If you have not read it yet, you have to read it this instance.
It is a fascinating character study of Toshiko, a woman consumed by her fear of inescapable fate — a subject that fascinates me. Stories of Love and Other Obsessions.
His guests respond with explosions of laughter before moving on to the next bit of entertaining gossip. By contrast, Toshiko dresses in a traditional kimono as does the wet nurse.
She feels out of place in nightclubs, and prefers the comforts of home, although less so now that her husband has appointed theirs with Western-style furniture. More importantly, she is sensitive, careful of the feelings of others, and anxious about how her actions may impact others.
She recalls how her husband conveniently slipped away once the maternity doctor arrived, leaving her to watch helplessly as the doctor scornfully wrapped the newborn in discarded newspaper, rather than in proper swaddling. She feels somehow guilty and fears that her possession of this knowledge will return to haunt her.
As the taxi progresses along the darkened road that encircles the Imperial Palace moat, Toshiko continues to obsess over the incident.
Night cherry blossoms at Chidorigafuchi, Tokyo. If the young man is going to kill anyone, she reasons, it should be her rather than her innocent son. Against her better judgment, Toshiko leaps out of the taxi and crosses the road to the park, which by now is pitch dark and devoid of anyone except a few random couples lying here and there, entwined amongst the cherry trees.
Toshiko aimlessly wanders the empty park, increasingly distressed over her fears for the future, when she suddenly catches sight in the distance of a prone, white figure, hovering in the darkness about two feet above the ground.
She is drawn to the figure, which turns to be a young man asleep on a park bench, covered in a makeshift blanket fashioned out of newspaper.
She leans over him to get a better look. And then it happens: In the silent night the newspaper bedding rustled, and abruptly the man opened his eyes.
Seeing the… woman standing directly beside him, he raised himself with a jerk, and his eyes lit up. A second later a powerful wrist reached out and seized Toshiko by her slender wrist.
She did not feel in the least afraid and made no effort to free herself.
In a flash the thought had struck her, Ah, so the twenty years have already gone by! The forest of the Imperial Palace was pitch dark and utterly silent.
At first reading, this abrupt ending disturbed me. I found myself desperately wanting to know what happened next. I was particularly intrigued by the young man on the bench. What was he doing there? Why was he covered in newspaper? Or was he simply defending himself in his half-sleep against a perceived attack?
But I could find nothing beyond a few bits of superficial analysis. It is also an exploration of ambition and callousness, which is a theme that moved Mishima and infuses much of my work. And, yes, I frequently end my stories abruptly, leaving open the door for other writers to swoop in and create their own parallel stories.In our blog, you can find general and specific writing tips on how to deal with academic papers.
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The times are changing and with that change, culture is adapting to it. Some of the Japanese feel threatened and that the changes that are being made are corrupting their moral values.
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A critical-historical analysis of the main themes prevalent in Mishima’s works. Explores Mishima’s philosophic progression from passive to active nihilism. Includes discussion of major works, links Mishima to 19th century German philosophers, particularly Nietzsche, and discusses his complex personal and literary relationship to the west.