Misplaced Pages

The Sound of the Mountain: Difference between revisions

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
Browse history interactively← Previous editNext edit →Content deleted Content addedVisualWikitext
Revision as of 23:28, 29 December 2015 editGrahamHardy (talk | contribs)Autopatrolled, Extended confirmed users, Pending changes reviewers473,753 edits added Category:Alfred A. Knopf books using HotCat← Previous edit Revision as of 08:35, 26 February 2016 edit undoAspects (talk | contribs)Extended confirmed users, Pending changes reviewers341,905 edits Condensed plot and removed plot templateNext edit →
Line 1: Line 1:
{{multiple issues|
{{refimprove|date=March 2012}} {{refimprove|date=March 2012}}
{{plot|date=March 2012}}
}}


{{Infobox book| {{Infobox book
| name = The Sound of the Mountain | name = The Sound of the Mountain
| title_orig = 山の音<br />Yama no Oto | title_orig = 山の音<br />Yama no Oto
| translator = ] | translator = ]
| author = ] | author = ]
| image = File:TheSoundOfTheMountain.jpg | image = File:TheSoundOfTheMountain.jpg
Line 30: Line 27:


==Plot== ==Plot==
⚫ The novel centers upon the Ogata family of Kamakura, and its events are witnessed from the perspective of its aging patriarch, Shingo, a businessman close to retirement who works in Tokyo. Shingo is experiencing temporary lapses of memory, recalling strange and disturbing dreams upon waking, and hearing sounds, including the titular noise which awakens him from his sleep, "like wind, far away, but with a depth like a rumbling of the earth." Shingo takes the sound to be an omen of his impending death.


⚫ Shingo observes and questions his relations with his family members, his wife Yasuko, his philandering son Shuichi, his daughter-in-law Kikuko, and his married daughter Fusako, who has left her husband and returned to her family home with her two young daughters. Shingo realizes that he has not truly been an involved and loving husband and father, and perceives the marital difficulties of his adult children to be the fruit of his poor parenting.
⚫ The novel centers upon the Ogata family of ], and its events are witnessed from the perspective of its aging patriarch, Shingo, a businessman close to retirement who works in ]. Although only sixty-two years old at the beginning of the novel, Shingo has already begun to experience temporary lapses of memory, to recall strange and disturbing dreams upon waking, and occasionally to hear sounds heard by no one else, including the titular noise which awakens him from his sleep one night, "like wind, far away, but with a depth like a rumbling of the earth." Shingo takes the sound to be an omen of his impending death, as he had once coughed up blood (a possible sign of ]) a year before, but had not sought medical consultation and the symptom subsequently went away.

⚫ Although he does not outwardly change his daily routine, Shingo begins to observe and question more closely his relations with the other members of his family, who include his wife Yasuko, his ]ing son Shuichi (who, in traditional ], lives with his wife in his parents' house), his daughter-in-law Kikuko, and his married daughter Fusako, who has left her husband and returned to her family home with her two young daughters. Shingo realizes that he has not truly been an involved and loving husband and father, and perceives the marital difficulties of his adult children to be the fruit of his poor parenting.


To this end, he begins to question his secretary, Tanizaki Eiko, about his son's affair, as she knows Shuichi socially and is friends with his mistress, and he quietly puts pressure upon Shuichi to quit his infidelity. At the same time, he uncomfortably becomes aware that he has begun to experience a fatherly yet erotic attachment to Kikuko, whose quiet suffering in the face of her husband's unfaithfulness, physical attractiveness, and filial devotion contrast strongly with the bitter resentment and homeliness of his own daughter, Fusako. Complicating matters in his own marriage is the infatuation that as a young man he once possessed for Yasuko's older sister, more beautiful than Yasuko herself, who died as a young woman but who has again begun to appear in his dreams, along with images of other dead friends and associates. To this end, he begins to question his secretary, Tanizaki Eiko, about his son's affair, as she knows Shuichi socially and is friends with his mistress, and he quietly puts pressure upon Shuichi to quit his infidelity. At the same time, he becomes aware that he has begun to experience a fatherly yet erotic attachment to Kikuko, whose quiet suffering in the face of her husband's unfaithfulness, physical attractiveness, and filial devotion contrast strongly with the bitter resentment and homeliness of his own daughter, Fusako. Complicating matters in his own marriage is the infatuation he once possessed for Yasuko's older sister, more beautiful than Yasuko, who died as a young woman but now appears in his dreams along with other dead friends and associates.


The novel may be interpreted as a meditation upon ] and its attendant decline, and the coming to terms with one's mortality that is its hallmark. Even as Shingo regrets not being present for his family and blames himself for his children's failing marriages, the natural world, represented by the mountain itself, the cherry tree in the yard of his house, the flights of birds and insects in the early summer evening, or two pine trees he sees from the window of his commuter train each day, comes alive for him in a whole new way, provoking meditations on life, love, and companionship. The novel can be interpreted as a meditation of aging and its attendant decline, and coming to terms with one's mortality. Even as Shingo regrets not being present for his family and blames himself for his children's failing marriages, the natural world comes alive for him in a whole new way, provoking meditations on life, love, and companionship.


==References== ==References==

Revision as of 08:35, 26 February 2016

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: "The Sound of the Mountain" – news · newspapers · books · scholar · JSTOR (March 2012) (Learn how and when to remove this message)
The Sound of the Mountain
First English-language edition
AuthorYasunari Kawabata
Original title山の音
Yama no Oto
TranslatorEdward Seidensticker
LanguageJapanese
Publication date1949–1954
Publication placeJapan
Published in English1970 (Knopf)

The Sound of the Mountain (Yama no Oto) is a novel by Japanese writer Yasunari Kawabata, serialized between 1949 and 1954. The Sound of the Mountain is unusually long for a Kawabata novel, running to 276 pages in its English translation. Like much of his work, it is written in short, spare prose akin to poetry, which its English-language translator Edward Seidensticker likened to a haiku in the introduction to his translation of Kawabata's best-known novel, Snow Country.

Sound of the Mountain was adapted as a film of the same name (Toho, 1954), directed by Mikio Naruse and starring Setsuko Hara, So Yamamura, Ken Uehara and Yatsuko Tanami.

The book is included in the Bokklubben World Library's list of the 100 greatest works of world literature.

For the first U.S. edition (1970), Seidensticker won the National Book Award in category Translation.

Plot

The novel centers upon the Ogata family of Kamakura, and its events are witnessed from the perspective of its aging patriarch, Shingo, a businessman close to retirement who works in Tokyo. Shingo is experiencing temporary lapses of memory, recalling strange and disturbing dreams upon waking, and hearing sounds, including the titular noise which awakens him from his sleep, "like wind, far away, but with a depth like a rumbling of the earth." Shingo takes the sound to be an omen of his impending death.

Shingo observes and questions his relations with his family members, his wife Yasuko, his philandering son Shuichi, his daughter-in-law Kikuko, and his married daughter Fusako, who has left her husband and returned to her family home with her two young daughters. Shingo realizes that he has not truly been an involved and loving husband and father, and perceives the marital difficulties of his adult children to be the fruit of his poor parenting.

To this end, he begins to question his secretary, Tanizaki Eiko, about his son's affair, as she knows Shuichi socially and is friends with his mistress, and he quietly puts pressure upon Shuichi to quit his infidelity. At the same time, he becomes aware that he has begun to experience a fatherly yet erotic attachment to Kikuko, whose quiet suffering in the face of her husband's unfaithfulness, physical attractiveness, and filial devotion contrast strongly with the bitter resentment and homeliness of his own daughter, Fusako. Complicating matters in his own marriage is the infatuation he once possessed for Yasuko's older sister, more beautiful than Yasuko, who died as a young woman but now appears in his dreams along with other dead friends and associates.

The novel can be interpreted as a meditation of aging and its attendant decline, and coming to terms with one's mortality. Even as Shingo regrets not being present for his family and blames himself for his children's failing marriages, the natural world comes alive for him in a whole new way, provoking meditations on life, love, and companionship.

References

  1. "National Book Awards – 1971". National Book Foundation. Retrieved 2012-03-11.
    There was a "Translation" award from 1967 to 1983.
Works by Yasunari Kawabata
Novels
Short stories
Adaptations
Categories: