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<p/><br></br><p><b> About the Book </b></p></br></br>"Intrepid journalist and novelist William T. Vollman's colossal body of work stands unsurpassed for its range, moral imperative, and artistry."--Booklist William T. Vollmann, the National Book Award-winning author of Europe Central, offers a charming, evocative, and piercing examination of the ancient Japanese tradition of Noh theatre and the keys it holds to our modern understanding of beauty. Kissing the Mask is the first major book on Nohby an American writer since the 1916 publication the classic study Pisan Cantos and the Noh by Ezra Pound. But Kissing the Mask is pure Vollman--illustrated with photos by the author with provocative related side-discussions on femininity, transgender, kabuki, pornography, geishas, and more.<p/><br></br><p><b> Book Synopsis </b></p></br></br>"Intrepid journalist and novelist William T. Vollman's colossal body of work stands unsurpassed for its range, moral imperative, and artistry."<br />--<em>Booklist</em></p> </p>William T. Vollmann, the National Book Award-winning author of <em>Europe Central, </em> offers a charming, evocative, and piercing examination of the ancient Japanese tradition of Noh theatre and the keys it holds to our modern understanding of beauty. <em>Kissing the Mask</em> is the first major book on Noh<em> </em>by an American writer since the 1916 publication the classic study <em>Pisan Cantos and the Noh </em>by Ezra Pound. But <em>Kissing the Mask </em>is pure Vollman--illustrated with photos by the author with provocative related side-discussions on femininity, transgender, kabuki, pornography, geishas, and more.</p><p/><br></br><p><b> From the Back Cover </b></p></br></br><p>From the National Book Award-winning author of <em>Europe Central</em>, a charming, evocative and piercing examination of an ancient Japanese tradition and the keys it holds to our modern understanding of beauty </p><p>What is a woman? To what extent is femininity a performance? Writing with the extra-ordinary awareness and endless curiosity that have defined his entire oeuvre, William T. Vollmann takes an in-depth look at the Japanese craft of Noh theater, using the medium as a prism to reveal the conception of beauty itself.</p><p>Sweeping readers from the dressing room of one of Japan's most famous Noh actors to a trans-vestite bar in the red-light district of Kabukicho, <em>Kissing the Mask</em> explores the enigma surrounding Noh theater and the traditions that have made it intrinsic to Japanese culture for centuries. Vollmann then widens his scope to encompass such modern artists of desire and loss as Mishima, Kawabata and Andrew Wyeth. From old Norse poetry to Greek cult statues, from elite geisha dancers to American makeup artists, from Serbia to India, Vollmann uncovers secrets of staged femininity and mysteries of perceived and expressed beauty, including specific makeup procedures furnished by an L.A. transgender bar girl, a Kabuki female impersonator, and the owner of a semi-clandestine studio for Tokyo cross-dressers.</p><p><em>Kissing the Mask</em> is illustrated with many evocative sketches and photographs by the author.</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br>"[A] provocative inquiry into beauty and desire... [Vollmann] is a passionate and penetrating observer ... a daring, brilliant, and idiosyncratic quest astonishing in its discernment, scope, and feeling."--<em>Booklist</em><br><br>"The performance of female characters by male Noh actors sparks a deeply researched, lovingly detailed, and obsessive discourse on the nature of feminine beauty....[A] fervently reflective, probing narrative...[that] rewards it on almost every page."--<em>Publishers Weekly</em><br><br>"Reward[s] the reader who stays with it for the long trip, the way a travel chronicle does.... Vollmann is not just a writer who admires. He is a writer who looks and touches."--<em>San Francisco Chronicle</em><br><br>"[Vollmann's] evocations of [Noh's] death-haunted stories, its eerie masks, its male actors playing women...are so electric and strange, so enchanted, that they made me long for the very dramas that have often sent me toward the exit before the intermission."--Pico Iyer, New York Times Book Review<br>

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