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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.”

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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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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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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A smug, pro-post-modernist article that mentions Mishima dismissively (almost in a bitchy way, actually), yet more or less summarizes the fears Mishima expressed about the “spirit” (or psychology) of a castrated Japan a few decades ago. He warned that Japan would become known for “the chrysanthemum” or Ikebana and, well, other “cute” stuff.

The author should know that American young people have also accepted that “there are no absolute answers to anything.”

It’s called relativism. They teach it in universities and on MTV. It could also be called overactive empathy, emotionalism, indecisiveness and fear of taking a stand. If you don’t bother with drawing lines, you can busy yourself with buying Manga and playing video games and chatting on Facebook while Rome burns.

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Philip Glass Wishes He Had Time to Take a Four-Hour Hike
by Greta Stetson, http://www.telluridewatch.com/

Glass discussed the challenges of composing for Mishima – which he calls a personal musical turning point – during a presentation on Friday night. Writing themes for the film’s complicated narrative developed his “technique of film scoring in a very special way.”

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http://news.3yen.com/2009-07-02/saint-mishima-now-on-sale/

http://news.3yen.com/2009-07-02/saint-mishima-now-on-sale/

I was pleased to find this image on http://news.3yen.com/. have never seen this version before.  The post itself was in reference to an upcoming auction of some recently discovered Mishima items.

The photo is presumably by Kishin Shinoyama.

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An exellent quote about Mishima from Donald Richie, onetime Mishima associate.

Mishima’s suicide-by-seppuku in 1970 “was indeed so romantic that its seriousness alone saves it from melodrama,” Richie reflects. “But, as Mishima might have asked, what is the matter with melodrama? It too is a form of drama, and drama is life. … Those crazy enough to say he was insane merely show us that their vocabulary cannot encompass such an extraordinary act.”

East Bay Express: Screening the Samurai

Well said.

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A Times review of a new production of Mishima’s “Madame de Sade,” starring Judi Densch.


Madame de Sade at Donmar West End

I was not aware until today that Mishima’s book Forbidden Colors was the subjectof the world’s first Butoh performance.

Here’s the recent Vancouver Sun article on Butoh that tipped me off:


CULTURAL OLYMPIAD: The discrete, ineffable appeal of Butoh

By Kevin Griffin

From Wikipedia:

Butoh appeared first in Japan after the second world war and the student riots there. The roles of authority were being challenged and subverted at this point. It also appeared as a reaction against the contemporary dance scene in Japan, which Hijikata felt was based on imitating the West and Noh and was too superficial.

The first butoh piece was Kinjiki (Forbidden Colours), by Tatsumi Hijikata, which premiered at a dance festival in 1959. Based on the novel of the same name by Yukio Mishima, the piece explored the taboo of homosexuality and paedophilia and ended with a live chicken being held between the legs of Yoshito Ohno (Kazuo Ohno’s son) and Hijikata chasing Yoshito off the stage in darkness. Primarily as a result of the misconception that the chicken had died due to strangulation, this piece outraged the audience, and resulted in the banning of Hijikata from the festival where Kinjiki premiered and established him as an iconoclast.

In the very first “butoh” performances, the style was called “Dance Experience” (in English), but in the early Sixties, Hijikata used the term “Ankoku-Buyo” (dance of darkness) to describe his dance, and later changed the word “buyo,” filled with associations of Japanese classical dance to that of “butoh,” a long discarded word for dance that originally meant European ballroom dancing[1].

It would be interesting to see a Butoh based on, say, Sun and Steel. Or, perhaps even better, on the events of November 25, 1970.

More Butoh:

“We need to stop this accelleration, stop the speed.”

Technocracy.

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