Two Junichiro Tanizaki novels from the 1920s for Japanese Literature Month over at Dolce Bellezza.  Always interesting to see what people are reading.  Thanks as usual.  18th edition! The two novels I read, Naomi (1924) and Quicksand (1928-30), are closely related.  Both are about dominant and submissive sexual relations, an obsession of Tanizaki.  Both were serialized in newspapers.  How I wish the books had explanations of how the serialization worked.  Both novels are written in, or at least translated as, plain, sometimes even dull prose, perhaps a consequence of tight serial deadlines. Both have narrators who may well be playing tricks on me, although if so I did not see the signals, and believe me I am alert to the signals, well-trained by Pale Fire and The Tin Drum and Villette and so on.  Maybe Tanizaki’s tricks are different. Naomi is narrated by a creep of an engineer who picks up – grooms – a 15 year-old waitress who he finds especially “Western.”  … most of her value to me lay in the fact that I’d brought her up myself, that I myself had made her into the woman she was, and that only I knew every part of her body.  For me Naomi was the same as a fruit that I’d cultivated myself.  I’d labored hard and spared no pains to bring that piece of fruit to its present, magnificent ripeness, and it was only proper that I, the cultivator, should be the one to taste it.  No one else had that right.  (Ch. 18, 161) Pure poison.  By this point in the novel Naomi has taken power, well on her way to complete control, crushing her groomer, who is likely, it turns out, happier crushed. Much of the novel is set in the modern, Westernized Asakusa neighborhood of Tokyo, before the terrible earthquake that obliterated the dancehalls and movie theaters.  I found all of that detail quite interesting, as it was in Yasunari Kawabata’s The Scarlet Gang of Asakusa (1929-30).  One more piece of bad luck and Naomi might have become one of the homeless teen prostitutes in The Scarlet Gang.  Too bad Naomi does not have the innovative linguistic interest of Kawabata’s crackling novel. The Japanese title of Quicksand is a single character, the Buddhist swastika, a perfect representation of the content of the novel, which is a four-way struggle for dominance among the narrator, her girlfriend, her husband, and the girlfriend’s boyfriend.  Some of the weapons in the struggle are pretty crazy, like a scene where the narrator and the girlfriend’s lunatic boyfriend swear a blood oath.  Eh, they’re all crazy.  The narrator is the eventual winner, obviously, I guess.  Maybe she is making it all up.  Quicksand has a lot in common with Ford Madox Ford’s devious The Good Soldier, another four-way struggle, but as I said if Tanizaki’s narrator is a tenth as tricky as Ford’s I sure couldn’t see it.  She seems more unreliable in theory than practice. One technique that is interesting and may hold clues: Tanizaki and the narrator return to key scenes, describing what happened from different perspectives, yes, like in Akutagawa’s “In a Bamboo Grove” (1922), except everything is filtered through the narrator, which does have the appearance of what I am calling a trick, a technique of emphasizing and controlling unreliability.  How newspaper readers followed this over two full years baffles me, but my understanding is that the lesbian aspect got the attention. I have trouble imaging the literary world where these were newspaper novels.  Naomi was in fact too shocking and was booted from the newspaper, with Tanizaki completing it in a magazine. Should I give an example of what I mean by dull prose?  Is it worth the tedium of the typing?  I mean that there is a lot of this: “Were you still asleep, Mitsu?” “Your phone call wakened me!” “I can leave anytime now.  Won’t you come right away too?” “Then I’ll hurry up and get ready.  Can you be at the Umeda station by half-past nine?” “You’re sure you can?” “Of course I am!”  (Quicksand, Ch. 15, 98) And this is nominally supposed to be the narrator telling her story to Tanizaki.  Serialization filler?  Maybe you can see why I am not in a hurry to solve the puzzle of Quicksand.  The appeal of both novels, for me, was exploring the psychology of the believably awful characters and seeing how their less believable awful schemes work out. Anthony Chambers translated Naomi; Howard Hibbett did Quicksand.

How I wish all long novels were published in sensible multi-volume editions.  I have finished The Story of the Stone, 2,500 pages in five volumes, the last two translated by John Minford.  Cao Xueqin and his posthumous editor Gao E again share credit for authorship.  Chapters have become shorter and a few episodes seem abbreviated, but otherwise I have no sense of who did what.  Perhaps Minford smooths everything out for me. In the last 22 chapters and 380 pages the novel necessarily narrows.  Necessarily if it is going to have an ending, which in this case it does.  A series of catastrophes strike the family began hitting the family at the end of the last volume, and they only accelerate.  Disgrace, crime, debt, deaths, so many deaths, some of them expected for a long time, some real surprises.  One shocked even jaded ol’ me.  There is some resemblance to the occasional contemporary event of the Chinese billionaire who suddenly falls from party favor and is arrested for corruption. The garden, scene of so many teenage poetry games, is abandoned, a haunted ruin: The Garden’s caretakers saw nothing to be gained by staying.  They all wanted to leave the place, and invented a whole series of incidents to substantiate the presence of diabolical tree-imps and flower sprites. (Ch. 102, 72) In the next paragraph a minor character dies suddenly, perhaps as the result of sexual assault by one of those flower sprites, more monstrous than their name suggests. Subplots resolve amidst the disasters and funerals.  Story elements abandoned for 2,000 pages return.  The architecture of this novel has some long, long arcs.  Eventually, the story narrows back to Bao-yu, the boy born with the jade stone in his mouth, who had “degenerated into a complete idiot” (109, 79) to the point where I was beginning to wonder how he could continue to function as a protagonist.  But the magical monk, seen rarely but at key moments previously, returns to take our away from the earthly plane into the Daoist fairy realm.  More or less. “I know I’ve been somewhere like this before.  I remember it now.  It was in a dream.  What a blessing this is, to return to the scene of my childhood dream!” (116, 286) Bao-yu is here in a complex dream chapter paralleling one that was well over 2,000 pages earlier, pulling together all of the major teenage female characters, dead and alive, like a last farewell to them before Bao-yu himself exits the novel just slightly ahead of the reader. But not before he – I am giving away an important part of the story – so skip ahead if this bothers you – but seriously you probably want to know this one, it is so good – not before saving his family from disgrace by getting a high score on a test. The Chief Examiner presented the successful candidates’ compositions to the throne, and His Majesty read them through one by one and found them to be well-balanced and cogent, displaying both breadth of learning and soundness of judgment…  His Majesty, as a consequence of this information, being a monarch of exceptional enlightenment and compassion, instructed his minister, in consideration of the family’s distinguished record of service, to submit a full report on their case.  (119, 351) So most of the characters, if they made it this far, get a happy ending of one kind or another.  It is not so much that The Story of the Stone is the greatest Chinese novel but rather that it is the greatest Chinese novel. “What is truth, and what fiction?  You must understand that truth id fiction, and fiction truth.” (103, 94) This from another (or perhaps the same) magical monk.  The words “truth” and “fiction” are puns on the names of the two branches of the novel’s family.  Bao-yu is on the fiction side, and to the extent that Cao Xueqin is his double so is the author.  The great paradox of the novel, from beginning to end, is the contrast between the materialistic, dangerous “realistic” world of the adults with its budgets and corruption and the idyllic, fantastic world of the kite-flying, poetry-reciting teenagers in the garden, both ephemeral compared to Daoist eternity.  What then, was Cao Xueqin doing, who does not become a monk but rather writes a monumental realistic (and ant-realistic, and unrealistic) novel based on his early adolescent moment of happiness?  He finds an alternative immortality. “So it was really all utter nonsense!  Author, copyist, and reader were alike in the dark!  Just so much ink splashed for fun, a diversion!”  (120, 375, almost the last words of the novel)

What did I read in 2024? The best book I read last year was Ovid’s Metamorphoses (8 CE).  Best books, really, in translations by Arthur Golding and Charles Martin.  My “best book of the year” answer will never be interesting.  America’s librarian Nancy Pearl asked, somewhere on Twitter, if people thought they had already read the best book they would ever encounter.  The answers were, by far, that they had not, which is even possible, for them, but I have read The Odyssey and King Lear and Alice’s Adventure in Wonderland and so on, a lot of books, a lot of great, great books.  The odds are low. Maybe the best book of 2025 will be The Odyssey.  It has been a while.  My favorite book, maybe. I kept up on my French, and learned a lot of Portuguese.  A week of intensive French in a classroom in Porto helped a lot.  I could use some more of those. I read some long books: Rebecca West’s Black Lamb and Grey Falcon (1941), Ferdowsi’s Shahnameh: The Persian Book of Kings (1110), Gertrude Stein’s The Making of Americans (1925), the first 2,200 pages or so of Cao Xueqin’s The Story of the Stone (c. 1760) and Louis-Ferdinand Céline’s Voyage au bout de la nuit (1931), barely over six hundred pages but in such difficult French that I am counting it, am I ever. I built little projects around several books, piling more Persian books around Shanameh and Chinese literature around The Story of the Stone.  I did the same thing during the summer with Arabic literature while reading The Arabian Nights (13th c.) in Husain Haddawy’s great, not especially long, translation, adding modern poetry by Adonis and Mahmoud Darwish and a novel and book of stories by Naguib Mahfouz.  My kind of fun. Let’s see.  I read nine Percival Everett books, including James (2024) just a bit before everyone else read it.  How odd it felt to have read anew book that so many other people were reading. The best contemporary book I read, though, was easily Judi Dench’s Shakespeare: The Man Who Pays the Rent.  It is “Dench and her interviewer friend working through every Shakespeare role she ever did, all of which she still has memorized,” enormously pleasurable for those of us who enjoy such things. What will I read in 2025? Some more long books, I hope.  I have barely over a hundred pages of The Story of the Stone left.  I enjoyed John Cowper Powys’s eccentric Wolf Solent (1929) last summer and will try The Glastonbury Romance (1932), preposterously long, any day now.  Then what – The Tale of Genji?  Another of the big Chinese monsters?  Maybe Vassily Grossman’s Stalingrad?  Someday, anyway, with luck. If Anthony Powell’s A Dance to the Music of Time (1951-75) counts as one novel, which it does not, that will be one of my long ones.  Brad “Neglected Books” Bigelow is hosting a year-long readalong, one short novel per month.  I just finished the first book, A Question of Upbringing (1951) and will tag along for a while.  Unfortunately discussions will be on Zoom but what are ya gonna do, who wants to write anything anymore. Speaking of which, in the spirit of reading the Greek plays, I would like to begin a Not Shakespeare project, let’s say next fall, where I read and write about not all but many of the plays of Shakespeare’s contemporaries.  Marlowe, Jonson, Chapman, The Spanish Tragedy, those folks, not that one could not also read some Shakespeare along the way.  A play every two weeks maybe?  If anyone is interested in joining in, please let me know. The WPA poster can be found at the Library of Congress site.  I have put it up before.  It is full of truth.

A different kind of month with a different category of reading. CHINA Mountain Home: The Wilderness Poetry of Ancient China (5th-13th cent.), tr. David Hinton – The teenagers in The Story of the Stone play various games based on their memorization of massive amounts of classical Chinese poetry.  I revisited an arbitrary sliver of it, the “mountains and rivers” school, in David Hinton’s Buddhist-leaning translation.  It made the Qing games look artificial and perhaps decadent.  But it also emphasized a difficulty, or pleasure, of the vast length of the Chinese tradition.  English-speaking children in the 18th century, or today, could not memorize and play games using thousand-year-old English poems.  No such thing, no such language. The Story of the Stone, Vol. 3: The Warning Voice & The Story of the Stone, Vol. 4: The Debt of Tears (c. 1760), Cao Xueqin – Please look here and here for notes on these books. Selected Stories (1918-26), Lu Xun – The Chinese literary tradition must have been oppressive in some ways, but here a young modern writer revitalizes the Chinese short story using the same tools that European and American writers were using: Turgenev and Chekhov. Love in a Fallen City (1944), Eileen Chang – And here is another writer fully aware of her own tradition – one story even has what sure looks like a parody of a bit of The Story of the Stone – while pulling in every outside influence available. Cold Mountain Poems (1958) & Riprap (1959), Gary Snyder – The other direction, an American poet immersed in Chinese poetry.  The first little book is a translation of Cold Mountain, the most “outsider” of the great “mountains and rivers” poets, while Riprap is Snyder’s absorption of the sensibility into his own voice. Ts'ao Yin and the K'ang-hsi Emperor, Bondservant and Master (1966), Jonathan D. Spence – He uses a different orthography, but Ts’ao Yin is also Cao Yin, the grandfather of Cao Xueqin, author of China’s greatest novel.  Chinese scholars, in search of the actual characters and the actual teenage fairy tale garden, had tracked down every scrap available about Cao Xueqin’s family history, giving Spence the material to write a dissertation on the social history of the period focused on one figure.  Cao Xueqin’s grandfather was analogous to today’s Chinese billionaire, managing companies in close cooperation with the state but part of a power structure distinct from the government bureaucracy.  Spence explained a lot of my puzzles about the background of the novel. MFA Highlights: Arts of China (2013) – Presumably an author or authors are involved but I could not figure that out.   Because of its maritime wealth, Bostonians have given their Museum of Fine Arts has an outstanding collection of Chinese art, some of it on display here.  If you are reading The Story of the Stone, do not hesitate to visit your nearest Asian art collection.  The ceramics and clothing, in particular, were a big help.  For example, the silk robe pictured uses a peacock-feather-wrapped thread that is featured in a heroic sewing scene in the novel.  Useful to see that in person.   FICTION The Female Quixote (1752), Charlotte Lennox – Please see this post. The Crucible  (1953), Arthur Miller Nights at the Alexandra (1987), William Trevor Every Arc Bends Its Radian (2024), Sergio de la Pava – His last novel packed with American football, I wondered if this new novel was some kind of compromise with his agent, since it is, for a while, a detective novel.  But no, it goes off – actually literally gets on – the rails and turns into another novel entirely, one likely to bore and mystify mystery fans.  Some of it bored me.  But I enjoy de la Pava’s voice and intelligence, and he seems to be writing the books he wants to write.   IN  FRENCH AND PORTUGUESE La fleur de l'age (1949), Colette – More little bits of Colette.  Back to the music hall and so on.  A theme of love among the aged, there in the title, is new. Fidelidade (1958), Jorge de Sena Becket (1959), Jean Anouilh