’ memories, continue to reinforce and distort their reflections, and this is what makes the book very literary.
208 pp. Vintage International. Trade Paper. [Read|Skim|Toss] [Buy|Borrow]
Filed under: Books, General Fiction, Japanese Literature, Literature, Translated Literature | Tagged: Beauty and Sadness, Books, General Fiction, Japanese Literature, Literary Fiction, Literature, Yasunari Kawabata |