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And, for those who are new to the world of kimono, they can explain all the wondrous things on display. Website: Official Website Japanese. See our complete list of things to do in Southern Higashiyama , including places to eat, nightlife and places to stay. Disclosure: InsideKyoto. October Check Hotel Availability. Pay when you check out.


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Please note if you purchase something through a link displayed on the website we may earn commission. Stone Bridge Press. Those looking for an uplifting book should give this effort a very wide berth.

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In its lightest moments, it is little more than dark, depressing and morose. The book closely resembles Dazai's life which was, in all honesty, dark, depressing and morose. A quick look at a biography of Dazai gives you an idea of his mental health and sordid life. Like Yozo Oba, the hero of the book, or more properly the anti-hero of the book, Dazai was abused as a child, dropped out of school, was involved in a series of spectacularly failed love affairs and marriages, failed solo suicide attempts, participated in a double-suicide attempt where only he survived, toyed with the idea of joining the Japanese communist party, became a drug-addicted alcoholic and died depressed and miserable.

This book is sometimes called his unofficial autobiography. There have been countless books written over time where the hero or heroine has struggled, fallen, struggled more and finally risen above his problems. Except for a very brief period or two, Oba never even comes close to rising above the muck. If fact, he never really tries. He doesn't have the inner strength to even try. Although far removed from any kind of spirituality, it is interesting to note that three times in the first 18 pages Oba makes references to Christianity, something little discussed in Japan in the s.

When his step-daughter, whom he later abandons without notice, mentions God, Oba thinks, "I was terrified, even of God. I couldn't bring myself to trust in God's love, I could only believe in his wrath. Even after his suicide, the shadow of death hung near Dazai. While the book certainly has its own literary merits, it is extremely popular in Japan, after all, it can also serve as a discussion starter between Japanese and, for example, expats who want to explore the somewhat common idea in the West that Japanese are a fatalistic people.

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Showing the lasting impact of the book, two films have been made from the book; a version commemorating the th anniversary of the Dazai's birth and a second which is set to be released in September, It has also been serialized in anime, a 3D anime film and manga works.

Dazai's book is a challenging, important part of Japanese culture, but by no means easy or pleasant to read. Peter Owen Publishers. Endo Shusaku's magical story telling ability is on display in this novel which compares and contrasts traditional and modern day values the book was written in in Japan. As usual, Endo doesn't tell you what he thinks, he tells you a story and lets you ponder its implications.

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This is perhaps the only Endo book where neither God nor Christianity is explicitly mentioned, although the comparison between good and evil, or at the very least a people-focused life and a things-focused life, is made. Throughout the book, Endo jumps back and forth between the past, war-era school life of protagonist Ozu and the present, in which Ozu is a middling businessman with a young doctor son, Eiichi, who is laser-focused on quick career climbing, no matter what the cost or collateral damage may be. Ozu is proud of his son, but can't agree with some of his son's tactics.

The other two major characters are Ozu's childhood friend, Flatfish, and Flatfish's out-of-his-league love interest, Aiko. There are really not many additional characters the reader needs to carefully remember. The reader may wonder at first how the two stories will eventually mesh. Keep reading, ultimately the story is masterfully tied together and you can feel the depth of both Ozu's pain and his son's "nothing-is-going-to-stop-me" attitude.

The main conflict in the story, at least through the first half of the book, is caused by Ozu's son, who is antagonistic towards his father because he sees the father as worthless in that he can't help him up the ladder of success. Eiichi wishes he had a father who could pave the way with bribes and connections in his medical world. One interesting side note is that on several occasions Endo writes of Japanese people giving potted plans to patients in hospitals. Most foreigners living in Japan are told to avoid this as it is said to indicated the patient will "take root" in the hospital, ie not recover quickly.

Perhaps this anomaly was a result of the book's translator not knowing Japanese culture well. Like Endo's other books, the ending is powerful and forces the reader to reflect on one's existence and on what is really important. There are no easy, tidy finishes in an Endo book, and this is no exception.

It is worth your time. In the early stages of reading this classic novel, one is likely to identify with the general sense of confusion that surrounds the elderly protagonist, for it is populated with an extended family with very similar names, which for a time trip over each other in the reader's mind. Shingo, the ageing patriarch actually only in his early-to-mid 60s, but portrayed as considerably older , is angry with Shuichi, his son, for treating his wife, Kikuko, shabbily by having an affair with the widow Kinu actually Kinuko in the original, but the translator has taken mercy on us and received permission from the author himself to shorten the name.

Shingo and his wife Yasuko share their house in suburban Kamakura with Shuichi when he is not with his mistress , Kikuko, their daughter Fusako and her two daughters Satoko and Kuniko, since Fusako is estranged from her husband. Kawabata delineates character so deftly through clipped dialogue and physiognomic sketches, however, that soon enough one finds oneself immersed in the familial drama.

Shingo obsesses over the failures of his son and daughter, finding comfort only in the seasonal manifestations of nature and his pretty, wronged daughter-in-law Kikuko's appreciation of his concern for her. In Shingo, Kawabata strikingly depicts the churning emotions of someone whose failing body still harbors the yearnings of a younger man, particularly through the twisted forms that nature and human - particularly females - assume in Shingo's dreams. The eponymous sound of the mountain is a terrifying, unknowable force to Shingo when he awakes in the middle of the night early in the novel.


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As time passes, however, it seems to settle into the distance and assume a more paternal benignity. Yet the human realities are harsher. The Sound of the Mountain was Kawabata's second postwar novel after A Thousand Cranes , and explores a fractured social landscape littered with the corpses of suicides and aborted children. It is also one within which innumerable war widows have to get by without a dependable man, but in the process perhaps gain a new sense of independence.

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Shingo senses that a new era is upon the world, but still he yearns for men to be gallant and to take responsibility for those around them. Despite his frailties, he is the craggy, benign peak that looms over the other characters in this novel, seemingly unable to help them in their difficulties, but a powerful presence in their lives nonetheless. Random House. This is the fifth novel from the well regarded author, David Mitchell, and it is a fantastic complement to his previous writing. The story of The Thousand Autumns of Jacob de Zoet revolves around the lives of a selection of the population of the manmade island of Dejima, a trading post created close to the shores of Nagasaki, Japan.

We join Dejima, a port of the Dutch East Indies Company, in the last year of the eighteenth century and the first two decades of the nineteenth. The Dutch fly their flag on this little island with the permission of the Shogun at a troubling time for both the Netherlands and the Japanese. The Dutch are the only nation permitted by the Japanese to trade with them and Jacob de Zoet, our story's hero, has been ordered there to help rid this small but politically important trading post of increasingly rife corruption and to try to make his fortune at the same time!

Jacob's life quickly becomes entangled with those around him and he is drawn into a strange new world with a very different language, different customs, and different social boundaries. He does his best to survive on this little outpost but can't escape the reality of his confinement and resigns himself to his fate, until one day he is captivated by a young girl he meets by chance and who irrevocably changes his life.

The book completely draws the reader in with this transfixing story.


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The author has an incredible ability to place you in the story in this distant time and place, and he researched the most intimate details of Japanese life at a unique time in history, enabling the reader to grasp the magnitude of the global movement of a newly-industrializing world and the effect this has on the variety of characters in the story. It is the author's meticulous research and certain love for his subject matter that shines through, providing not only a well thought out story, but an education.

My only disappointment with this book lay when I reached parts 4 and 5 and I had to confront my own self-realization that the world was such a place at that time and that, despite my own internal protestation, the conclusion arrived where it did because it had to. This is a thoroughly enjoyable and well researched read.

Vintage Crime. Haunted as he is by his military past, the only thing that gets him up in the morning is his compulsion to bring order to chaos by solving violent crimes as part of the understaffed and under-resourced Tokyo police. At the end of the day, the drug Calmotin is the only thing allowing him to sleep, be it at his office desk or at his lover's side, amid the unforgiving summer heat and its ravenous insects. The only way he can get hold of the drug in this city of shortage is through his underworld connections - and the payment they demand is not monetary.

Peace perhaps borrows Ishiguro's first-person narrator from An Artist of the Floating World , but the voice is more anguished than self-justificatory, and instead of Ishiguro's writing-between-the-lines, Peace uses endlessly repeating motifs to trace the memories and obsessions of a mind pushed to the edge of sanity by what he was forced to do in war and now must confront in 'peace'. This formal repetition is the strongest aspect of Tokyo Year Zero , if the reader is able to stomach it and for some it will seem overly mannered, if not domineering.

Through it Peace aims for nothing less than to lead the reader's train of thought along with that of his protagonist, introducing whispers of ideas that a few hundred pages later, after a hundred repetitions, peak in a crescendo of revelation: the mental equivalent of the placing of clues in plain sight in a conventional detective novel, but much more insistent.

This is the micromanaging of an ' auteur author'. His adumbrative phrases are indeed reminiscent of another tale of US-Japanese conflict, the postwar crime-mystery film Snow Falling on Cedars , in which the sound of a creaking rope or the image of a flapping fish are slipped into the narrative apparently out of context, prefiguring a later devastating denouement. If novels such as Ishiguro's demonstrate the power of deflective language to hint at greater truths left unsaid, Peace's prose presents the power of repetitive language to instantiate unwanted, unbidden, but undeniable memories and associations - of the things we wish we could unthink or unexperience, but that end up defining our identity.

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Many pages of Tokyo Year Zero consist of an interplay of two voices: a prosaic description of the physical, observable world of a police inspector, in counterpoint with Minami's urgent inner whispers, printed in italics, the paired sentences growing shorter and shorter as they taper to what is either a sigh of resignation or a sharpened point of revelation. It is rare that form reflects content to such a degree in English prose. Much of this so-called 'programmatic' style of Peace's, with its obsessive, ever-tightening loops, seems designed to convey a mind trying, and failing, to reconcile horrifically parallel realities: the prior Japanese occupation of China, and the current U.

These realities are personified by two laughing-death's-head characters - Kodaira, an accused murderer, drawn from the real-life pages of Japanese newspapers of the time, who thinks he remembers Minami from his 'other life' in the army, and Senju, the opportunistic, GI-friendly head of the Tokyo criminal organisation from whom Minami begs his pills. Kodaira is accused of preying upon innumerable young women left vulnerable by the deprivations of war. Peace appears to be using his crimes to represent the inhumanity of man in general, though the risk with this approach is that it polarises male and female positions, with the man portrayed as active and evil, the woman passive and victimised: a reductivism common to almost all procedural fiction, indeed, whatever the era.

The idea of women as props in a man's story extends to the repeated depictions of the two women in Minami's life: his long-suffering wife, and his languorous, rain-soaked lover. They are literally shut in, waiting dutifully for him in their musty, decaying rooms. His lover in particular becomes an essentialised everywoman in his mind, her submissive pose often morphing into that of a particular murder victim's. Such parallels imply how Minami, being a man, is somehow equally implicated in violence, a violence that has followed him back from the war overseas. The deliberate exclusion of the female viewpoint is telling, for instance, when Peace rather brazenly reworks the central event from Satomi Ton's short story "The Camellia" - which has only female characters, and indeed succinctly portrays women coming to terms with death and womanhood in the wake of the Great Kanto Earthquake - into that of two male detectives woken by an ominous and literal 'deflowering' in their hotel room.

Overall, Peace can be seen as simply conveying the reality of life for women in a male-dominated world - a reality that was, and still is, certainly not unique to Japan - but as their body-count rises inexorably, the absence of empowered women's voices in the story is deafening. Less suggestible readers may even suspect that Peace is in a similar way trying to bludgeon them into submission with his hypnotically relentless reiteration, rather than allowing them to come to their own conclusions about the human struggle between good and evil.

If the reader can accept the rampant brutality and misogyny that underpin the story, and submit to its analogously domineering and initially confusing repetition of motifs, they will be rewarded with a psychologically compelling portrait of a watershed moment in Japanese history, when it is grappling with the near-destruction of its identity as a nation and struggling with its rebirth in the image of its occupiers, a violent transformation indeed. Its mannered, rhythmic, repetitive style will be familiar to readers of the first volume, and for those that found its endless variations of motifs and typographical quirks fascinating, it should again provide powerful insights into the way the human mind works in the face of great evil and trauma.

But those after a straightforward, fast-moving crime novel will be bewildered, a little bored, and probably unenlightened as to the 'truth' of the motivation for the crime. Indeed, I don't think Occupied City is successful as a crime novel - if that is indeed its objective - as it's attempting to do too many things simultaneously and given that in some sections, each sentence contains three different 'narratives', this is a literal use of the word. With the acknowledged influence of the narrative technique of multiple subjective viewpoints of Akutagawa's stories Rashomon and Yabu no naka , it is part detective story, part indictment of war crimes, part confessional memoir, and, given its title and role in a trilogy, most of all an elegy for a city devastated by war, with its bereaved citizens becoming something like stand-ins for all the world's victims.

The attempt to achieve the last comes off as overreach and undermines the first: the end of the book has strayed far from the initial incident, although of course it remains within the ambit of the trilogy as a whole. Yet the key crime itself - all the more chilling in that it was a real incident - is powerfully depicted, and revisited throughout the book like an unshakeable nightmare.

On 26 January , a man claiming to be a doctor enters a Tokyo bank and has its employees drink two liquids under the pretext of inoculating them from dysentery.