The Temple of the Golden Pavillion

Writers like Mishima resonate through history. He is also a man who spoke his mind and backed up those thoughts with action. If he said he was going to do something, he did it, including killing himself at the end of the writing of the Sea or Fertility. His writings will live forever

I've read Mishima before (Life for Sale). Although this one doesn't have such a comic strain (it's much more a character study), I still found it an enjoyable read, although it does become a bit obsessive at times.

Una edición maravillosa. Muy recomendado.

It's said that even the most exalted auteurs are mainly rewriting their one driving vision in various incarnations. Hitchcock, Truffaut, Melville, Godard come to mind.Even though I'm necessarily viewing Yukio Mishima's ouevre through the refracted lens of various English translators, in my ongoing binge I am coming to the realization that, like Stravinsky, Mishima remakes his language, his choreography, his orchestration, his POV, his most intrinsic philosophy, his narrative trajectory wholly invested and recreated in each unique work.The Temple of The Golden Pavilion is a novel based on true events. Mizoguchi is a Zen acolyte, son of a Buddhist priest, apprenticed at the Golden Pavilion. We are witness to his coming-of-age, pathologically, beginning from an abusive act of ultimately inhumane hypocracy from his father, through his Travis Bickle trajectory into evangelistic mania and ultimate catastrophe. (Don't make the same mistake I did by reading Nancy Wilson Ross' inadequate introduction; just read from Mishima's beginning.)Not since Joseph Heller's extraordinary incipient descent in Something Happened have I read such a compelling and repelling narration of incipient madness.The tyranny of beauty, the purity of evil, the pervasive sense of 'unease', so clearly in kinship with the German 'unheimlich': uncanny; the uncontrollable trembling of the hands indicative of psychosis only given voice and witness by Mariko, this Taxi Driver's Whore With a Heart of Gold; the inviolate and indestructible quality of human life and the immortality and fragility of symbols and structures.The crazier he gets, the more hallucinatory and beautiful the prose becomes. Beginning in a place of utter, ascetic and emotionless inception, Mishima escalates Mizoguchi's perverse but inexorable pursuit of knowledge into an ecstasy, an unfettered erotic and evangelical incendiary impulse.

Es una novela compleja que no le va a gustar a cualquiera pero que para un lector que busque personajes cuya psicología lo envuelva, esta obra será perfecta. El envío llegó en el tiempo esperado y estaba en perfecto estado el paquete

The Temple of the Golden Pavilion (1956) by Yukio MishimaBook Review by Mary P.Warning: Graphic and sexual content, recommended for an adult audience.Background and Summary: Based on a shocking crime involving the torching of a National Treasure in 1950, Mishima framed the factual record of the perpetrator’s trial and masterfully crafted the vivid narrative of a Zen Buddhist acolyte, whose obsession with beauty reflects a dark pathological history and nihilistic worldview. Set in imperial Japan, at the onset of WWII- Pacific War, from the bombing of Tokyo to foreign occupation of post-war Japan, the character driven plot is structured around chapters that chronicle the growth and education of the main character, Mizoguchi (ages thirteen to twenty-one). He moves from his hometown on Cape Nariu to attend middle school in Maizuru, transitioning to Rinzai Academy in Kyoto after his father’s death, where he serves as an acolyte under Father Dosen at the Golden Temple, and with the Superior’s recommendation, enters Otani University. In his vision, the Golden Temple symbolizes “a beautiful ship crossing the sea of time” (20); immutable and eternal, its shadow reflected on Kyoko pond is viewed “more beautiful than the building itself,” because its architectural structure represents a combustible carbon relic of the past.Main Characters: Mizoguchi, portrayed as a lonely and unhappy stutterer, unable to vocalize articulately, yet aptly streams inner thoughts of his outer reality by revealing dysfunctional relationships with his parents; and voices negative views of women as treacherous (his mother and Uiko) or loose (harlots). A social psychopath lacking compassion, he distances his feelings from his sadistic actions, and blames others, such as the American GI for intimidating him, and scorns Father Dosen’s silence in not confronting his transgressions, while mocking his hypocrisy and weakness for prostitutes. By comparison, his friendship with the gentle, kind-hearted, well-intentioned Tsurukawa, is viewed as brightness, the polar opposite of his darkness, as Tsurukawa’s positive spin on life whitewashed his own ugliness to nothingness, and turned “all shadows into light” (83). In contrast, his association with the self-sufficient, club-footed Kashiwagi can be seen as negative, because of his twisted logic, barbed paradoxes, and dogma that a physical existence without attaining love is sufficient in itself. Viewed through a distorted lens—“to live and destroy were one and the same thing” (112) ―a chilling developing psychotic picture of Mizoguchi emerges.Evaluation of Work: Four stars for balancing artistic characterization with vivid imagery in The Temple of the Golden Pavilion, Mishima reveals pathological insights into the schizophrenic mind that allows the darkness of the night to cloak the darkness of the heart, and reflects the nihilistic worldview that life is meaningless and absurd. Symbols of beauty and desire should be destroyed, in order to detach and free oneself from a world of illusion. Paradoxically, attachment brings pain, but detachment releases joy.

Beautiful book. Wonderful prose

In 1950, a psychologically deranged acolyte burned down one of Japan's national treasures. Mishima enteres the mind of the perpetrator, crafting a fictional account of "How could anyone do something like this?" The story follows the antagonist, a physically ugly stuttering child, as he wages a mental war against beauty in general, and the Temple of the Golden Pavilion in specific.The greatness of the work is in how it shows, rather than tells. The narrator mispercieves people's reactions, misinterprets Zen parables, and sees the world in a very different light. As the reader, we are left to fill in the spaces ourselves. Despite cultural barriers, the translation is strong enough to allow us to fill in the blanks.In a sense, this could be called the predecessor to Truman Capote's In Cold Blood. Through deep research and interviewing, Yukio Mishima creates a psychological explanation of a major public crime. Mishima preceded Capote by several years, and could be credited with inventing the non-fiction novel.In all, this is a fantastic work. As acts of random violence and terrorism still remain unexplained, the novel finds itself remarkably timeless.

For the readers that are unfamiliar with Mishima and his work, this book could be very difficult to understand. One of his best works, “The temple of the golden pavilion” was one of the many ways that Mishima tried to explain to the world how he saw it. Using the true story of the arson of one of Japans most famous temples Mishima brings forward issues and ideas that to most Westerners would seem perverse and disturbing. What people often miss to understand when reading this book is that it is a glimpse of the true Kimitake Hiraoka (Yukio Mishima’s birth name), his obsession with the beautiful and its link to death and bloodshed. The main character’s obsession with the Golden Temple is really Mishima’s obsession with Death and his believe that to remain beautiful you must die, and die young.A truly wonderful book that will provoke the darkest thoughts and make its reader take and inward look to find their own “Golden Temple”