The Reed Cutter and Captain Shigemoto's Mother - (Vintage International) by Jun'ichiro Tanizaki (Paperback)
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<p/><br></br><p><b> About the Book </b></p></br></br>"In these two novellas, translated by Anthony H. Chambers and appearing in paperback for the first time, Tanizaki probes the translucent screen that separates idealized yearning from humiliating obsession in a society of impenetrable decorum."--<p/><br></br><p><b> Book Synopsis </b></p></br></br>With a precision and brilliance unmatched perhaps by any other novelist of the twentieth century, Junichiro Tanizaki interweaves a sense of his country's deep past with the kind of pathologies and obsessions we are likely to think of as modern. Here, in two eerie and beautiful novellas, he displays this skill at its most elegant and affecting. <p/> <i>The Reed Cutter</i> has a contemporary setting, though it might have taken place any time in the past thousand years. On a fine September evening, the narrator decides to make a solitary excursion to the site of an ancient imperial palace south of Kyoto, a place now lost and overgrown near the banks of a river. Musing upon old poems, passages of history, and topographical antiquities, he eventually finds himself among the reeds of a sandbar sipping sake from the bottle he has brought with him, watching the moon rise over the river, and scribbling bits of verse in his notebook. Suddenly he is surprised to discover that he is not alone. A strange man joins him and begins to tell a most extraordinary tale about his father, about a scene glimpsed in a moonlit garden forty years before, and about a mysterious woman who has become a lasting obsession. <p/> <i>Captain Shgemoto's Mother</i> is more violent but no less strange. It takes place in tenth-century Kyoto, in a world in which poetry and brutality, power and sexual impulse, shape the lives of the courtiers. Beginning in an almost whimsical vein with an account of the amorous exploits of a Heian Don Juan called Heiju, it gradually shifts mood to focus on three people--Shihei, the powerful Minister of the Left; his doddering uncle Kunitsune; and Kunitsune's ravishing and much-younger wife, a woman known only as Shigemoto's mother. How Shihei succeeds in taking Kunitsunes' wife away from him in the course of a bizarre and drunken party is a story as shocking--and memorable--as anything Tanizaki ever wrote.<p/><br></br><p><b> From the Back Cover </b></p></br></br>One of the great novelists of the twentieth century, Junichiro Tanizaki wrote about love--and sex--with a breathtaking suppleness of style and a vast depth of literary allusion. In these two novellas, brilliantly translated by Anthony H. Chambers and appearing in paperback for the first time, Tanizaki probes the translucent screen that separates idealized yearning from humiliating obsession in a society of impenetrable decorum.<p/><br></br><p><b> About the Author </b></p></br></br>Junichiro Tanizaki was born in Tokyo in 1886 and lived there until the earthquake of 1923, when he moved to the Kyoto-Osaka region, the scene of his novel <b>The Makioka Sisters</b> (1943-48). Among his works are <b>Naomi</b> (1924), <b>Some Prefer Nettles</b> (1928), <b>Quicksand</b> (1930), <b>Arrowroot</b> (1931), <b>A Portrait of Shunkin</b> (1933), <b>The Secret History of the Lord of Musashi</b> (1935), modern versions of <b>The Tale of Genji</b> (1941, 1954, and 1965), <b>Captain Shigemoto's Mothe</b><i>r </i>(1949), <b>The Key</b> (1956), and <b>Diary of a Mad Old Man</b> (1961). By 1930 he had gained such renown that an edition of his complete works was published, and he was awarded Japan's Imperial Prize in Literature in 1949. Tanizaki died in 1965.
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