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Nobel Prize winner Yasunari Kawabata’s Snow Country is widely considered to be the writer’s masterpiece: a powerful tale of wasted love set amid the desolate beauty of western Japan.
At an isolated mountain hot spring, with snow blanketing every surface, Shimamura, a wealthy dilettante meets Komako, a lowly geisha. She gives herself to him fully and without remorse, despite knowing that their passion cannot last and that the affair can have only one outcome. In chronicling the course of this doomed romance, Kawabata has created a story for the ages — a stunning novel dense in implication and exalting in its sadness.
- Sales Rank: #37766 in Books
- Brand: Kawabata, Yasunari/ Seidensticker, Edward (TRN)/ Seidensticker, Edward
- Published on: 1996-01-30
- Released on: 1996-01-30
- Format: International Edition
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .51" w x 5.19" l, .45 pounds
- Binding: Paperback
- 175 pages
Review
“Beautifully economical. . . . The haiku works entirely by implication; so, in this novel, using the same delicate, glancing technique, Mr. Kawabata probes a complicated human relationship.”
—The Time Literary Supplement (London)
“Kawabata’s novels are among the most affecting and original works of our time.”
—The New York Times Book Review
Language Notes
Text: English (translation)
Original Language: Japanese
From the Inside Flap
To this haunting novel of wasted love, Kawabata brings the brushstroke suggestiveness and astonishing grasp of motive that earned him the Nobel Prize for Literature. As he chronicles the affair between a wealthy dilettante and the mountain geisha who gives herself to him without illusions or regrets, one of Japan's greatest writers creates a work that is dense in implication and exalting in its sadness.
Most helpful customer reviews
114 of 120 people found the following review helpful.
Images and Nuances
By A Customer
Snow Country, probably the most famous of Yasunari Kawabata's classical Japanese novels, is the story of a love affair doomed from the very start.
Set on the snowy, mountainous slopes of Western Japan, Snow Country tells the story of Komako, a hot springs geisha and Shimamura, a wealthy Tokyo dilettante who works as an expert on occidental ballet. The focus of the novel is on three visits to Komako from Shimamura and their changing relationship as well as Yoko, a maid at the inn where Shimamura chooses to stay while in the snow country. Each of these three characters is searching for love, yet finds himself (or herself) incapable of fully experiencing it.
Throughout Snow Country, Kawabata utilizes the changing of the seasons as a metaphor for the changing relationship between Komako and Shimamura. Meeting in the spring, Shimamura sees Komako as an "amateur," a mere girl, and feels the need to protect her, much as one would protect a growing seedling. The relationship thus begins in genuine friendship and under the protection of Shimamura, Komako grows and matures.
Shimamura's second visit takes place in the fall and Komako, who has matured into a woman, finds that her relationship with Shimamura has changed; she no longer views him as her protector and finds that the friendship the two once shared has now become a struggling romance. Komako, who emotionally, has moved beyond the superficial Shimamura, now views him with a mixture of passion and contempt.
Winter brings yet another change to this enigmatic relationship as Komako and Shimamura begin to argue and grow further and further apart. Shimamura finds himself attracted to Yoko, but it is an attraction that can only end in tragedy for all concerned. Although the ending of the novel may be confusing for some, it does effectively sever any ties that Komako and Shimamura may have had.
Although lyrically beautiful, the novel is almost painful to read as the characters struggle to keep their dignity intact in the face of their disintegrating relationship. Kawabata's writing is gorgeous and poetic and the book embodies the juxtaposition of his signature themes of beauty and sorrow. The narrative is minimal, as it should be, emphasizing the three characters' inability to love and live life to the fullest.
Kawabata uses subtle, yet rich, imagery instead of a dense and complex narrative. "...insects smaller than moths gathered on the thick white powder of her neck. Some of them died there as Shimamura watched." Kawabata wisely gives us only the beautiful essentials, existing largely in the conversations of the characters. The haiku-like images that make up their surroundings also lends insight into their character. This is an novel of nuance and atmosphere, of bare essentials and hidden meaning, of spaces and silences and hanging threads.
Delineating the effects of desire on a man and loneliness on a woman, Snow Country is ultimately a book about love and the loss of love. Although bare and skeletal in some respects, it is still a classical story that burns with the fire of passion and then grows as cold as the snowy climate in which it is set.
73 of 75 people found the following review helpful.
Haiku in prose
By Friederike Knabe
Unless you are familiar with Japanese culture and language, you will find Snow Country different from most any novel you may have read. Read superficially the novel appears to follow a simple plot and structure. Yet, its intensity and beauty lies in the lyrical imagery of landscape and evocation of the protagonists' complex psyche and their relationships. The novel can be compared to a Japanese brushstroke painting, economic and suggestive, where the observant eye is able to complete the picture or the story. To fully appreciate Kawabata's prose in English, newcomers are well advised to empty their minds of other, mainly western, literary experiences and expectations and open up to a different world. Snow Country has to be read at a very slow pace. Every word has importance, with sometimes more than one meaning. With these preparations and attitude of mind, Snow Country is an enriching experience that will linger on long after reading it.
Kawabata tells the story of Shimamura, a wealthy man of leisure who's visiting a hot springs mountain resort to meet the local geisha, Komako. He comes for distraction and out of boredom with his real life in Tokyo. Komako is a reluctant geisha, but has resigned herself to her role, while hoping for some other life. The contrast between what they are and what they would like to be is played out in their interactions. Shimamura is drawn to the unreal or the unlikely or impossible. He wants to remain "just friends" with Komako. Her chatty and highly emotional outbursts leave him somewhat amused and bored, yet he misses her when away from her. She does not behave like a real mountain geisha. His room is like a refuge from that life, a place where she can literally let her hair down. Shimamura's attraction for the other young girl, Yoko, a friend and rival to Komako, is as contradictory. In her shyness and reserve she is desirable. She appears to him beautiful and pure, a delicate reflection in the window against the mountain landscape.
Nature and landscape are of great importance to Kawabata and articulated through Shimamura. Nature's beauty is felt more intensely by him than anything else. When he and Komako find themselves outdoors, they have nothing to say to each other. Yet even nature provokes contradictory emotions in Shimamura. "...he looked upon mountain climbing as almost a model of wasted effort. For that very reason it pulled at him with the attraction of the unreal."
Kawabata was one of Japan's most famous writers. He won the Nobel Prize for Literature in 1968. His Nobel Lecture elucidates his deep affinity to and understanding of classical haiku poetry. Haiku represents a fundamental element of Japanese culture then and now. Snow Country has been described as haiku in prose. Kawabata uses a shorthand style for his descriptions, evoking simultaneously multiple senses, like colour and temperature, stillness and motion, attraction and rejection. Nature is all encompassing with people one component of the wider picture.
The novel is rich in symbolism and references to Japanese traditions and mythology. However, some are easier to identify than others. While accepting that the English language reader will miss some of the deeper meanings and connotations, Snow Country is a novel that opens a fascinating world and deservedly has an enviable place in international literature. It is difficult to comment on the quality of Seidensticker's translation. Still, as others have expressed, one wonders whether the translation could have contributed more to the novel's appreciation by the reader. 4.5 stars [Friederike Knabe]
82 of 90 people found the following review helpful.
What are you really thinking, I wonder?
By Zack Davisson
Kawabata is one of Japan's most respected authors, and "Snow Country" is his masterpiece. However, that does not mean that this is a book for everyone, or that everyone will necessarily understand or enjoy the novel. In fact, I got my copy as a cast-off from a friend who said it was incredibly boring and he didn't want to keep it.
It is a demanding read, one that expects the reader to be able to catch the substance of the unsaid, the implied. Almost nothing is spoon-fed. There is no action, no crisis, nothing that most literary traditions has lead readers to expect from a novel. It demands patience, even though it is a slender volume.
Personally, I found it captivating, and intensely deep and moving. Having read other Kawabata, I was prepared for the subtlety of style and the sparseness of language and story that is his trademark. He is the inheritor of the Haiku, which implies with as few words as necessary. The emotional depth of the novel is incredibly deep, much deeper than many novels I have read who express with much more fanciful language. The Geisha and the Dilettante, the one who affects love but cannot know true love, and the one who gives herself to love even though she knows it cannot be. It is a passionless affair, yet intense. Like the snow country itself, the landscape of their hearts is sparse, yet life lies under the surface covering of insulation.
I did find the translation annoying and disappointing, and I was surprised to find such a lackluster translation on one of Japan's premier novels. The constant use of quotations for "mountain trousers," for instance, instead of just naming it once and using the Japanese term. I am sure that a better translation could capture the novel even better, and perhaps transport it for a new audience.
All in all, one of the best Japanese novels that I have read. Simply incredible, and worth the time. But remember your patience.
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