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A thoughtful article from Stanford University News, regarding a translation of “Unabomber” Ted Kaczynski’s “Manifesto.”

Unabomber’s writings raise uneasy ethical questions for Stanford scholar
French Professor Jean-Marie Apostolidès finds link between blood and ink in Ted Kaczynski’s “Manifesto” – but should we listen to a killer?
BY CYNTHIA HAVEN
Stanford Report, February 1, 2010

‘Our words have no power’

“It’s the problem of scholars, even artists: Our words have no power. We think we are changing the world – particularly on the left,” he said, and paused. “You accept your symbolic castration – that your writing will take time to have a modest influence on your contemporaries.” In other words, he accepts the compromises necessary to live a normal life, with an income, collegial support, home and family.

Yet Kaczynski’s writings and life have intrigued Apostolidès by emphasizing “the relationship between writing and killing, ink and blood.”

“From a cynical perspective, I write books without killing anyone – my writing will have no impact. The only way I can be listened to is to associate my writing to something.” That is, “either your own blood or someone else’s.”

For instance, he cited Japanese writer Yukio Mishima, whose meticulously planned seppuku in 1970 triggered an avalanche of interest in his works.

Kaczynski is following in these footsteps, rejecting the petit bourgeois alternative that Apostolidès has knowingly embraced and instead “linking blood and ink.”

ru_mishima

There’s a LiveJournal community based in the Russian Federation devoted to Yukio Mishima. I flipped through the posts and they had some Mishima-related content I’d never seen before.

Мисима Юкио

ru_mishima at LiveJournal – http://community.livejournal.com/ru_mishima/

American Mishima

An American fellow was inspired by Yukio Mishima to study Japanese swordsmanship. He just started a blog titled “American Mishima.”

I recently wrote a piece for The Spearhead, an online anti-feminist men’s magazine, incorporating Yukio Mishima’s story. In part, I did this to honor the 39th anniversary of Mishima’s hara-kiri last week.

“Here come the herbivores”

http://www.the-spearhead.com/2009/11/22/here-come-the-herbivores/

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I happened across this excellent essay on revisiting and re-evaluating Mishima’s work.

Jay McInerney: Through Western Eyes

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http://www.lohud.com/article/20090929/CALENDAR/90925008/-1/SPORTS/Meet-the-director

September 29, 2009

Director Paul Schrader returns to the Jacob Burns Film Center with “Mishima: A Life in Four Chapters,” an ambitious exploration of Japan’s great postwar author Yukio Mishima. He was also a flamboyant actor and body-builder, who took over Japan’s army headquarters in 1970 and publicly committed suicide. Propelled by an ethereal Philip Glass score, the film won an award at Cannes and received stunning reviews but flew mostly under the radar when released. Screening begins at 7:15 p.m. followed by a Q&A with Paul Schrader, who is also a celebrated screenwriters (Taxi Driver, Raging Bull). Tickets are $13. 364 Manville Rd., Pleasantville. 914-747-5555.

http://www.burnsfilmcenter.org/

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Photography show featuring one of Eikoh Hosoe’s famous images of Mishima.Eikoh Hosoe - Mishima @ SFMOMA

The Provoke Era: Postwar Japanese Photography: Sandra Phillips and W.S. di Piero in Conversation

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Came across this article from the Japan Times, written by Hiroaki Sato, who is working on a biography of Mishima.

Apparently, Japan’s new Prime Minister Yukio Hatoyama is getting criticism for saying things about Japan’s military being in the pocket of the US.  This concerned another Yukio many years ago…


…after all these years, there persists the nagging suspicion, articulated most clearly toward the end of the 1960s by Yukio Mishima, that the ultimate commander of the Japanese military, the SDF, is not the Japanese prime minister but the U.S. president.

Not just the Persian Gulf War in 1991 but also the U.S. invasion of Iraq in 2003 has demonstrated the validity of this suspicion.

It was at least this murky status of the SDF that Mishima, originally a law student, wanted to clear away. He proposed to split the forces into two separate entities: one a Japanese contingent for “U.N. peacekeeping operations,” and the other an entity dedicated to homeland defense. Hatoyama’s outline for constitutional revision on his homepage comes remarkably close to Mishima’s idea four decades ago, though without the part about splitting the forces.”

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Post about graphic design, a cover for an edition of Forbidden Colors and Tadanori Yokoo, poster artist who also did this poster of Yukio Mishima.

Tadanori Yokoo - Yukio Mishima - 1966

More on Tadanori Yokoo here.

h/t Troy Chambers

An interesting article from Japan Echo , specfically dealing with Mishima’s “Eirei no koe.”

Mishima insisted that nucleus of the integrated, organic culture that embraced the chrysanthemum and the sword was none other than “the emperor as culture.” He explains the concept as follows, using the archaic term miyabi (courtly elegance).

Miyabi was the cultural essence of the imperial court and the people’s longing for it, but during troubled times, miyabi could even take the form of terrorism. That is to say, the emperor as a cultural concept held out his hand not only to the forces of state power and order but also to the forces of chaos.

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