This is about an author on a quest to write a masterpiece, which revolves around mining some secrets contained in the red leather chest of his dead father.
This sounds grim and has some autobiographical context. But it is actually quite fun at this point, especially with the theater group(ies) who are trying to adapt the author's work in an authentic way (and also the work of other famous Japanese novelists).
I find the interactions between the theater group and the author hilarious because the author giving them access seems to validate his work in this weird social contract between artist and audience. They're trying to prove that they are serious and have ironed out the difficulties in adapting his work and he is feeding them material -- but probably doesn't need this amount of effort as I think he quite enjoys the attention.
Murasaki Shikibu, born into the middle ranks of the aristocracy during the Heian period (794-1185 …
Still figuring it out, lots to process...
4 stars
I somehow powered through this but will need to take a break before the second volume. I will likely read the essays in the Norton Critical edition and delve into other resources before continuing.
At some point, things expanded in scope and I had a hard time grasping the changes. There's politics and state management but we're also dealing with Genji's descendants. I have no idea what the rest of the tale has in store, even after peaking ahead.
I am not sure that the author worked entirely in a vacuum to create what many think is the world's first proper novel. However, I accept the possibility that the forms and techniques she was working with can't be neatly categorized. I suspect that the work has been adapted over time and through translation to make it more coherent to some identifiable literary standard. In the end, I doubt whether one …
I somehow powered through this but will need to take a break before the second volume. I will likely read the essays in the Norton Critical edition and delve into other resources before continuing.
At some point, things expanded in scope and I had a hard time grasping the changes. There's politics and state management but we're also dealing with Genji's descendants. I have no idea what the rest of the tale has in store, even after peaking ahead.
I am not sure that the author worked entirely in a vacuum to create what many think is the world's first proper novel. However, I accept the possibility that the forms and techniques she was working with can't be neatly categorized. I suspect that the work has been adapted over time and through translation to make it more coherent to some identifiable literary standard. In the end, I doubt whether one can view Genji as a protagonist. Instead, it may be a look at how the actions of a person who is an idealized representation of a court player, tragic flaws and all, affects the lives of those around him. Or if that isn't the case, it is a way for me to connect to the story.
Murasaki Shikibu, born into the middle ranks of the aristocracy during the Heian period (794-1185 …
I am nearing completion of the first volume.
Genji never stops being lecherous but he does develop deep connections with many of the women he is involved with. Some of the women have passed away, and Genji mourns them but never quite develops (so far) enough self awareness to change his behavior.
There is always a bit of calculating and plotting behind his actions, even if he ends up suffering for them. At one point, he even self-exiles from the court but eventually comes back stronger.
Fate seems to strike those around him, especially for his own actions -- and this is where the critique of his bad behavior is focused. Karma is also a thing but we may be left to contemplate the contents of Genji's past and future lives.
It is a 1000 year old novel and our ability to read it now is the result of centuries …
I am nearing completion of the first volume.
Genji never stops being lecherous but he does develop deep connections with many of the women he is involved with. Some of the women have passed away, and Genji mourns them but never quite develops (so far) enough self awareness to change his behavior.
There is always a bit of calculating and plotting behind his actions, even if he ends up suffering for them. At one point, he even self-exiles from the court but eventually comes back stronger.
Fate seems to strike those around him, especially for his own actions -- and this is where the critique of his bad behavior is focused. Karma is also a thing but we may be left to contemplate the contents of Genji's past and future lives.
It is a 1000 year old novel and our ability to read it now is the result of centuries of scholarship. The translator is very aware that there can be no authoritative translation and strongly believes that each translation adds something to our understanding and makes the work accessible to a different audience.
This is my default position regarding any story before even considering that each reader receives a story differently upon each reading. I am not interested in canonicalization as a thing. I even find it toxic in a modern context as it relates to big intellectual properties.
Even the original work was written in a language that became archaic a few generations later, so it has been in a constant process of modernization for subsequent generations. There are a lot of Tales of Genji out there. The older English translations are still considered valid, they haven't been superseded by "better" scholarship. It is a deep well.
I slowed down a bit with the story Picnic on Paradise and should probably read it a second time because of the stops and starts.
I wanted a second opinion so I tracked down the least annoying booktuber I could find and she also had a difficult time with the story. However, her take was that Alyx was experiencing estrangement and the reader is meant to follow through this experience while the character adapts (to being on a new world, with hypnotic language training). The booktuber had to pause the review because she was moved to emotion by the subtlety of Joanna's technique in guiding the reader through this. I didn't really experience this but one day I will re-read the story with it in mind.
Every other story deeply affected me. The Second Inquisition was a nice gift after struggling with Picnic on Paradise.
I was first exposed to Japanese literature and literary fiction in my late teens through Yukio Mishima. I read him fairly uncritically at that age. I found the politics silly and I thought he was doing theatre or that his death was a fulfillment of a sexual fantasy. It did make me want to live more in my body and less in my imagination. Reading a queer writer at this age also helped me grow as a person. Though it would be hard for me to minimize the politics if I re-read his stuff now, 30 years later, especially with a better understanding of the background of his time.
Reading Japanese Literature: A Very Short Introduction has made me excited to discover many of his contemporaries and other modernist Japanese writers. There seem to be many figures who are equally fascinating and write at the same level of excellence. I …
I was first exposed to Japanese literature and literary fiction in my late teens through Yukio Mishima. I read him fairly uncritically at that age. I found the politics silly and I thought he was doing theatre or that his death was a fulfillment of a sexual fantasy. It did make me want to live more in my body and less in my imagination. Reading a queer writer at this age also helped me grow as a person. Though it would be hard for me to minimize the politics if I re-read his stuff now, 30 years later, especially with a better understanding of the background of his time.
Reading Japanese Literature: A Very Short Introduction has made me excited to discover many of his contemporaries and other modernist Japanese writers. There seem to be many figures who are equally fascinating and write at the same level of excellence. I am very eager to discover these other authors.
