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Akebia

I found 木通 (Akebia quinata) in Snow Country:

“Have you ever tasted one of these?” he asked Shimamura, picking up a pomegranate-like akebi.

妛 / 𡚴

. . .

女郎蜘蛛 (じょろうぐも)

(Argiope amoena, Nephila clavata)

. . .

I have an inexplicable urge to call my tarantula “Yozo.”

. . .

道化

I used to call myself a “buffoon” when I was eighteen. Something about life being unliveable while I existed in body that was perceived as female, when I conceived of myself differently, and this mattered in the realm of sexual commerce; I could not be promiscuous with men in the way I wanted to. I studied sex as if in the abstract. My lover was a lesbian, and I wasn’t a girl, and I wasn’t into girls. Everything seemed farcical, like my studies, which so absorbed me. And I took photographs of ridiculous things, and read ridiculous things, and listened to ridiculous things. And I had a biological path to salvation. And I was very cruel after sex; my feelings would rapidly change from tenderness to hatred, and more often the hatred survived.

“road-changer” / “way-changer”

. . .

I’m curious about the parapraxis (失言) in this sentence:

それから自分は、これもまた実に思いがけない滑稽ともらしいとも、形容に苦しむほどの失言をしました。「僕は、女のいないところに行くんだ」。

“Then I made an utterly unpremeditated slip of the tongue, one so comic, so idiotic that it all but defies description. I said, ‘I’m going somewhere where there aren’t any women.'”

After some discussion with Abdulai, we decided that “slip of the tongue” or “parapraxis” are misleading translations. It seems that he meant to say what he said, that it was a slip in the sense of being an improper remark, but that there was no verbal or phonetic substitution involved in the utterance of the sentence.

. . .
She rambled on, but I have never been able to get interested when women talk about themselves. It may be because women are so inept at telling a story (that is, because they place the emphasis in the wrong places), or for some other reason. In any case, I have always turned them a deaf ear.

“I feel so unhappy.”

I am sure that this one phrase whispered to me would arose my sympathy more than the longest, most painstaking account of a woman’s life. It amazes and astonishes me that I have never once heard a woman make this simple statement. This woman did not say, “I feel so unhappy” in so many words, but something like a silent current of misery an inch wide flowed over the surface of her body. When I lay next to her my body was enveloped in her current, which mingled with my own harsher current of gloom like a “withered leaf settling to rest on the stones at the bottom of a pool.” I had freed myself from fear and uneasiness.

But it lasted only one night. In the morning, when I woke and got out of bed, I was again the shallow poseur of a clown. The weak fear happiness itself. They can harm themselves on cotton wool. Sometimes they are wounded even by happiness. I was impatient to leave her while things still stood the same, before I got wounded, and I spread my usual smokescreen of farce.
. . .
"Why does he drink?"

“It’s not because he likes liquor. It’s because he’s too good, because…”

“Do all good people drink?”

“Not necessarily, but…”

“I’m sure Daddy’ll be surprised.”

“Maybe he won’t like it. Look! It’s jumped out of the box.”

“Like the funny man in the comics he draws.”

I opened the door a crack and looked in. I saw a small white rabbit bounding around the room. The two of them were chasing it.

(They were happy, the two of them. I’d been a fool to come betwen them. I might destroy them both if I were not careful. A humble happiness. A good mother and child. God, I thought, if you listen to the prayers of people like myself, grant me happiness once, only once in my whole lifetime will be enough! Hear my prayer!)

I felt like getting down on my knees to pray then and there. I shut the door softly, went to the Ginza, and did not return to the apartment.

. . .

I liked Dazai much more than I supposed I would. In fact I was deeply moved by his concern for women. I knew that I was one of the women who would be drawn to him. I would marry him in an instant. I could not imagine being concerned for or drawn to the narrators of Snow Country, or of Norwegian Wood. This might apply uniformly to Mishima’s protagonists and narrators as well. I felt cared for when I read sentences such as this: “Long personal experience had taught me that when a woman suddenly bursts into hysterics, the way to restore her spirits is to give her something sweet.” I think I realized that there are some men who would never be moved by a woman at all. Plus this stuff is so damn funny, including what I’ve just said.

. . .

Why does he drink?

It’s because he’s too good…

This woman did not say, “I feel so unhappy” in so many words, but something like a silent current of misery an inch wide flowed over the surface of her body. When I lay next to her my body was enveloped in her current, which mingled with my own harsher current of gloom like a “withered leaf settling to rest on the stones at the bottom of a pool.” I had freed myself from fear and uneasiness.

. . .

I’m reading these books because my mom likes them.

. . .

I watched Chungking Express and wrote in my notebook: ridiculous and stupid—annoying and boring! It was like being in a toy box where everything has already happened. When I dislike something so intuitively it makes me feel stupid. I decided to read Philosophy in the Bedroom—also ridiculous and stupid—during the scenes where Faye Wong cavorts around the police officer’s apartment. I took mixed notes on both the film and the book: “Combing the polar bear’s hair.” “Woman’s destiny is to be wanton.” “Sodalities.” I didn’t hate everything about the film, just the motion blur, the colors, the cardboard texture of the words. I liked the pink latex glove stuck in the latch, the way the first man washes her shoes with his tie! The speech to the soap, the washcloth, the airplane figurine, the way drugs are sewn into the soles of shoes. I wanted to watch the film in order to investigate how Faye Wong looks and behaves like my mother, or at least what I imagine my mother was like when she was young, before she came to the United States. But if that was my mother than my mother is a truly boring spectacle. I believed most in the strange bursts of movement in Days of Being Wild. If men and women could play fight like that, then I could understand my mother’s aggression towards my father as infused with sexuality.

. . .

Sade, no matter how ridiculous and stupid and boring and annoying he may be, is funny:

But picture, in your own terms, the frightful God you preach: he has but one son; an only son, begot of some passing strange commerce; for, as man doth fuck, so he hath willed that his Lord fucketh too; and the Lord didst detach and send down out of Heaven this respectable part of himself.

Begin, therefore, with the legitimacy of these principles, Eugénie, and break your shackles at no matter what the cost; be contemptuous of the futile remonstrances of an imbecile mother to whom you legitimately owe only hatred and a curse. If your father, who is a libertine, desires you, why then, go merrily to him: let him enjoy you, but enjoy without enchaining you; cast off the yoke if he wishes to enslave you; more than one daughter has treated thus with her father. Fuck, in one word, fuck: ‘twas for that you were brought into the world; no limits to your pleasure save those of your strength and will; no exceptions as to place, to time, to partner; all the time, everywhere, every man has got to serve your pleasures; continence is an impossible virtue for which Nature, her rights violated, instantly punishes us with a thosand miseries.

Let our young maiden strive to procure herself a companion who, unattached and abroad in the world, can secretly cause her to taste the world’s pleasures; failing of that, let her contrive to seduce the Arguses posted round her; let her beg them to prostitute her, and promise them all the money they can earn from her sale; either those watchdogs alone, or the women they will find and whom one calls procuresses, will soon supply the little one’s wants; then let her kick up the dust into the eyes of everyone at hand, brothers, cousins, friends, parents; let her give herself to everyone, if that is necessary to hide her conduct; let her even make the sacrifice, if ’tis required of her, of her tastes and affections; one intrigue which might displease her, and into which she would enter only for reasons of policy, will straightway lead her to another more agreeable; and there she is, launched. But let her not revert to her childhood prejudices; menaces, exhortations, duties, virtues, religion, advice, let her give not a damn for the one or the lot of them; let her stubbornly reject and despise all that which but tends to her re-entry into thralldom, and all that which, in a word, does not hie her along the road to the depths of impudicity.

Tis but folly in our parents when they foretell the disasters of a libertine career; there are thorns everywhere, but along the path of vice roses bloom above them; Nature causes none to smile along virtue’s muddy track. Upon the former of the routes, the one snare to fear is men’s opinion; but what mettlesome girl, with a little reflection, will not render herself superior to that contemptible opinion? The pleasures received through esteem, Eugénie, are nothing but moral pleasures, acceptable to none but certain minds; those of fuckery please all, and their winning characteristics soon eclipse the hallucinatory scorn from which escape is difficult when one flouts the public’s views at which several cool-headed women have so much laughed as therefrom to derive one pleasure the more. Fuck, Eugénie, fuck, my angel; your body is your own, yours alone; in all the world there is but yourself who has the right to enjoy it as you see fit.

But have you the madness to hope for immortality?

Why, then, ’tis by fucking, my dear, you will remain in human memory. The Lucretias were soon forgot whereas the Theodoras and the Messalinas are subjects for life’s sweetest and most frequent conversation.

. . .

Sade is a dumb fuck—or he wants you to be a dumb fuck: “one fucks, my lamb, the particular situation notwithstanding, because we are born to fuck, because by fucking we obey and fulfill Nature’s ordinations, and because all man-made laws which would contravene Nature’s are made for naught but our contempt.”

So much for the ordinations of Nature!

But it is the arbitrariness of the law which makes “Sadism” forceful. And it seems to be this adherence to the law of Nature which makes libertinage recognizable across cultures. Mishima is the other true libertine; his cruelty, unlike Sade’s seems serious to me, it is inflated and decadent under a certain light, but otherwise completely elegant. Moreover, his sensibility seems the most native to me.

The sadist would kill, the masochist would not like to die.

Masochism is aligned with the aesthetic; sadism is anti-aesthetic.

Mishima is an aesthetic sadist, Sade is an anti-aesthetic, philosophical sadist.

At thirteen, Noboru was convinced of his own genius (each of the others in the gang felt the same way) and certain that life consisted of a few simple signals and decisions; that death took root at the moment of birth and man's only recourse thereafter was to water and tend it; that propagation was a fiction; consequently, society was a fiction too: that fathers and teachers, by virtue of being fathers and teachers, were guilty of a grievous sin. Therefore, his own father's death, when he was eight, had been a happy incident, something to be proud of.

On moonlit nights his mother would turn out the lights and stand naked in front of the mirror! Then he would lie awake for hours, fretted by visions of emptiness. An ugliness unfurled in the moonlight and soft shadow and suffused the whole world. If I were an amoeba, he thought, with an infinitesimal body, I could defeat ugliness. A man isn’t tiny or giant enough to defeat anything.

There is no scene of instruction, no master who exorts.

Or if there is, it is a scene of demonstration, not of instruction:

Seizing the kitten by the neck, the chief pierced the skin at the chest with the point of the blade and scissored a long smooth cut to the throat. Then he pushed the skin to the sides with both hands: t he glossy layer of fat beneath was like a peeled spring onion. The skinned neck, draped gracefully on the floor, seemed to be wearing a cat mask. The cat was only an exterior, life had posed as a cat.
. . .

This is also simply the effect of having a story told in the third-person; if something is pronounced to the reader, it seeps in through the consciousness of another mind. The “instruction” is more insidious.

The chief always insisted it would take acts such as this to fill the world’s great hollows. Though nothing else could do it, he said, murder would fill those gaping caves in much the same way that a crack along its face will fill a mirror. Then they would achieve real power over existence.

What is really happening here?

Noboru had withstood the ordeal from beginning to end. Now his half-dazed brain envisioned the warmth of the scattered viscera and the pools of blood in the gutted belly finding wholeness and perfection in the rapture of the dead kitten’s large languid soul. The liver, limp beside the corpse, became a soft peninsula, the squashed heart a little sun, the reeled-out bowels a white atoll, and the blood in the belly the tepid waters of a tropical sea. Death had transfigured the kitten into a perfect, autonomous world.

I killed it all by myself—a distant hand reached into Noboru’s dream and awarded him a snow-white certificate of merit—I can do anything, no matter how awful.

Mishima’s really hard language is so hard it’s delicate, like porcelain:

He never cried, not even in his dreams, for hard-heartedness was a point of pride. A large iron anchor withstanding the corrosion of the sea and scornful of the barnacles and oysters that harass the hulls of ships, sinking polished and indifferent through heaps of broken glass, toothless combs, bottle caps, and prophylactics into the mud at harbor bottom—that was how he liked to imagine his heart. Someday he would have an anchor tattooed on his chest.

. . .

In the spirit of being a dumb fuck, I collect more baubles:

The sharp hiss of the sash unwinding, like a serpent's warning,

Suddenly the air around the peephole was heavy with the scent of Arpège.

His broad shoulders were square as the beams in a temple roof, his chest strained against a thick mat of hair, knotted muscle like twists of sisal hemp bulged all over his body:

his flesh looked like a suit of armor that he could cast off at will.

He was choked, wet, ecstatic.

Certain he had watched a tangle of thread unravel to trace a hallowed figure. And it would have to be protected: for all he knew, he was its thirteen-year-old creator.

“If this is ever destroyed, it’ll mean the end of the world,” Noboru murmured, barely consciousl. I guess I’d do anything to stop that, no matter how awful!

I’ve never done much, but I’ve lived my whole life thinking of myself as the only real man. And if I’m right, then a limpid, lonely horn is going to trumpet through the dawn someday, and a turgid cloud laced with light will sweep down, and the poignant voice of glory will call for me from the distance—and I’ll have to jump out of bed and set out alone. That’s why I’ve never married. I’ve waited, and waited, and here I am past thirty.

But he hadn’t been able to share even a fragment of his mad dream. Instead, he had talked of greens: “Every once in a while when you’re on a long cruise and you pass the galley you catch just a glimpse of radish or maybe turnip leaves. And you know, those little splashes of green make you tingle all over. You feel like getting down on your knees and worshipping them.”

. . .