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Snow Country by Yasunari Kawabata

Snow Country (1935)

by Yasunari Kawabata

Other authors: See the other authors section.

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English (42)  French (3)  All languages (45)
Showing 1-5 of 42 (next | show all)
I know that this is supposed to be Kawabata's finest work, but it didn't appeal all that much to me. What I liked about it was the description of the snow country. However, had I not read the introduction to the book, I would have missed out on the significance of this area of Japan. I also didn't care too much for the fact that the whole book was about how a married man with children spent his time traveling to and remaining with geisha Komako. I realize that this is a cultural thing. I'm also not sure what the message of this book is. The ending didn't prove satisfactory one way or the other. I have enjoyed others works by Kawabata, but this was not among those I like the best. ( )
  SqueakyChu | Jan 7, 2015 |
I read the Seidensticker translation and was not blown away by the writing of Snow Country. As the title suggests, the setting is an important part of the book, making the theme of isolation explored by the characters physically manifest in the landscape as well. Thus evocative descriptions of the setting are important, and I largely did not find them here. I do not know if this was a failing of Yasunari Kawabata or the translator. Some of the imagery was downright bizarre, like when a geisha's lips are described as a "beautiful little circle of leeches." The picture it brings to mind is gross, despite the text making it explicit that the image is "beautiful."

The character of Shimamura who the novel follows is bland, largely a nonentity in the text despite ostensibly being an important figure. The character of the alcoholic geisha Komako is far more interesting, while the third main character of Yoko is a bit of a mystery, as the book spends relatively little time with her. As is pointed out in the novel's opening, mountain geishas were little different from prostitutes. Therefore I read the book keeping in mind the possibility that Komoko's actions were largely motivated by her desire to keep a paying client, and that Shimamura is actually relatively unimportant. I saw little to contradict this view, as Shimamura, despite the novel granting him the central role, is a mere visitor to this country, and observer more than a participant. He comes and goes as he pleases, and the lives of Komako and Yoko move along without him in his absence.

These observations of mine might seem to skip around at random a bit, but in my defense the text does the same thing. Scenes occur with wide gaps in time between them, decisions are made with little to no explanation or justification, and one line of dialogue often seems largely divorced from the next. It's a strange style, almost like reading random snippets of a stream of consciousness novel. Again, I don't know how much of this was due to the translator. Like I bet the character Shimamura would do if this novel extended past its ending, I will leave Snow Country behind me and likely won't remember it at all in a few month's time. ( )
  BayardUS | Dec 10, 2014 |
Story of a man and his geisha who lives in the Snow country. Both people are distant, impenetrable, lonely, living wasted lives. Their emotional states are expressed in the nature around them. A short novel that reads like a poem. ( )
  snash | Sep 8, 2014 |
Shinamura visits the [Snow Country] to get away from his life in Tokyo, and his wife. There, he meets Komako, a hot-spring geisha. The story of their fragile love affair is told by Kawabata in three installments, covering three visits to the [Snow Country] by Shinamura.

Edward Seidensticker, translator and editor for the book, explains that Kawabata’s story mirrors haiku, relying on a “mingling of the senses” with spare, evocative language. The tale is spare in detail, inferring rather than telling, while focusing on the details of the surroundings more than the plot or interaction of characters.

At times, Kawabata’s book is beautiful, and at times, it is tiring. The first description of the beauty of a woman reflected in a frozen window is tantalizing – the eighth or ninth time, it loses its punch. For all of Seidensticker’s promise of Kawabata’s subtlety, it seems like Kawabata repeatedly comes back around to make sure that the reader didn’t miss anything.

Bottom Line: At times, beautiful and at times, tiring – a Japanese story of fragile love meant to evoke haiku.

3 ½ bones!!!!! ( )
1 vote blackdogbooks | May 14, 2014 |
The story line is straightforward; Shimamura, a married, middle-aged Tokyo man regularly visits the hot springs west of the mountains, in the so-called snow country, to see his geisha Komako. On one of the trips back, he sees and becomes attracted to another woman, Yoko.

It’s a stark novel that is cold and lonely; there is a pervasive feeling of somber sadness here. The snow country geisha, as opposed to the city geisha, is more of a social outcast, as prostitution is more apparent in her case, so Komako’s life is one of wasted beauty with no future. Shimamura is an emotional loner who cannot connect in any real way to any of the women in his life.

There is a subtle beauty in Kawabata’s writing that many love (and indeed, helped him ultimately earn a Nobel Prize), and I don’t mind the themes explored in this novel, but they are expressed too subtlety for my taste.

“Somewhere in his heart Shimamura saw a question, as clearly as if it were standing there before him: was there something, what would happen, between the woman his hand remembered and the woman in whose eye that mountain light had glowed? Or had he not yet shaken off the spell of the evening landscape in that mirror? He wondered whether the flowing landscape was not perhaps symbolic of the passage of time.”

“The sound of the freezing of snow over the land seemed to roar deep into the earth. There was no moon. The stars, almost too many of them to be true, came forward so brightly that it was as if they were falling with the swiftness of the void. As the stars came nearer, the sky retreated deeper and deeper into the night color. The layers of the Border Range, indistinguishable one from another, cast their heaviness at the skirt of the starry sky in a blackness grave and somber enough to communicate their mass. The whole of the night scene came together in a clear, tranquil harmony.”

“Now that he knew Yoko was in the house, he felt strangely reluctant to call Komako. He was conscious of an emptiness that made him see Komanko’s life as beautiful but wasted, even though he himself was the object of her love; and yet the woman’s existence, her straining to live, came touching him like naked skin. He pitied her, and he pitied himself.
He was sure that Yoko’s eyes, for all their innocence, could send a probing light to the heart of these matters, and he somehow felt drawn to her too.”

“He had stayed so long that one might wonder whether he had forgotten his wife and children. He stayed not because he could not leave Komako nor because he did not want to. He had simply fallen into the habit of waiting for those frequent visits. And the more continuous the assault became, the more he began to wonder what was lacking in him, what kept him from living as completely. He stood gazing at his own coldness, so to speak. He could not understand how she had so lost herself. All of Komako came to him, but it seemed that nothing went out from him to her. He heard in his chest, like snowing piling up, the sound of Komako, an echo beating against empty walls. And he knew that he could not go on pampering himself forever.” ( )
1 vote gbill | Mar 16, 2014 |
Showing 1-5 of 42 (next | show all)
Snow Country is a work of beauty and strangeness, one of the most distinguished and moving Japanese novels to have appeared in this country.
added by GYKM | editNew York Herald Tribune

» Add other authors (15 possible)

Author nameRoleType of authorWork?Status
Yasunari Kawabataprimary authorall editionsconfirmed
Durán, CésarTranslatorsecondary authorsome editionsconfirmed
Gergely ÁgnesTranslatorsecondary authorsome editionsconfirmed
Kivimeis, YrjöTranslatorsecondary authorsome editionsconfirmed
Lamberti, LucaTranslatorsecondary authorsome editionsconfirmed
Nagae, Neide HissaeTranslatorsecondary authorsome editionsconfirmed
Ouwehand, C.Translatorsecondary authorsome editionsconfirmed
Ouwehand, C.Afterwordsecondary authorsome editionsconfirmed
Seidensticker, Edward G.Translatorsecondary authorsome editionsconfirmed
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The train came out of the long tunnel into the snow country.
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(Click to show. Warning: May contain spoilers.)
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Amazon.com Product Description (ISBN 0679761047, Paperback)

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.

(retrieved from Amazon Mon, 30 Sep 2013 14:00:48 -0400)

(see all 3 descriptions)

With the brushstroke suggestiveness and astonishing grasp of motive that won him the Nobel Prize for Literature, Yasunari Kawabata tells a story of wasted love set amid the desolate beauty of western Japan, the snowiest region on earth. It is there, at an isolated mountain hotspring, that the wealthy sophisticate Shimamura meets the geisha Komako, who gives herself to him without regrets, knowing that their passion cannot last. Shimamura is a dilettante of the feelings; Komako has staked her life on them. Their affair can have only one outcome. Yet, in chronicling its doomed course, one of Japan's greatest modern writers creates a novel dense in implication and exalting in its sadness.… (more)

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