Read O Marinheiro que Perdeu as Graças do Mar by Yukio Mishima Online


“O Marinheiro que Perdeu as Graças do Mar” é uma das mais breves e belas novelas da obra de Mishima. Há quem veja na sua trama uma representação simbólica da sociedade japonesa do pós-guerra conforme a radical visão do autor. Bem mais do que isso, é uma novela de rara beleza, erotismo, imprevisibilidade e de um radicalismo brutal. Noboru deslumbrou-se com a relação poética“O Marinheiro que Perdeu as Graças do Mar” é uma das mais breves e belas novelas da obra de Mishima. Há quem veja na sua trama uma representação simbólica da sociedade japonesa do pós-guerra conforme a radical visão do autor. Bem mais do que isso, é uma novela de rara beleza, erotismo, imprevisibilidade e de um radicalismo brutal. Noboru deslumbrou-se com a relação poética e erótica de sua mãe com o fascinante Ryuji, o marinheiro que carrega a grandeza, a glória, o brilho do mar e aquele boné com “a âncora ao centro do grande emblema em forma de lágrima (...) reflectindo o sol da tarde”. Mas esta apaixonante relação sofrerá uma inesperada mudança. No exterior há um grupo organizado segundo um Chefe, com elementos precocemente militarizados. Rapidamente absorvem o confuso Noboru nos severos princípios da tradição japonesa. Não tarda que o marinheiro seja julgado por ter traído os valores fudamentais de idealismo, de beleza e de glória. Segundo os códigos do grupo, as contemplações são proibidas e qualquer cedência significaria a sobreposição do caos à ordem, como avisa o Chefe, ou, conforme diz, mais eufemisticamente, o último parágrafo do livro: “a glória, como vós sabeis, é uma coisa amarga”....

Title : O Marinheiro que Perdeu as Graças do Mar
Author :
Rating :
ISBN : 9789723700923
Format Type : Paperback
Number of Pages : 176 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

O Marinheiro que Perdeu as Graças do Mar Reviews

  • Megha
    2018-12-03 12:07

    I had a slightly different review in mind until I read a little bit about Mishima's life. In light of what Mishima did to himself, I am not really sure what to make of The Sailor Who.... While it is dark, reading it I knew it was only a story. But knowing that this darkness could have emanated from Mishima's personal thoughts makes it extremely unnerving.Fuskao, Noboru's mother, represents westernization; which Mishima despised. Noboru, a 13 year old, is more in the favor of traditional Japan. Ryuji, the sailor, dreams of a heroic death and glory, which makes Noboru worship him. Ryuji's dreams represent Mishima's own political thoughts on achieving glory for his country. When Ryuji abandons all such thoughts of heroism, Noboru reacts violently. The question is, how much of Noboru's psychology reflects Mishima's own mind. That Noboru's vileness goes unchallenged and unpunished hints towards there being some parallels.I know The Sailor Who... was written seven years before Mishima committed ritual suicide. Also I shouldn't be drawing any conclusions based on reading a short work of fiction and one wikipedia article. But I find it difficult to view the ideas in the book and Mishima's life separately.The gracefulness of the writing stands very much in contrast with the ominous content. His writing is very lyrical. The scene descriptions are vivid, very much like painting with words. Sunlight dances on the pages giving everything a different kind of glow. He infuses some beauty even in cringe-worthy scenes. In the second half of the book, when story begins to take a dark turn, there is a change in the tone of the writing as well. While poetic descriptions are not completely abandoned, there are fewer of those. On approaching the ending, the story, however, seems to drag for a bit, largely because I could see what was going to happen a long way ahead. I was expecting it to generate a sense of foreboding, but that was lost.The biggest strength of the book, in my eyes, is the treatment of Noboru's psychology. Mishima provides some perspective on a character I can never hope to understand too well. Once I can digest how disturbed a child Noboru already is, the rest will perhaps be somewhat acceptable. After all, misguided beliefs and fanatsies are not that uncommon among teenagers. Noboru's disenchantment with his hero serves as a cue that makes him lash out, turning his beliefs into something more sinister and real.Not only Noboru, the other characters are not very relatable either. This is more like a mere peek into a world completely alien to me. Also I can't really expect to be able to view anything with the same eyes as Mishima did. I am ok with that, I think.While characters are not fully fleshed out, Ryuji and Noboru have enough going on to let us see who they are. Fuskao, the only major female character, on the other hand was completely dis-appointing. She is introduced to us as Noboru's mother and Ryuji's love-interest, and that's about it. Other than playing these assigned roles, anything like a personality is non-existent. She does run a business of her own, but the only role she seems to play there is to buy stuff and the intricacies of the business are handled by her male associate. There is just one chapter where, of these three main characters, only Fusako makes an appearance. And she uses this stage-time to discuss her prospective husband with another woman. Isn't that what chick-lit is for?! If you are drawing a female character who is a single mother running a business of her own, why not let her have at least one original, smart thought? Why can't she be feminine, and not be hollow at the same time? Apart from a complaint or two, I do think highly of The Sailor Who... for the most part. It is written economically, but there is lot to chew upon.

  • Parthiban Sekar
    2018-12-04 13:00

    THE SAILOR – THE GLORYGlory, as anyone knows, is bitter stuff. What glory is there for any sailor whose life is besieged by the vast and open sea? Vast but not open, as there are occasional traces of clouds shrouding the openness he longed for. Open but not vast, as the storm often come encroaching on his territory and posing a threat on his-otherwise-serene life. His Life and sea have become inseparable. Thinking of life beyond her seems abysmal to him. Impelled by his desire for glory, he continues sailing to distant harbors and seas.There is no glory to be found. Disillusionment slowly and unknowingly start gnawing his yearning for glory. The thought of settling for an earthly life seems appalling, blowing off the gentle light which awaits him for his prophetic glory. But, then comes a lady, Fusako (who lost her husband few years ago. So, categorically a widow having a 13-year old son), like a bright sun on a gloomy day. But not all clouds have withdrawn yet; Storms await eagerly for his departure like vultures waiting on cliffs for their prey. The sun is not just enough. He longs for storms on sunny days, but he misses the sun on rainy days. He has changed; He is a new man. He belongs neither to the sea nor to the land. There is no solace for his solstice. Blinded by his earthly love, he is ready to abandon his glory and his first love – the sea, not knowing what awaits him on the land. Ryuji set sailing towards the shore hoping for a new life which, he believes, will free him.THE SON – THE FALL “The sailor is terrific! He’s like a fantastic beast that’s just come out of the sea all dripping wet.”, thinks Noboru, the son of Fusako. The sailor has become someone who this kid greatly admires. The intimacy between his mother and the sailor has grown stronger and closer. He finds a peephole, not just allegorically, which gives him access to their cohabitational world. But the world in which the sailor and Fusako lived made him feel disgusted. The insignificance and unworthiness of their coital activities alienated him farther from their world.“It is a trap – a rabbit trap. A hideously subtle trap: the rabbit, ensnared, is no longer a rabbit”. Now, what brings him to the land in this dandy western attire (chosen by his mother). It is so strange, he thinks, like his mother’s bedroom into which he sneaked, when she was away.PEVERSION AND PRESERVATION“Don’t you realize that there is no such thing as hero?” The sailor who, once, he admired as hero begins to falter. The grace and honor of Ryuji which once was stronger (like the sea wave) and roaring (like a majestic tiger), he thinks, now has become like a sea-foam abandoned on the shore and a cry of a kitten smacked against a log. “Trying to force maturity on a thirteen-year-old boy. Maturity or Perversion.” Noboru grows disquieted in the world which his parents, teachers, and leaders have created for him. The vast gaps and the emptiness in it make him lose faith in the filthy humanity (as he sees it). Noboru feels that he has to preserve the glory. The sailor sees that glory “knifing toward him like a shark from some great distance”“And the world, as you know, is empty.” Is there any happiness in this world, in true sense? Happiness that defies description. Noboru takes the sailor with him to make him aware of how incorrigible his decision to return to the land is and how egregiously he reacted when Noboru's innocence was shattered behind the peephole...--I tried not to reveal most of the elements of the story which would either surprise or disturb the reader. In fact, Noboru is the protagonist. But the sailor is the one who makes him the protagonist. Hence, my view is totally from the sailor’s perspective. This story has a lot of things which we wouldn’t agree or even despise. Nevertheless this story is really important for everyone, if I may say, all parents (though I am not one)!

  • B0nnie
    2018-12-02 11:16

    The titleThe Sailor Who Fell from Grace With the Seais a poetic rendering of the Japanese, 午後の曳航, literally "Afternoon's Towing". The English translation is done much in the spirit ofRemembrance of Things Past ( A la recherche du temps perdu = "In Search of Lost Time"). It's evident (in the titles at least) that something is gained in translation as well as lost. We know then, at any rate, that we are going to have a very imperfect understanding of this book. And even if we know Japanese history, know something of Mishima's life, know his personal use of symbols and allusion - all these hover around the writing merely as clues to the "WTF" shock of this story and to the allegory contained within.The Sailor Who Fell from Grace With the Sea is a simple story. It is not an easy story. There is power here, but be warned: it's not all pretty kittens and seascapes. Rather, it's a tearing apart of - what? Contentment? Surfaces? Materialism? Or maybe just anything that makes us forget what we are. There's a disturbing scene, meant to kill the tender feelings of the participants. They become hardened against the flesh, the blood, the organs. The mortal coil unwinds.Hard heart, hard heart. Was it done to the characters, or done to us?I think of X. Trapnel's maxim, "Reading novels needs almost as much talent as writing them." Perhaps it needs courage too. I'm not a brave reader, but a writer will sometimes grab you by the head and force you to look at things you don't want to see. And you do look: the writing is lyrical and it is beautiful.However the characters are stiff and wooden, their roles each neatly carved out by Mishima. Are they supposed to be masks, types, everyman? The sailor, Ryuji, is convinced that he is destined for glory."He could feel the horn probing deep inside him, rousing his passion for the Grand Cause. But what was it? Maybe another name for the tropical sun."The boy, Noboru, is convinced of his own greatness. He follows the gang leader, "the chief" who has "a smile as brittle as fine glass crystal, and very dangerous."And Fusako the mother, the widow, the lover. So easily brought to tears. She studies herself in the mirror as if asking, who am I? She is caught between running a business, and quiet domestic life - doing embroidery, worrying about her son. When she "had brushed against reality" it is "something she dreaded more than leeches."She arouses a conflict in Ryuji. His will is weakening."For Ryuji the kiss was death, the very death in love he always dreamed of. The softness of her lips, her mouth so crimson in the darkness he could see it with closed eyes, so infinitely moist, a tepid coral sea, her restless tongue quivering like sea grass… in the dark rapture of all this was something directly linked to death. He was perfectly aware that he would leave her in a day, yet he was ready to die happily for her sake. Death roused inside him, stirred."Perhaps Fusako is something worse for her son - for what created Noboru? Here, I'm not even sure of the questions, never mind if there are answers. Again, some disturbing scenes. It's related to the connection between him and her room, giving light - or sometimes not:"The room as a whole, feverish with a vestige of the noon heat, was as black as the inside of a large coffin, everywhere a shade of darkness, and alive with jostling particles of something Noboru had never seen, the blackest thing in all the world."The world is empty. Noboru has a problem with Ryuji, and he takes it to the gang.They scheme.Make him a hero again... a useless thing, a father…no return to the Tepid towns of men... And Mishima grabs hold of you, forces you to look. Maybe you're not sure what it is that he makes you see, but you won't like it.Glory is bitter stuff.

  • ArturoBelano
    2018-12-02 13:09

    Bugüne kadar yazdığım yorumları okuyanlar genel olarak kişisel duyguları eleştiriye katmadığımı fark etmiştir. Okuduğum o kadar kitaptan sonra öldüm, bittim, beni mahvetti tarzı metni anlama, anlatmaktan çok salt bıraktığı kişisel etkiyi öne çıkarmak bana yeterli ve tek başına anlamlı gelmiyor. Ama bu genel kuralın esnediği nadir anlar var ve artık o nadide eserlerin en başlarında Denizi Yitiren Denizci’de yer alıyor.Bu kitap, Altın Köşk Tapınağı’ndan sonra okuduğum ikinci Mişima kitabıydı ve kitap bittiğinde istemsizce başka sayfalar aradım, acaba eksik mi basılmıştı, sayfayı çevirirken atlamış mıydım ve bir sürü abukluk. Marguerite Yourcenar ne güzel söylemiş; “ İnce, bıçak ağzı gibi dondurucu bir kusursuzlukta” diye. Ben o kadar edebi konuşamayacağım, dehşetli bir güzellikti her satırı ve çok az kitaba nasip olan o ritüelden o da payını aldı, masanın üzerine koydum ve alkışladım. Eserden hala kopabilmiş değilim ve o alkışın hakkını veremesem dahi birkaç kelam etmek istiyorum. Bu kişisel övgüden sonrası yoğun spoiler içerir ve bundan hoşlanmayanlarla yolumuz burada ayrılabilir."anlaşılan, tehlikenin ne demek olduğunu bile bilmiyorlar. tehlike deyince, gazetelerin abartarak yazdığı fiziksel anlamdaki yaralanma, biraz kan akması gibi şeyleri getiriyorlar akıllarına. bunun tehlikeyle hiç bir ilgisi yok. gerçek tehlike yaşama eyleminin ta kendisidir. hiç kuşkusuz, yaşamak, varoluşun farklılaştığı bir kargaşadır. fakat varoluşu her an aslında olduğu düzensiz haline çözümleyip ortaya çıkan endişeden hareketle, her an ilk kargaşayı yeniden yaratmaya çalışan kaçık bir eylemdir yaşamak. bu denli tehlikeli başka bir iş daha olamaz. varoluşun kendinde hiçbir korku ya da hiçbir örtülü yan yoktur, bu korku ve tedirginliği yaratan eylemdir. ve toplumda, kökende anlamsızdır; kadın erkek bir arada yıkanılan roma hamamları gibidir. okul da, toplumun minyatürüdür: bu yüzden bize boyuna buyruk veriyorlar. bir avuç kör adam, bize ne yapmamız gerektiğini söylüyor, sınırsız yeteneklerimizi paramparça ediyor."Herhangi bir Mişima kitabını, yazarın yaşam ve düşüncesinden ayrı düşünmek ve oradan doğan dertleri eserde takip edememek eserin kavranmasında bir eksiğe yol açacağı muhakkak. Ancak bu kitap çok kişisel dertlerin, hesaplaşmaların ve politik problemlerin dışında da okura çok büyük bir haz yaşatacak bir eser. Dilinin şiirselliği, betimlemerin ve tasvirlerin mükemmelliği, psikolojik tahlillerin gücü, ve bunlarla beraber o duru anlatım akıl alır gibi değil. Bu sadelikten doğan derinlik her yazarın harcı değil. O nedenle eseri birkaç koldan okumak mümkün ve bu yanıyla genç ya da kitap kurdu her okura yaşatacağı büyük bir edebiyat hazzı var. Ben becerebildiğimce derine ineyim, bakalım nerelere kadar gideceğiz.Denizi Yitiren Denizci iki bölümden oluşuyor,Yaz ve Kış. Yaz bölümünde üç temel kahramanımızın (anne ve sevgili Fusako, oğul ve çete üyesi Noburo ve şan şeref uğruna karaya sırt çeviren denizci-sevgili-baba Ryuji) hayatlarında her şeyin iyiye gittiğe bir döneme tanık oluyoruz. Bu iyiden ne anlaşılması gerektiğine gelince; Noburo, hayatına giren Ryuji ile bir “ kahramanla tanışmış oluyor, karanın o sinik, dejenere, baba ve öğretmenlerce iğdiş edilmiş dünyasında Ryuji denizi, yani “ bütün kötülükler içinde tek iyi olan şeyi” ,macerayı ve özgürlüğü temsil ediyor. Ama bu özgürlük hissi Ryuji’nin karada geçirdiği günler içinde azalıyor, karanın kokusu onun da üzerine siniyor ancak Ryuji yeniden sefere çıkmaya karar verince “altın boka dönüşmekten” son anda kurtuluyor. Ryuji-Noboru ilişkisindeki temel sahneyi şu kısım oluşturuyor, annesi ve Ryuji’yi odasındaki delikten izleyen Noburo, Ryuji’nin annesi ile tam sevişme öncesi bir gemiden gelen düdük sesiyle denize doğru döndüğü anı bir mucize olarak yorumluyor ve içinde taşan sıkıntı ile şöyle diyor; “ bu kaybolup giderse dünyanın sonu demektir” diye mırıldandı. Ne denli korkunç olursa olsun, bunu yıkacak her şeyi durdurmak için elimden geleni yapacağım.” Elinden geleni ileride göreceğiz.Fusako, kocasının 5 yıl önceki ölümünden beri yalnız yaşamaktadır ve Ryuji’nin ortaya çıkışı ile bu yalnızlığı son bulmuş, kendi sınıfsal pozisyonundan çok uzaktaki bu adamla yeniden aşkı tatmıştır. Ama malı-mülkü-giyimi ve Japon kültüründe kopuk yaşamıyla tam bir kara insanıdır Fusako, kişiliğiyle batıyı temsil etmekte ve bu vahşi denizciyi duyduğa aşk ile evcilleştirmek istemektedir.Bulduğu aşkı bir sefere daha çıkacak ama geri dönecektir. Fusako ne kadar batıysa Ryuji o kadar doğudur. Yenilmiş, iğdiş edilmiş, güneşin hakimiyeti elinden alınmış Japonya’sında “arkaik” düşler içinde geçirmiş gençliğini ve bu yenik coğrafydan, denizi sevdiği için değil karadan nefret ettiği için ayrılmıştır.Lyotard 60’ların sonunda “ büyük anlatılar çağı sona erdi” demişti, lakin Japonya’nın büyük anlatısı 6 ağustos 1945’de zaten bitmişti. Ryuji’den dinliyoruz; “20 yaşındayken tutkusu kesindi. Benim kaderim bir tek şeydir o da şan ve şeref, evet şan ve şeref ! Ne tür şan ve şeref özlediğini ya da ne tür şan şerefe uygun olduğunu bilmiyordu. Sadece, dünyanın karanlıkları içinde bir yerlerde salt kendisi için var edilmiş bir ışıklı nokta olduğuna ve günün birinde bu ışığın salt kendisini aydınlatmak için yaklaşacağına inanıyordu.” Yine başka bir yerde “ benim sıradan insanlara bahşedilmeyecek özel bir kaderim olmalı” diyor ve ama binlerce mil deniz yolculukları, tropikal adalar, popüler şarkılar hiçbiri o şeref yolundan eser taşımıyordu. Fusako ile tanışmasıyla o hep arzuladığı, ölümüne kendini vereceği ve sadece ölümle anlam kazanacak aşkı sonunda bulmuştu, aradan çıkarılacak bir yolculuk kalmıştı.Yaz bölümününde dikkat çeken diğer temel hususlar ise Noburo ve annesinin ve Noburo- çetenin şefi ilişkileri. Mişima’nın annesiyle derdi üzerine konuşacak yetkinlikten uzağım ancak Altın Köşk Tapınağı ve bu kitapta anne- oğul ilişkileri epey problemli. Tapınak’taki nefretin yerini burada aşk ve nefret ilişkisi alıyor. Her problemli anne-oğul sorununda ucuzundan oedipus kompleksi aramak gibi bir çabam yok ama yazarın Freudyen sularda ustaca gezdiği de bir gerçek.Noburo’nun özellikle annesinin ona kızdığı günlerde delikten annesini gözetlemeden uyuyamaması, Ryuji’nin suçları bölümüne “ annemle gezip beni yalnızlığa terk etmesi”ni eklemesi( sonradan bunun öznel bir problem olarak görüp listeden çıkarsada) okuru mecburen antik yunan referanslara götürüyor.Babasız yani otoritesiz büyüyen Noburo’nun hayatının merkezinde çetesi ve onun şefi yer alıyor. Şef, edebiyat tarihinin gördüğü en nihilist karakterlerden biri olsa gerek, nihilist ama pasifist değil, şef ama güçlü değil, gruba liderlik yapışı zekasından geliyor. Yukarıda alıntıladığım cümlesinden görüleceği üzere tüm toplumsal yargılara cephe açan bu 13’lük veletin etkisinde kalan Noburo başta kahraman ilan ettiği Ryuji’ye şefin( babanın ) gözü ile bakmaya başlayacaktır.“Bu dünyanın üzerinde boydan boya yapıştırılmış bir olanaksızlık etiketi vardır. Ve bu etiketi yırtıp atabileceklerin sadece biz olduğumuzu aklından çıkarma. Ötekiler korku kaynaklı saygıdan sustular.”Şefin konuştuğu bir çok yerde aklım hep Mişima ve eylemine gitti, sanki yıllar öncesinden bize yapabileceklerinin sınırsızlığını göstermek, olanaksızlık etiketini parçalamak istediğini göstermek istiyor gibi. Hala kitap boyunca bahsi olunan dünyanın boşluğunu,Mişima’nın boşluk ile kasttetiği şeyi düşünüyorum. Neyse gelelim ikinci bölüme.Bu bölümü ve esas olarak son 30 sayfasını adeta gerilim film izler gibi okudum ve ilk kitap okuduğum günlerden yadigar sorularla baş başa kaldım; “ne olacak şimdi.”Ne olacağı biraz erteleyip olayların gelişimi ve doğurduğu düşüncelere geçelim. Kış aylarındayız, yazlık hayaller karlar altında ve hayallerin ardındaki gerçeklik gün yüzüne çıkmak üzere. “ Dünyanın hiçbir yerinde şan ve şeref yoktu” diyen Ryuji’nin dönüşü ile açıyoruz bölümü. Bir zamanlar kahramanlık, ün ve şeref düşkünü karakterimiz boyun eğmiş, karada karar kılmıştır. Ancak denizlerin hülyası varsa Japon karasının da gerçekliği var. Fusako ile birlikte alınan evlilik kararı sonrası karşımıza beyefendi (yani Avrupalı) gibi giyinen, yabancı dil (yani İngilizce) öğrenen ve müstakbel eşinin şirketine ( yani batı malları satan bir firmaya) uğramaya başlayan bir adamla karşılaşıyoruz. Bu değişim, Noburo’nun nefret ettiği sıradanlaşmış dünyaya teslim olma anlamına gelmektedir ve medeni bir babanın çektiği nasihat ile son raddesine ulaştığı yerde Noburo bağırmak ister; “ Bu adam böyle sözler edebilir mi? Bir zamanlar öylesine parlak bir kahraman olan adam bu mu” ve devam eder; “ bana bunu nasıl yapabildin?“Fusako’nun evinde Japon stilinde bir tek oda bile yoktu. Yaşam biçimi, yılbaşı günleri dışında, tamamen batı tarzındaydı. Sadece yılbaşı günleri lake boyalı tepsilerde özel yılbaşı kahvaltısı hazırlamak ve yeni yıl onuruna saki kadehlerini kaldırmakla geleneğe uyardı”Ryuji’nin şan ve şereften ricat ettiği yeri böyle anlatıyor yazar ve Noburo’nun suçlar listesinin en sonunda şöyle yazıyor;“ 4- buraya geri gelmek.”Yani Noburo’nun temel derdi, annesi ile arasına yabancı birinin girmesi değil, altının boka dönüşmesi, değerini yitirmesidir. Denizcinin bu seçimi yaparken yitirdiği esas şey denizden çok ötesidir ve Jameson’ın, Çok Uluslu Sermaye Çağında Üçüncü Dünya Edebiyat yazısında öne sürdüğü “ bütün üçüncü dünya metinleri, diyebilirim ki zorunlu olarak ve çok ozgül bir tarzda alegoriktir: biçimlerinin kaynağı roman gibi esasen batılı temsil araçlarına dayandığında bile, hatta bilhassa boyle durumlarda ulusal alegoriler olarak okunmalıdırlar” tezi oldukça yerindedir.Hızlananlım biraz; Noburo’nun “ ne denli korkunç olursa olsun bunu durdurmak için elimden geleni yapacağım” dediğini görmüştük. Kahramanının son hali ve suçlarının listesini gruba açıkladığında şef şöyle der; “ onu yeniden kahraman yapmak ister misin?Altın Köşk Tapınağı için mutlu sonla bitiyor yorumu yapmıştım, bu kitap için de aynı yorumu yapacağım. Anne- Sevgili- patron ve hepsinden çok batı değerlerinin ayaklı temsilcisi Fusako hariç bu kitap tüm karakterler için buruk bir mutlu sonla bitmiştir. Bu mutluluğu açalım biraz.Onu yeniden kahraman yapmayı her şeyden çok isteyen Noburo, çetesi ile birlikte Ryuji’yi öldürmeye karar verir ve onu arkadaşları ile buluşmaya ikna eder. Bu buluşmaya Ryuji beyefendi kıyafetlerini çıkarıp o eski denizci kıyafetleri ile gelir. Çocuklara her şeyden habersiz denizcilik anılarını anlatırken vazgeçtiği yüceliğin farkına varır, şan ve şeref yolunda kahramanlık arzularıyla geçen bir ömürden geriye kalanın muhasebesi yapılır; “Ürkütücü ölüm artık istemiyordu kendisini. Hiç kuşkusuz yücelikte de sırt çevirmişti ona. Duygularının getirdiği şarhoşluk. O delici acılar, o sıcak ayrılışlar. Yüce Dava’nın çağrısı, tropik güneşinin bir başka adı ve kadınların gözyaşları, özlemler, onu erkekliğin doruğuna iten o tatlı güç, artık bunların hepsi bitmişti.” Bu anlamda, bu sonla denizcinin o hep aradığı ama nerede olduğunu bilemediği yücelik onu tam da ondan koptuğu yerde bulmuş ve düşlerini son anda gerçek kılmıştır. Ryuji’nin gizli isteği, Noburo’nun eylemiyle iç içe geçmiştir. Noburo’da mutludur zira o adamı düştüğü boktan alıp tekrar kahraman yapmış, dünyanın üzerindeki olanaksızlık etiketini yırtıp atmış, konuşmaktan başka bir işe yaradığını şefine ispat etmiştir.( ah ulan mişima Allah müstehakını versin, sanki olanaksızlığa gelecekteki müdahelesini anlatıyor). Şef mutlu mu onu bilmiyorum işte, muhtemelen umurunda da değildir, sonuçta dünyanın boşluğunu 13 yaşında kavramış bir çocuk ne kadar mutlu olabilir ki.Bu yazıya tahammül eden okura son olarak şunu söylemek isterim; benim yaptığım okumaları boş verin, bu kitap bunların edebiyat olarak çok ötesinde. Hemen hiç vakit yitirmeden bu kitabı alın, okuyun ve Mişima’nın Japon edebiyatının en tanınmış yazarı değil,1950 sonrası dünya edebiyatının en önemli kalemlerinden biri olduğunu görün. “İyi uykular yavrum “”ile başlayıp,” daldığı düşten ayılmadan” la biten bu kitap uykularınızı mı kaçıracak düşlere mi daldıracak ona da siz karar verirsiniz artık.

  • Carol
    2018-12-11 07:02

    It must be me, not him. Had the author been anyone other than Mishima, I would have abandoned this novel immediately after (view spoiler)[the intentional, cruel murder and mutilation of a kitten. (hide spoiler)]. But instead I continued and finished it and wish I could recover my time. Heresy, I understand. See my GR friend, Algernon's, review at this link. He captures my thoughts precisely.

  • Edward
    2018-12-03 11:57

    The Sailor Who Fell from Grace with the Sea is a very short novel, but it does not feel hurried. It is deeply sensitive, immersive and introspective. The writing is disturbing, filled with subtle metaphors of hidden significance. The novel is an exploration of masculinity, and a coming-to-terms with the varied and often contradictory expectations of manhood. It makes no assertions: the implications of the story and its powerful ending are left for the reader to ponder.I am intrigued by Mishima's life, and the extraordinary circumstances of his death. I hope to return to his writing soon.

  • Fernando
    2018-12-10 07:48

    Nunca había leído a Mishima, pero aquí en Goodreads siempre me tomo el tiempo para ver qué es lo que leen mis amigos lectores. Simplemente hago click en la opción “Compare Books” para saber qué afinidad literaria tenemos, sobre todo cuando me envían una solicitud de amistad (solicitud que siempre acepto, de todos modos) y me encontraba que muchos lectores habían leído algún libro de este interesante autor japonés (y su más que interesante vida). Entonces, aunque no soy de solicitar recomendaciones lo solicité en mi status y me acercaron varias propuestas. Entre todas ellas, la que más me atrajo fue la de este libro.En lo que respecta a la literatura japonesa sólo he leído a un autor que admiro mucho y que recomiendo, por su fuerte similitud con unos de mis preferidos, Franz Kafka. Me refiero al genial Kobo Abe. De los restantes autores no estoy muy interesado puesto que las temáticas que abordan no son de mi agrado o estilo de lectura. Un caso puntual es el de Haruki Murakami. Con ese autor me sucede lo mismo que con otros tantos que no despiertan mi curiosidad por leer sus obras.Confieso que esta corta novela de Mishima me ha gustado. Más allá del triángulo que plantea entre el marino Ryuji, Fusako y el hijo de ésta, Noboru, lo que tiene de atractiva la historia es cómo Mishima la trabaja en dos planos bien cortados y en contrapunto que se unen y separan constantemente.Un aspecto de destacar en la narrativa de Mishima es que su prosa es como un oleaje. Las palabras fluyen, van y vienen. Mecen al lector sin cansarlo y lo llevan adelante en la historia que no es para nada aburrida y por sobre todas las cosas poseen un profundo lirismo, belleza y armonía. Parece como que el autor elige las palabras correctas, la adjetivación justa y los diálogos efectivos para que todo el proceso de lectura en conjunto siga la misma sintonía.Creo que Mishima centra gran parte de la novela en los personajes de Noboru y Ryuji, dejando a Fusako un poco más atrás. La relación entre Noboru y su madre es compleja, le cuesta integrarse con Ryuji y es dominado por el jefe de su violento grupo de amigos, quien lo influenciará negativamente. Ryuji está en la disyuntiva de seguir haciéndose a la mar o quedarse definitivamente en tierra con Fusako y ella tiene bien en claro qué quiere para su vida aunque como se trata casualmente de la vida misma, las cosas no salen siempre como ellos quieren.Lo que más me impacta de la novela es cómo planea Mishima su final. Realmente no me lo tenia esperado, pero bueno, de eso se trata casualmente: algunos autores tienen ese halo de maestría que como en el caso de Mishima, los hace tan únicos y especiales.

  • Algernon
    2018-12-13 08:59

    [7/10]It is a generally accepted fact that teenagers are weird, all over the world, and all over the ages. Somehow, Japanese teenagers manage to be ten time weirder than the norm, and 13 years old Noboru is a prime example: He never cried, not even in his dreams, for hard-heartedness was a point of pride. A large iron anchor withstanding the corrosion of the sea and scornful of the barnacles and oysters that harass the hulls of ships, sinking polished and indifferent through heaps of broken glass, toothless combs, bottle caps, and prophylactics into the mud at harbor bottom - that was how he liked to imagine his heart. Someday he would have an anchor tattooed on his chest.Noboru has fallen in with a gang of young nihilists, all of an age, believing themselves infinitely wise and incorruptible, rising above the petty concerns of mundane living into the lofty spaces of pure intellect. This group philosophy is coming into conflict with his more natural inclination for adventure and discovery of unknown territories, illustrated in Noboru's enthusiasm for everything related to shipping. As the Kuroda family, Noboru and his mother Fusako, live in the port city of Yokohama, this passion is easily sustained, leading to the opening scene of the novel: mother and son visit a cargo trawler and meet there with Ryuji Tsukazaki, an officer on the ship. That was their first encounter. She would never forget his eyes as he confronted her in the corridor. Deep-set in the disgruntled, swarthy face, they sought her out as though she were a tiny spot on the horizon, the first sign of a distant ship. That, at least, was the feeling she had. Eyes viewing an object so near had no business piercing that way, focusing so sharply - without leagues of sea between them, it was unnatural. She wondered if all eyes that endlessly scanned the horizon were that way. Unlooked for signs of a ship descried - misgivings and delight, wariness and expectation ... the sighted vessel just barely able to forgive the affront because of the vast reach of sea between them: a ravaging gaze. The sailor's eyes made her shudder. Without Noboru as a critical disruptive element, the story could have developed into a lovely, delicate romance of two solitary people meeting like ships on the immensity of the ocean and weaving their fate together. Fusako is still mourning her husband while taking care of a very succesful fashion business. Ryuji is getting on in years, and his early enthusiasm for the ascetic and demanding life of a commercial sailor is beginning to fade. Mishima has an uncanny talent for multilayered metaphorical phrases, rich in symbolism, transforming his actors into archetypal figures. It is easy to see Ullyses in the wandering Ryuji and Penelope in the level-headed, faithfull Fusako: Since dark antiquity the words have been spoken by women of every caste to sailors in every port; words of docile acceptance of the horizon's authority, of reckless homage to that mysterious azure boundary; words never failing to bestow on even the haughtiest woman the sadness, the hollow hopes, and the freedom of the whore: "You'll be leaving in the morning, won't you? ..." The sea itself becomes part of the story, maybe the best use of metaphor here for the dreams and aspirations and states of mind of the characters: the widowmaker in the eyes of Fusako, the ever changing mistress in those of Ryuji, the siren song in the ears of Noboru, both the ultimate cleanser and the garbage collector in the minds of the teenage anarchists. It was the sea that made me begin thinking secretly about love more than anything else; you know, a love worth dying for, or a love that consumes you. To a man locked up in a steel ship all the time, the sea is too much like a woman. Things like her lulls and storms, or her caprice, or the beauty of her breast reflecting the setting sun, are all obvious. More than that, you're in a ship that mounts the sea and rides her and yet is constantly denied her. It's the old saw about miles and miles of lovely water and you can't quench your thirst.[Ryuji]The feeling of witnessing a Greek tragedy unfold is reinforced every time the point of view switches to Noboru and his Oedipal obsessions - killing the father, sleeping with the mother. Add a touch of Holden Caulfield and a pinch of Rodion Raskolnikov and you end up with an explosive mix of teenage angst: There's no such thing as a good father because the role itself is bad. Strict fathers, soft fathers, nice moderate fathers - one's as bad as another. They stand in the way of our progress while they try to burden us with their inferiority complexes, and their unrealized aspirations, and their resentments, and their ideals, and the weaknesses they've never told anyone about, and their sins, and their sweeter-than-honey dreams, and the maxims they've never had the courage to live by - they'd like to unload all that silly crap on us, all of it! I was conflicted myself in my reaction to the novel. I liked the prose of Mishima well enough, although not as much as Murakami or Kawabata (may be due to the translation), and I admired the way he mixed the contemporary story with the archetypal images of mother, son, wanderer. I may be reading too much in the story, probably due to a parallel lecture of Joseph Campbell on myths and psychoanalysis, but I like to think Mishima did it on purpose. Most of my issues come from wanting to beat the crap out of Noboru, despite some uncomfortable memories of being myself a wiseass and a major pain to my parents at 13. And from a reluctance to subscribe fully to the Japanese preoccupation with death and predestination. Lastly, I very much prefer the original title :Afternoon Towingto the cute choice of the English publisher.Would I try another Yukio Mishima book? yes, probably, but not as a priority.

  • Araz Goran
    2018-12-13 13:07

    وجدت نفسي في غربة شديدة مع الرواية ومع السرد الممل الذي إفتقدت فيه لأي معنى من التشويق، السرد مقفر والمادة الروائية جاءت كحالة برود تام مع ذوقي في القراءة.. حاولت أن أدخل في جو الرواية، إقتنصت بعض الإقتباسات واللمحات المخلة برتابة الرواية ولكن كل ذلك كان هباء أمام حجم الرتابة السائدة في الرواية وجحيم الإنتظار لحدث ما أو تشويق قد يرسو بسطحه على مركب الرواية..بصراحة شديدة الشخصية اليابانية لا تعجبني وحكاياها تبدو لي بعيدة عن النفسية السائدة لدينا وتجد أن العواطف فيها مكبوتة بطريقة صارمة وباردة للغاية فكل شئ عنده بحساب ومقدار، عدا " موراكامي " فهو الإسثناء الوحيد لي من الرواية اليابانية ..

  • Brian
    2018-12-01 07:12

    Knowing the story of Yukuio Mishima's life, and its tragic end, leads the reader of this novel into some dark parts of the author's mind. The characters in this novel are thinly veiled allegorical figures of Mishima's world view: his distaste for Western influences on Japan, his need for rigorous fastidiousness in his personal life, his desire to see Japan return to its ultra-conservative glory of yesteryear. Mishima was so consumed with this vision that he staged a failed coup attempt in 1970 and then performed seppuku when it was not successful.The three main characters of the novel: the 13 year-old boy Noboru, his beautiful mother (and widow) Fusako, and her new love interest Ryuji, a lifelong sailor. Ryuji represents everything Noboru wants from the future - his desire to become a mariner one day is the single most important thing in his world. His mother is the owner of a store that provides wealthy Japanese (and expats) expensive Western clothing and baubles. When Ryuji enters their life, a love triangle forms that quickly dissolves into one of hate. How will Noboru, the clear alter-ego of the author, resolve the conflict? You'll have to read the book to find out just how low Mishima can go. And knowing how he ended his life, you can probably guess how brutal it will be.One last thing: (view spoiler)[there is a scene of terrible violence against a kitten. I love cats, and this was a very hard part of the book to read. (hide spoiler)]

  • Michael Finocchiaro
    2018-12-13 09:08

    This is one of Mishima's shorter stories but it is so beautifully and heartbreakingly written that you almost wish it would be longer. My no-spoiler rule prevents me from giving you any details but if you loved The Old Man and the Sea and want to read a Japanese variation on the sea tragedy that is also a psychological study, you will love this one. The Mishima universe is a wonderful one to explore and this is a great place to start.

  • Sinem A.
    2018-11-21 05:47

    Dehşetin bu kadar romantik bu kadar duygusalını belki de ilk defa okudum. o kadar naif bir anlatim o kadar berrak ve sade ama bir o kadar da başdöndürücü. Muazzam bir eser.

  • Evan
    2018-11-28 06:54

    HIGHEST RECOMMENDATION!"If I were an amoeba, he thought, with an infinitesimal body, I could defeat ugliness. A man isn't tiny or giant enough to defeat anything."Ryuji, the "emasculated" sailor in Mishima's great novel, thinks such thoughts on long sea voyages, standing watch on deck; his only friends being the stars. His vague notions of glory -- that something great awaits him at the next port -- allow him to avoid his sense of powerlessness and the reality of his aimlessness. His idea of romantic completion is an unconsumated coupling that is destroyed utterly in instant oblivion -- a kiss and the lovers' lives brought to an end in a tidal wave, for instance. To him, this is the idea of a perfect marriage. His lifestyle of staying on the move and not becoming attached ends soon after he meets a well-to-do widow, Fusako, in the port of Yokohama. The Sailor Who Fell From Grace With the Sea shifts its narrative foci deceptively. As it starts it, we think it might be a novel about burgeoning adolescent sexual discovery, as Fusako's 13-year-old son, Noboru, discovers a peephole into his mother's adjoining bedroom, well hidden in a cabinet inside the closet. It allows him to study his mother's naked body and later the coitus between she and Ryuji. The focus then shifts to Ryuji, and over time we learn his backstory, and how Noboru's interest in ships and maritime trivia lead to the eventual hookup of his mother and sailor. There's a lovely sentence in which Ryuji thinks about how his great quest across every corner of the Earth ends on a point of exquisite sensation: the tip of his finger caressing a woman's nipple. The book is filled with countless wonders of such poetic beauty, but eventually it leads into darker territory about what it means to be a man, about the lies of fathers (or more accurately, the fear of growing up into a world where there is no real control or heroism for a man), and the seductive violence of groupthink. Noboru, as it happens has joined a group of proto-fascist youths who pervert the Nietzschean idea of the Superman. Their hatred of weak men, which all of them consider their fathers to be, drive the characters to a fate about which I cannot elaborate. Let's just say that the moment Ryuji morphs from a sailor-hero to a mere father figure in Noboru's mind is a pivotal one. There's a very disturbing passage in the book where the gang practices their "manly" cleansing ritual of cold violence on a poor kitten. To them, in their warped idea of real manhood, such violence brings some kind of order to the universe. The book accurately essays the dangers of social conformity in extremis and along the way somehow manages to mix in equal portions of romantic longing, family dynamics, the workings of port cities and international import and export, the pull of the sea vs. life on land, and the lure of ritual -- the latter being something of great appeal to the traditionalist Mishima. I suspect that Mishima's concerns about the Japanese man as an emasculated being might also stem from the sense of Japanese defeat after World War II. The novel takes place after the war, more or less contemporaneous to its publication in the 1960s. I also love how the novel enters the thoughts of the characters as they internally edit themselves when they verbalize bland platitudes and chitchat to one another -- chastising themselves for not saying what they really want to say. The physical descriptions of the living quarters, the environs and the sights of Yokohama are masterly. Rarely have I encountered a book in which so much poetic and langorous space co-exists within such a fast-moving, concise narrative. The book seems to be going in one very romantic direction and then shifts gears to something disturbing and ominous. It takes a deft hand to make such a change of emphasis work. Mishima, it seems, possessed the mastery to pull it off. This is a great book and a super fast read. Another one for my favorites category.

  • Pınar
    2018-12-09 13:11


  • Çağdaş T
    2018-11-22 09:17

    Bereket Denizi serisine gönül rahatlığıyla başlayabilirim. Çünkü Mishima'yı çok sevdim.

  • Aubrey
    2018-11-23 07:06

    The problem with expressing a lack of appreciation for "transgressive" material is the underlying assumption that such an expression is evidence of weakness. Weak stomach, weak nerves, a weak anything that explains why a tolerance for violence is not ready and willing. No one calls someone "weak" for proclaiming a dislike for the romance genre, so prominent in society is the disdain for the potential creation of bonds of empathy between strangers. I find the contrast interesting enough to keep it in mind for future conversations about love and war and which is the stronger US fetish, the one for Disney or the one for mass murderers. US children love the former, but it's the latter that contributes to them being seventeen times as likely to be murdered by firearms as children in any other developed country.They stand in the way of our progress while they try to burden us with their inferiority complexes, and their unrealized aspirations, and their resentments, and their ideals, and the weaknesses they’ve never told anyone about, and their sins, and their sweeter-than-honey dreams, and the maxims they’ve never had the courage to live by—they’d like to unload all that silly crap on us, all of it. Even the most neglectful fathers, like mine, are no different. Their consciences hurt them because they’ve never paid any attention to their children and they want the kids to understand just how bad the pain is—to sympathize!Had Mishima not written this particular segment, I wouldn't have valued the book so much. The boy rebelling against the thorn in his side to a homicidal extent would be a more sympathetic narrative were girls the world over not expected to cope with far worse suffocation of self without any hopes of outwardly aggressive overthrow. However, the patriarchy being the patriarchy, fathers operate in a similar fashion of believing themselves the main character in a sideshow of bed partners and offspring regardless of the gender of said offspring. Mishima characterized the poison concretely enough to forgo the generic "phonies" outcry that, as a female reader with no patience for abusive manpain, I gave him the benefit of the doubt.I’ll read it again as loud as I can: ‘Acts of juveniles less than fourteen years of age are not punishable by law.’”The chief had the others pass the book around while he continued: “You might say that our fathers and the fictitious society they believe in passed this law for our benefit. And I think we should be grateful to them. This law is the adults’ way of expressing the high hopes they have for us. But it also represents all the dreams they’ve never been able to make come true. They’ve assumed just because they’ve roped themselves so tight they can’t even budge that we must be helpless too; they’ve been careless enough to allow us here, and only here, a glimpse of blue sky and absolute freedom.I also must say that it's not as simple as "manpain", what with the equating of children to humanoid playthings and the US occupation after the atomic bombing atrocities and the structure of Japanese culture itself. One of my professors had the class present on intercultural dimensions, a particular example being Hofstede's Masculinity/Femininity where Japan ranks near the Masculine top and googled pictures resulted in Mishima in various poses of dishabille. Coupled with "Western" influence, an influence that feminizes Asian males and continues to run rampage over continents that weren't able to resist as effectively as Asia, and you have a maelstrom that I am in no way able to pass judgment on. I'm not a fan of solipsistic violence being equated to objectivity, but I'm not going to discredit the teenage years with words such as "phase" and "angst". While no longer a teenager, I'm still coming to terms with the extent my "Land of the Free" is built upon genocide and enslavement and stirring up bloodbaths for the sake of the economy, so if anyone was able to reconcile with that during their formative years, congratulations. I'd never want what you've won, but you've won regardless.

  • Murat G.
    2018-11-21 10:06

    Kitabı şimdi bitirdim ve bu edebiyat sarhoşluğu geçmeden içeriğe/konuya dair yorum yapmak niyetinde değilim.Hayatımda okuduğum en güzel veda tasviri sanırım bu kitapdaydı. (syf. 79)Hayatı hakkında hiçbir şey bilmeseniz dahi, sadece bu kitabı okuyarak, bambaşka bir türden bir adamla karşı karşıya geldiğinizi anlayacaksınızdır.Ve bu adam duygu/durumları aktarırken dili öylesine güzel, öylesine özgün, öylesine hayranlık verici kullanıyor ki; başka birisince başka kelime dizilişleriyle dile getirilse asla kabul edemeyeceklerinize ikna olmanız riski var.Bi oturup soluklanmakta fayda var. İleride ayık kafayla incelerim umarım.

  • Emilio Berra
    2018-11-22 09:52

    Quanto è amaro il sapore della gloriaIn questo romanzo Mishima ci presenta tre protagonisti: una ancor giovane vedova, il figlio tredicenne e un Ufficiale di Marina.La storia segue due linee : l'amore fra i due adulti ; le vicende del ragazzo e del suo inquietante gruppo di amici. Nello svolgimento dei fatti, i due 'percorsi' hanno più momenti di contatto, uno dei quali determinante nella trama del racconto giapponese.Mi soffermo in particolare sulla figura dell'adolescente con relativo gruppetto di coetanei.Per vari aspetti le vicende inducono ad un confronto con "Agostino" di Moravia. In entrambi i romanzi infatti abbiamo protagonisti di classe borghese, colti nella delicata fase della pubertà, che dolorosamente scoprono la donna nella propria madre a causa dell'intrusione di un uomo. Nei due romanzi poi c'è la presenza di un gruppo di coetanei.Emergono però significative differenze. In Moravia, l'insicuro Agostino incontra giovanissimi sottoproletari maleducati e volgari, in perenne lotta fra di loro magari per un pacchetto di sigarette. Qui invece il ragazzo, freddo e anaffettivo, frequenta amici con famiglie benestanti ; sono bravi studenti apparentemente inappuntabili, ma coltivano un'ideologia nichilista pericolosissima : si sentono piccoli 'superuomini' che detestano i genitori e ne odiano gli atteggiamenti; vogliono 'educarsi' all'insensibilità verso tutto (nel giovane protagonista l'unico sentimento che alberga è la rabbia) ed elaborano uno strano e astratto concetto di gloria. Astutamente conoscono le leggi: vogliono 'fare qualcosa' prima di compiere 14 anni.Anche il marinaio, amante della madre, ha impostato la vita sull'onda dei sogni di gloria, ormai frustrati dalla realtà dei fatti ; ma il sogno talvolta ancora trapela e lo renderà più vulnerabile.Il romanzo, anche se non fra le migliori opere dello scrittore giapponese, è rappresentativo della sua scrittura e della sua controversa ideologia. Qui, inoltre, ci conduce di fronte ad una generazione di giovanissimi terribilmente idealista per contrapposizione e frustrazione, di un idealismo distruttivo, pieno di odio, i cui sfumati contorni paiono riscontrabili nelle nostre attuali società del benessere, ove 'per noia' si progettano disastri.

  • Aslıhan Çelik Tufan
    2018-12-02 09:02

    Tanışma kitabı olarak yerinde bir tercih midir bilemem, benim için isabetli oldu o ayrı. Yazarın diğer kitaplarını okumak için sabırsızlanıyorum diyebilirim. Gelelim kitaba.. Bir insanın kurduğu iç dünyasını ve hayallerini bilemezsiniz. Esasen hiç bilemeyeceğiniz birşeyleri yıkmakta usta da olabilirsiniz. Üstelik bunu kendi hayalleriniz ve tercihlerinizle yaparsınız. Peki ya bunlar sizin de sonunuz olursa? Çok sıradışı, beklenmedik ve tadı damakta kalan bir eser.Kitaba dair tek kelime söyle dense, dehşetli derim! Dehşet bence hiç bu denli romantik olmamıştı. Tavsiye ediyorum.

  • FrancoSantos
    2018-12-03 14:16

    Considero que El marino que perdió la gracia del mar se queda a mitad de camino. Lo que puede llegar a parecer una especie de tragedia griega termina siendo más precisamente una mezcla de distintos hilos narrativos con tintes románticos. Me ha gustado mucho el tratamiento de Mishima en cuanto al Japón de la posguerra, derrotado y con anhelos de viejas glorias, y el contraste del deseo y el fracaso, muy bien expuesto a través de la relación entre la tierra y el mar. De todas formas, el romance no me convenció del todo, las anécdotas marítimas del marinero protagonista fueron prescindibles y el grupo fanático nihilista fue, aunque entretenido, un tanto disonante y, en varias partes, incómodo de leer. Siento que Mishima podría haber desarrollado una gran historia, pero resultó ser un texto que no dice mucho más que lo mencionado, con un argumento simple y que en ocasiones peca de monótono.

  • Özgür
    2018-11-27 10:53

    İnsana ait tüm duyguları, çıkmazları ve karanlığı bu kadar şiirsel anlatımla keskin bir şekilde sonlandırmak, gerçekten sadece Mişimaya özgü bir kalem ustalığı gibi duruyor.

  • Eddie Watkins
    2018-11-26 12:14

    Simple and wicked. Wicked? How about violently inevitable. Like a ritual the outcome is preordained and known, but for those who fall under its spell there is no loss of power. A brutal vision wedded to a dreaminess; a clear-sightedness goggled by fantasy blurs; an adolescent sexual awakening derailed into murder. This is one sexy bludgeon of a book, like a geisha sporting top-of-the-line brass knuckles.

  • Pavle
    2018-12-15 11:17

    Po svim merilima jak roman. A ja sumnjao posle prvog susreta sa Mišimom. Ne znam tačno ni čega baš da se dohvatim ovde. Da li slave, da li grupice dečaka koji misle da su pametniji od sveta? Da li snažne romanse, da li prirode muškosti? Otrežnjujućeg kraja? Puno toga ima za knjigu od stotinak stranica, a opet ni u jednom trenutku se ne oseti nikakva žurba. Ali na mikroprimeru romanse: uvek me impresionira kada neko uspe da na circa dvadeset stranica bavljenja temom ostvari autentičnost koja nekim piscima beži i posle osamsto stranica. Roman o identitetima, o „ko sam“ i „ko hoću da budem“, o suštinskoj razlici koju donose godine. To je ono što Mišima ovde radi, na svim poljima, i to je ono što mu uspeva. 5

  • Nate D
    2018-12-09 11:57

    Like some baroque poisoned confection, a massive slice of dense chocolate cake, rich to the border of nausea, decked out with delicately overwrought sugar flowers and decorative drips and curlicues of livid icing laced with arsenic. That's the style here: enjoyably, beautifully overwritten in chokingly heavy prose, but riddled with dark portents and pockets of caustic nihilism. It'd be ridiculous if it weren't so serious, laughable if not so compelling. It's good. I'm having a hard time judging its actual degree of excess, but I enjoy excess, too, so.The hilarious, probably xenophobia-motivated blurb on my 1965 copy: "A novel of the homicidal hysteria that lies latent in the Japanese character."

  • Zak
    2018-11-20 07:47

    Captivating writing although I had minor problems with the content. A widow takes her teenage son on a ship visit (he is crazy about ships). She hits it off with the 2nd Officer and they are soon an item. The son is part of a nerdy gang from school. Initially he is in awe of the officer but soon things take a dark turn. So what about the content didn't I like? Firstly, the group of 13-year old teenagers is rather annoying. There is a lot of facile talk about life, fathers, etc., filled with silly concepts which got tiresome. Secondly, the man in the story (the 2nd Officer) kept fantasising about seeking out his 'Great Cause' and dying a glorious death. I gather the author allowed his own world views to seep into the character. Perhaps a longing for Japan's return to its former glory after the loss of WWII. All in all, not a very enlightened view. Still, a worthwhile read just for the writing.Final rating: 3.75*

  • Tosh
    2018-12-15 10:04

    A very wicked book of sorts, but also a great book on children and how they think. Which is kind of devilish on my part to say - but Mishima captures the kids' view of something very grown-up. The book is very textural in that it is about a lonely woman's erotic impulses as well as her child picking that aspect of her personality or sensuality. Essential book in the Mishima world.

  • Jessica
    2018-12-03 09:58

    Argh. Okay, so I've been agonizing since finishing this book about how many stars to grant it. What should the stars mean? Do they stand for how good I think a book is? Or do they signify how much I enjoyed reading it? I think this is a three-point-fiver for me, really. Argh! It's so tough to say....This book contained a great deal of five-star material. While there were several words and phrases that really jarred, these could have been clunky translation glitches, and in general the language and description was incredible. I mean, it was honestly stunning. Reading this book was so visual, even cinematic, and Mishima describes his characters and their post-war Japanese port city so vividly that you really do see it all, you have to, and it's a lovely thing to behold.The story is about a widow, Fusako; her thirteen-year-old son, Noburo; and a sailor, Ryuji, who begins a love affair with the mother, the consummation of which is observed by the son through a hole in the wall between his and his mother's rooms. Noboru belongs to a scary, nihilistic cult/gang of kids with a charismatic leader and ruthless philosophy. [As an aside, this whole thing with the kids really reminded me of a book I just started once -- it belonged to Emily K -- about some really scary, nihilistic kids in post-WWII Germany; I thought that book was by Christa Wolf, but now I'm not so sure. Extra credit if anyone knows what I'm talking about!:] The heart of The Sailor Who Fell from Grace with the Sea is the tension between Noboru's adulation of and disappointment in Ryuji.This book was so beautiful. I mean, I really just don't know how to say that without sounding like a complete tool. The descriptions of the sailor's life at sea and of the mother and the city were just... bleagh. I refuse to use those pukey book review words like "evocative" or whatever, and I won't say some of these passages just made me "ache," because that's gross, no one wants to hear that.... so I'll just keep my opinions about much of this this novel to myself, for all of our sakes.For me, though -- emphasis on the for me -- I stopped enjoying this book in the last quarter, and while that might've been Mishima's fault (after all, he did have me for the first three quarters, so maybe he did something to lose me), it might also have been more my personal failures as a reader. My problem was that I could see from the beginning where this was all going, but as the event became more obviously imminent I didn't understand what made it inevitable, because the characters just didn't really make sense to me. I didn't understand what the young boys were feeling or why, and I just couldn't relate to it. I just kept thinking, "If I were the sorta guy who'd commit ritual suicide, these characters might really resonate with me; or even if I were more of an expert on Japanese history and culture, I might kind of get what they're on about... but as it is, er, hm.... I really don't."Now, should an author be able to get any reader to empathize with any character enough to understand his motivations, across boundaries of culture and time and whatever else? Maybe. I'm not sure. Again, I don't know who to blame here, myself for not getting it or Mishima for not making me get it, but the fact that I was totally on board for most of the book but found myself adrift towards the end makes me suspect it might not just be me, but possibly due to problems in the structure of the book. The rhythm there at the end didn't feel quite right to me, in contrast with the beginning and middle, which felt mostly pitch-perfect.Anyway, though I wasn't as crazy about the latter part of this book as I was about the earlier parts, it's not like it ever got bad. It's a good book.... I should also add that it is also mighty disturbing, because I suppose it'd be irresponsible of me not to say so.

  • Allie Riley
    2018-12-10 11:53

    I didn't quite finish it, actually, I got to page 165. But I was so revolted by what was evidently going to happen next that I refused to read further.Fusako Kuroda, a successful business woman, has been a widow for 5 years. By chance when visiting his ship with her 13 year-old son Noboru, she meets Ryuji Tsukazaki the Second Mate. She invites him to dinner, one thing leads to another (as it does), they fall in love and he decides to abandon his life on the sea in order to marry her. So far so normal. Meanwhile, her son is a member of a violent and unpleasant gang. There are six of them: Chief and numbers one through to five. Noboru is number three. The gang is united by a very bizarre and depressing philosophy. They appear to believe that only death is worth while and that therefore the act of procreation is to be despised. Thus by extension all fathers are evil. Since Ryuji has renounced his former maritime life and taken on the role of father, they decide that he must be punished. I abandoned the book at the point at which they begin to delineate the method of punishment.So, one star is awarded for the sublimely beautiful prose. There is no denying that this man could write. It is achingly gorgeous. The other star is for the well-rounded characters of Ryuji and Fusako and their sweet romance. However, further than that I will not go. The life philosophy he evidently espoused was bleak and depressing. And I refuse point blank to forgive him for the kitten killing scene which was brutal, sickening and wholly unnecessary. Unless you have a particularly strong stomach or are of a particularly cynical frame of mind I would avoid this one.

  • Bastet
    2018-11-24 05:48

    Aunque no esté catalogada como tal, yo la considero una novela de terror. El protagonista, Noboru, es un adolescente huérfano de padre que se rebela contra su madre y no le perdona que ella rehaga su vida junto a un marinero. Si está solo, Noboru es inofensivo; pero cuando se junta con su pandilla se pliega a las órdenes del líder del grupo, un psicópata lleno de resentimiento contra los adultos. El discurso del líder cala en Noboru y termina convenciéndose de que su madre le desprecia. Su amargo sentimiento de decepción le lleva a refugiarse en sus amigos. Y la decepción da paso a una obsesión: la venganza. Llegó un momento en que estaba tan angustiada que no pude seguir leyendo. El último capítulo lo leí con un nudo en la garganta, sabiendo que algo espantoso estaba a punto de suceder.Mishima plasma con maestría la brecha generacional, que hace imposible el entendimiento entre una madre y su hijo adolescente. Las elipsis, lo que no cuenta, son más efectivas que lo explícito. Por eso es tan terrorífica esta novela.

  • Didi
    2018-12-15 10:12

    I gave this one 2,5 stars. It was heavy on symbolism and extreme and utopian in it ideals on glory and honour. I didn't love it but it's certainly unforgettable in plot. The thing it really has going for it is Mishima's writing, which is precise, calculating, and incisive. I would suggest starting with Patriotism for new readers of Mishima.