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Hell Screen / Cogwheels / A Fools Life

by Ryūnosuke Akutagawa

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Dated Early Modernism

I bought this because I ran across one of those great old Eridanos Library editions, and this one had a preface by Borges. Ryunosuke Akutagawa was an early 20th c. Japanese modernist, short-story writer, and friend (and critic) of Tanizaki. He died by suicide in his thirties, and one of the pieces translated here, "Cogwheels," was supposedly finished on the day he died.

I found these very much of their period. The narrators (all Akutagawa, variously undisguised) read Dostoevsky, Flaubert, Poe, and other standard sources, along with Anatole France, Yeats, and other fin-de-siecle writers (Akutagawa published translations of their works in a literary journal he helped run). He mentions Van Gogh in several pieces as an exemplar of real passion and modernity.

These are all familiar signposts of Japanese art in the 1920s, and to me the three pieces in this book all seem dated. In "A Fool's Life" he plays with prose poems, what would now be called flash fiction, and it's clear he is thinking of surrealism and of the Japanese tradition including Basho, rather than, say, imagism. "Cogwheels" is intended to show the narrator's dissociated frame of mind, and it does, but it mainly conveys the narrator's sense of a literary representation of dissociation.
  JimElkins | Aug 24, 2017 |
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In the first of three nightmarishly disquieting tales by the Japanese fictionist Akutagawa (1892-1927),known in this country not for his grotesque, exotic stories but for the celebrated movie Rashomon, based on his tale of that name an old master painter, reputed to be the greatest in all Japan, is commanded by his feudal lord to paint Hell itself. Art is of consuming importance to him; and in order to paint it truly he must endure the anguish of witnessing the flames that incinerate his adored daughter and will kill him. By analogy, the story can serve as Akutagawa's autobiography, and, indeed, the other two tales refer directly to the doomed author's life. Both come out of desperate circumstances; both reveal the growing, enveloping madness that plagued him when he came to regard "everything as a lie" and the world as unremittingly evil and dangerous. As he writes in the dark, menacing "Cogwheels," life became "more hellish than hell itself." Art alone remained for this delusional, death-haunted, drug-ridden writer, whose only remaining reason for existence was, he wrote, the "life that flowed from my pen." And then, even art was not sufficient. Very deliberately he planned his suicide, wrote about the impending event and took an overdose of drugs.
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