- Capa dura: 1 páginas
- Editora: DALKEY ARCHIVE PRESS; Edição: New. (23 de fevereiro de 2010)
- Idioma: Inglês
- ISBN-10: 1564784908
- ISBN-13: 978-1564784902
- Dimensões do produto: 16,1 x 2,1 x 23 cm
- Peso de envio: 249 g
- Avaliação média: Seja o primeiro a avaliar este item
Temple Of The Wild Geese And Bamboo Dolls Of Echizen (Inglês) Capa dura – 29 fev 2008
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Sobre o Autor
Tsutomu Minakami, also known as Mizukami Tsutomu, was a popular and prolific Japanese author of novels, detective stories, biographies, and plays. Many of his stories were made into movies.
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Rare is it though that such depressingly dreary tales are told with such consummate craftsmanship. Based to some degree probably on his experience in writing popular pulp novels, Mizukami knows how to tell a story so that it reaches out and grabs you, and I found myself compulsively reading through each novella straight through to the bitter end. Even when I could see all too clearly where the downwards spiral was tending. No, sometimes especially then. Adding to this fatal attraction is the author's gift for taking the stock characters from melodrama and detective fiction and fleshing them out believably and complicatedly. There are also interesting fragments of social history to be found here, both in the unvarnished, unromantic glimpse at the sordid side of everyday life in the Zen temples of Kyoto and the straightforwardly realistic treatment of the urban economy's encroachment into outlying rural areas and the resulting commercialization and commodification of folk art that ensues for better or worse (or both, as the case usually is). Finally, when so much of modern Japanese literature is fixated on Tokyo, it's always nice to get a little Kansai balance with works like this set squarely in the old capital of Kyoto and the Hokuriku region northeast of it.
Still, the monotonously gloomy nature of these two novellas works against Mizukami just a bit. It's as if he's stuck painting from the same limited palette again and again. This is not to say that what he so compellingly depicts is not an aspect of human life; certainly it is, but it is after all only one aspect when with Mizukami that's about all you get. On a different note, some of his symbolism is rather strained as well as obvious, and he hits you over the head a few times with decidedly unsubtle foreshadowings. The point of view also sometimes seems to fritter about from person to person rather more freely than is normal for serious fiction, perhaps a holdover from Mizukami's prior writing career. All of which just means that what we have here are not pivotal masterpieces of the first order within the realm of modern Japanese literature but rather respectably minor works within that larger field, ones with a consistently sobering vision.