Novels of Yukio Mishima

First edited on JANUARY 12, 2000
Second revision on MAY 20, 2001

BIO: Yukio Mishima(1925-70)
Writer of fiction, drama, and essays. MiSHiMA 's suicide on 25 November 1970 brought worldwide attention, and the actions the last hours of his life created widespread concern over a possible revival of Japanese militarism. His appeal for a rearmament had no effect on the government, however, MiSHiMA's reputation rests on his literary accomplishments and not on his politics.

Confession of a mask: "KAMEN-NO-KOKUHAKU" published in July 1949
a summary and comment:
it was transrated into English in 1958 as CONFESSION OF A MASK. A dude found out himself impotent for girls in his childhood. He reflected and depicted his emotional conflicts against this real life as he grew. According to the story, he was just a little boy , when he realized he had an attraction for his mature classmate of the same sex. He felt a sense of inferiority to his growth that made him depressed. It's very hard to understand what this feeling does to your same-sex friend if you haven't experienced it yourself. Bear in mind that no matter how much you know about yourself or how much you love your same-sex classmate, you are not loved by him after all. Because he is heterosexual. The American publishers who were first offered the translation of KAMEN NO KOKUHAKU rejected it, fearing it would brand MiSHiMA, but Japanese readers have interpreted it instead as an exceptionally sensitive account of a boy's gradual self-awaking. Hope this can help get your understanding of Japanese stuff into better shape!

Forbidden Colors : "KINJIKI"
a summary and comment:
There is a handsome guyYuichi MINAMI. He married, even though he can't love female. He immediately broke into a gay world after the divorce. Then he came across a famous novelist who was old enough to play. The old man was betrayed by women again and again in his younger days. The old man requested Yuichi to revenge on them. Yuichi deceived all the women. And the execution should have finished. The situation wouldn't do right as the old expected to. This novel captures the rich textures and nuances of the Japanese gay society while following a group of queenie in 1950s around SHIJUKU NI-TYO-ME Mecca of ours.

My approach:
I came across "The confession of a mask" in high school days, when I was fifteen. I bought the book with hesitating and read that through in private. I don't exactly remember the book would bring something home to me. Nothing occurred to me except for his past suicide, since I didn't know whether the book was appropriate for my individual to recognize I AM SO. You can't believe I roamed around the streets with an attraction for someone of the same sex on weekends when high school. With the joys and pains my writing vividly brought back memories of some of dudes that I know who were good to me. I didn't make the wrong choices, nor suffered the consequences. No bad feelings. No crying need for my life. I left it as it is because I thought it didn't matter and was just adolescent in spite of the fact. I entered college and I found the book again. I read that carefully that admitted so. I have firsthand experience with the realities of gay life and I'm still in the closet. That's not a contradiction. My comingout is absolutely a subject matter that nobody can touch.

When it comes to his novel, what matters most for me is not his private, but his art to discuss. Who cares how his real sexual preference is like on his novel because I think it to be just art. His novel in Japanese provide a fluid and entertaining read and I have a newfound respect for Mishima because he is widely known as a queer samurai in western countries. I can't understand why western people particularly like his novels. There are thousands of Beauty in Japan from time immemorial like there are hundreds of "gods"in Japan. It means there are many definitions of the "Beauty"s. And each beauty is in the eyes of the beholders that every Japanese have. Many Japanese know there are piles of novels in Japan equivalent to Mishima's great works.

As for Mishima himself, he is a great spokesperson of the past. Many things became clearer to me in terms of a secret message behind a deeper side of his persona while scrutinizing many Japanese references. Because I'm also a queer samurai who quests for the real strong relationship with unbreakable heart. Also, he precisely predicted "the social anomie" like a decaying society in which no social ethics remain effective in Japan after the declaration of "the Emperor Showa". With a stabing pain within my soul I can't help inform you what I thought of. I'd like to explain about the part of my idea as follows; ( sorry, if u dont like too long!)

The answer is just simple. Know his deep sorrow. After Meiji era that is the period where the change is becoming extremely steep in Japan. I think he scrutinized references before Meiji and saw our ancestors in a deep grief. The real strong relationship like "Bi-do", "Dansyoku",or "wakashudo" is undoubtedly a basic element in Japan and the Japanese society admits the fact with understanding before Meiji era. People don't seclude someone who has the different sexual preference from Japanese society. With all our sexual preference we have no isolation, no bad time, no discrimination. In other words, we had no problem in those days. The structure of Japanese society before Meiji is completely different from that of the western countries. So we have no murky history. Precisely speaking, we didn't need the history of our own before Meiji. It means there are no idea or concept of these words "Homosexuality", "Gay/ Lesbian", "Bisexual" or "Queer" in Japanese context before Meiji. Sadly, we know we could undo Japanese history.

Can you imagine the monster-flash that stopped the flow of our history like A-bomb? Can you imagine the violent nightmares that Japanese people suffered subliminally? He knew Japanese had to depend on the malign western thoughts to compete with western counties, at the same time he couldn't endure to see our treasures fading without saying anything. He was sandwiched between the two values( the right samurai logic and the necessary western logic ) with the anguish of his own justice.

What matters most for Japanese is a member of Japanese people. Anyone who would lose the membership feels deep sorrow. He struggled to stay on just "contemporary" Japanese while living up to his responsibilities as a Japanese "restoration" pioneer. His agony changed into sorrow step by step, deeper and deeper. He couldn't stay cool as a traditional samurai who never appeal to suicide with his own opinion in public. With those Mishima who was too tight controlled develop an instability that might break out any time when something changed. His restraints were off, the sanctions were not there, and the pressure was so much that he snaped after he was free to think and behave as he wanted to. Thanks!

Also, you can see Hagakure

[1] Literary News from Japan 1996
[2]Fiction Bib
[3] Japanese literature that Satoshi likes
[4] Yukio Mishima Page
[5]Gay gate: books review
[6] Mishima Yukio Zenshu published by Shincho-sha
[7] Seppuku and Jisatsu in Modern Japanese LiteratureBy Daniel Brown
[8]Mishima Yukio Cyber Museum
[9]Yukio Mishima
[10]Encyclopedia.comincluding listing of a pay site
[11]Yukio Mishima
[12]Yukio Mishima - Fan Page
[13]Open Directory
[15]Mishima, YukioLycosZone Home
[16]Mishima, YukioThe Columbia Encyclopedia, Sixth Edition. 2001.
[17]Apparition of Yukio Mishima on the Appian Way From "Off the Road, and On Again"
[18]Yukio Mishima A 20th Century Samurai The Catholicism
[19]A Yukio Mishima Pagestudent essays
[20]Yukio Mishima- Pseudonym for Hiraoka Kimitake
[21]Sacred Visons of Splendor
[22]2 Disturbing Portraits of the Past
[23]The Harmony of Pen and Sword Ceremony commemorating the 70. Birthday Anniversaryby Consul B. John Zavrel
[24]Featuring the Modern Noh Plays
[24]Open Directory Project
[25]Yukio Mishimain French
[26]Club Yukio Mishimain Japanese
[27]Art, Literature, Entertainment & Sports for Gay Men
[28]Sans titre
[29]Connections Between Burroughs, Dostoyevski, and Mishima.