Temple bells in Kyoto, long silenced by war, ring in the new year. The novel originated from a prose poem, inspired by the relationship between a hunting gun and human loneliness, which Inoue wrote for the magazine The Hunter's Companion. At times one might wish for more exposition, because there is so much potential material her -- but Inoue knew what he was doing. And, as he becomes ever more distant, his lover Sakiko is unsure if she would like to see him succeed or be destroyed. The covers, with French flaps, are printed on Colorplan Pristine White Paper. Born in 1907, Yasushi Inoue worked as a journalist and literary editor for many years, only beginning his prolific career as an author in 1949 with Bullfight.
Inoue began his literary career after reaching middle age. His stories are composed both with the precision of a poet and journalist's economy with words. But if Inoue captures the desolate urban landscapes of 1940s Japan, his real interest lies deeper, in the effects of war on the national psyche. Inoue was accepted into the University's English department, but he did not pay much attention to his studies. The translator of both these books, Michael Emmerich, is an American scholar who has written a number of academic works, bi-lingual editions and book translations. The Hunting Gun is a love story set in the post-war period. Inoue's humane and searching world view is there to be explored and these two novellas reward the effort -- on Bullfight and The Hunting Gun Spectator Both of these novellas are delightfully reminiscent of the works of Ryuunosuke Akutagawa.
It centers on Tsugami -- recently made editor, at the age of thirty-seven, of the newly founded Osaka New Evening Post, one of many new publications that sprung up at the end of the Second World War -- and the big project that he is involved in, possibly risking the future of the paper on it: the sponsorship of a three-day bullfight extravaganza in the Hanshin region. Seiiki monogarari 1968, Journey Beyond Samarkand drew on Inoue's experiences in Central Asia. Inoue's historical works include Ro-ran 1959 , about the rise and fall of a small state in Central Asia, Tonko 1959 , which deals with Buddhist manuscripts hidden in the Tun-huang caves, Aoki okami 1960, The Blue Wolf: , a fictional account of the life of Genghis Khan, which was originally published in the cultural journal Bungei shunju in 1959-60, and Futo 1963, Wind and Waves , about the Mongol attacks in the 13th century. Bullfight is a Japanese modern classic, a tense story about post-war Japan and its people struggling to come to terms with a new epoch—available now in English for the first time. We can read about the desperation the organizers, and those close to them fall into due to the pressure of the project.
It's a pleasure to read and the short novel within moves rapidly. To his family's disappointment, Inoue failed the entrance examination for the medical school at Kyushu Imperial University. After the war Inoue made his breakthrough as a prose writer in 1949 with two short novels, Ryoju The Hunting Gun and Togyu Bullfight — the latter, which was published in the magazine Bungakukai, won in 1950 the prestigious Akutagawa Prize for literature. Of course the plot itself is somewhat unusual since it revolves around a bullfight, not something Westerners normally associates with Japan. Although a short work this edition's story runs to 124 pages it is not short on substance. Three years after the end of the Second World War, Tsugami, the editor-in-chief of a newspaper, decides to organize a bullfight.
As Marina and Gary have commented, a very interesting and thought-provoking comparison on the translations. For this reason, I believe I am more fully present in their pages than in any other texts. Besides, compiling a biography of Keigaku would be more than just writing a history of Kyoto's art circles with him at the core; it would be like writing a history of Japan's art world. Born in 1907, Yasushi Inoue worked as a journalist and literary editor for many years, only beginning his prolific career as an author in 1949 with Bullfight. Inoue's serialized samurai novel published in the Sunday Mainichi was filmed in 1952 by Hiroshi Inagaki, starring Toshiro Mifune. A regional specialty in W. I was very fond not only of Keigaku's work but also of Keigaku as an individual.
The book reads like a train. In 1976 Inoue was presented with the Order of Culture, the highest honour granted for artistic merit in Japan. Then in the next instant I felt my hand being softly pushed away. For The Hunting Gun he opts for a formal, deliberate style with something of a period flavour. Inoue's tales are often autobiographical and had an essayish objectivity and calmness.
Throughout all of this he forgets the reasons for the event, the actual bullfight itself, a gamble, a fight to see who is the most dominant. It looks at the ruined urban landscape and postwar world of black-marketeering, fraud, cynicism and self-disgust, seen through the eyes of a small-time newspaper editor who becomes obsessed with the idea of staging a huge, three-day bullfight in the local baseball stadium, sponsored and — perhaps unwisely — financed by his newspaper. In 1976 Inoue was presented with the Order of Culture, the highest honour granted for artistic merit in Japan. On other occasions, however, she would utter the exact same words but as a criticism. In 1976 Inoue was presented with the Order of Culture, the highest honour granted for artistic merit in Japan. Inoue moved in 1951 to Tokyo and devoted himself entirely to writing. These were qualities that Tsugami, who gave the paper its editorial direction, carried within himself, though he kept them carefully concealed.
Like river water flowing over pebbles, the words reveal rather than obscure meaning, which flashes beneath the transparent surface. Whilst I enjoyed it I think there is some depth to it which I didn't quite get. No one knows him better than his lover Sakiko, with whom he has a rather fractuous relationship. So also it really shouldn't come as that much of a surprise that in the end Tsugami finds: How enormously different reality was. Inoue Yasushi Choose another writer in this calendar: by name: by birthday from the. For months this great gamble consumes him, makes him as wary and combative as if he was in a ring himself.
In Inoue's story, Tashiro, a native of Shikoku, manages to get Tsugami, the editor-in-chief of the Osaka New Evening Post, to sponsor 3 days of bullfighting in January 1947. The novel opens with a brief introduction by the unnamed narrator, into whose possession the letters comprising the main story have come. . Sin, Shōko learns, can be inherited. It is told from three points of view in letters written to the male protagonist, Josuke.