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ABBEY'S BOOKSELLER PICK ----- One night, after looking through a small hole in his wall, thirteen-year old Noboru sees his lonely mother take a stranger as companion. This stranger is a sailor, due to depart soon and abandon Noboru’s mother. At first, Noboru idolises this man: the sailor is not oppressed by sentimental affections or familial obligation; he is free and unbound. It is only when the sailor decides to remain that Noboru and his friends – entrenched by notions of traditionalism and honour – conspire to correct this sailor’s fatal weakness.
Here, Mishima has created one of the most macabre and sinister tales of toxic masculinity in youths (perhaps unintentionally, given his own nationalistic and conservative mindset) who seek the preservation of outdated traditions. In efficient and sometimes brutal prose, Mishima showcases the ambiguity of honour, and the consequences of its misapplication. Dylan
Yukio Mishima was born into a samurai family and imbued with the code of complete control over mind and body, and loyalty to the Emperor - the same code that produced the austerity and self-sacrifice of Zen. He wrote countless short stories and thirty-three plays, in some of which he acted. Several films have been made from his novels, including The Sound of Waves; Enjo, which was based on The Temple of the Golden Pavilion; and The Sailor Who Fell From Grace with the Sea. Among his other works are the novels Confessions of a Mask and Thirst For Love and the short-story collections Death in Midsummer and Acts of Worship. The Sea of Fertility tetralogy, however, is his masterpiece. After Mishima conceived the idea of The Sea of Fertility in 1964, he frequently said he would die when it was completed. On November 25th, 1970, the day he completed The Decay of the Angel, the last novel of the cycle, Mishima committed seppuku (ritual suicide) at the age of forty-five.
ABBEY'S BOOKSELLER PICK ----- One night, after looking through a small hole in his wall, thirteen-year old Noboru sees his lonely mother take a stranger as companion. This stranger is a sailor, due to depart soon and abandon Noboru’s mother. At first, Noboru idolises this man: the sailor is not oppressed by sentimental affections or familial obligation; he is free and unbound. It is only when the sailor decides to remain that Noboru and his friends – entrenched by notions of traditionalism and honour – conspire to correct this sailor’s fatal weakness.
Here, Mishima has created one of the most macabre and sinister tales of toxic masculinity in youths (perhaps unintentionally, given his own nationalistic and conservative mindset) who seek the preservation of outdated traditions. In efficient and sometimes brutal prose, Mishima showcases the ambiguity of honour, and the consequences of its misapplication. Dylan
Mishima's greatest novel, and one of the greatest of the past century * The Times * Explores the viciousness that lies beneath what we imagine to be innocence * Independent * Told with Mishima's fierce attention to naturalistic detail, the grisly tale becomes painfully convincing and yields a richness of psychological and mythic truth * Sunday Times * Coolly exact with his characters and their honourable motives. His aim is to make the destruction of the sailor by his love seem as inevitable as the ocean * Guardian *
