Junichiro Tanizaki – författare

I denna klassiska essä försvarar Junichiro Tanizaki (1886-1965) den traditionella japanska estetiken och levnadssättet mot det västerländska. Det kalla, genomträngande elektriska ljuset ställs mot en oljelampas mjuka sken i ett dunkelt, skuggfyllt rum. Boken är översatt av Vibeke Emond, som även skrivit efterordet och försett texten med ordförklaringar.

A fully illustrated, beautifully produced edition of Junichiro Tanizaki's wise and evocative essay on Japanese culture.‘We find beauty not in the thing itself but in the patterns of shadows, the light and the darkness, that one thing against another creates… Were it not for shadows, there would be no beauty.’This book is in fact a portal. Reading it, you will be led by Junichiro Tanizaki’s light touch into a mysterious and tranquil world of darkness and shadows, where gold flashes in the gloom and a deep stillness reigns. If you are accustomed to equate light with clarity, the faded with the worthless and the dim with the dreary, prepare for a courteous but powerful realignment of your ideas.In Praise of Shadows is a poetic paean to traditional Japanese aesthetics – in a free-ranging style that moves from architecture to No theatre, and from cookery to lighting, Tanizaki teaches us to see the beauty in tarnished metal, the sombre dignity in unglazed pottery, the primacy of organic materials that bear witness to the regular touch of human hands. It is also astonishingly prescient, offering a gentle warning against the quest for airbrushed perfection, and reminding us that too much light can pollute and obscure our natural world.In this special edition, the text is accompanied by specially selected images to complement Tanizaki’s reflections and further illustrate the pattern and beauty of shadows.

Were it not for shadows there would be no beauty.Nothing evokes the calm and nuance of the traditional Japanese aesthetic more profoundly than this book. Tanizaki’s eye ranges over architecture, jade, food, even toilets, examining the design and feel of the intimate places we inhabit. His acute sense of the use of space in buildings, his poetic descriptions of lacquerware under candlelight and his appreciation for natural materials suggest the possibility of a simpler, more beautiful life – one in which the softness of shadows is shielded from the dazzling light of modernity.‘Tanazaki suggests an attitude of appreciation and mindfulness, especially mindfulness of beauty, as central to life lived well’ AC Grayling, Guardian‘That it is a work of art can never be in doubt’ New Statesman'Elegant...a delight to read' Independent on Sunday

Hailed as the greatest Japanese novel of the Twentieth century, THE MAKIOKA SISTERS is a subtle tale of domestic oppression worthy of Balzac or Chekhov, In this saga of the once prosperous but now declining Makioka family struggling to marry off one of their daughters, Tanizaki presents the picture of a family and a society striving to preserve their self-respect as they come to terms with disturbing new ways in a classic confrontation of innovasion and tradition. A wonderful portrait of Japanese life in the first half of the twentieth century.

A husband and wife each write in their diary, never knowing if it is being read by the other.Ikuko and her husband are deeply in love but have grown physically apart, each unsure of the other’s desires. When Ikuko finds the key to her husband’s diary she ignores it, but she does begin to keep a diary of her own. Both parties start to set down in writing the evolution of their sex life and their deepest, most private desires. Who is reading whose diary? Who knows what? So begins an extended erotic game of lust, jealousy and manipulation.‘A story about sex and marriage that is as explicit as any novel on the theme since Lady Chatterley's Lover’ The Times'Sensational and serious' New York Times

These two novellas by the inimitable Tanizaki were among his favourites.The Secret History of the Lord of Musashi recounts the dark sexual obsessions of a sixteenth-century warlord, accidentally initiated in his youth into the morbid rites attendant upon battle. Based on invented documents that overlap with historical reality, the story unfolds a masterly balance of irony and melodrama, elegance and brutality.Arrowroot also touches on the pursuit of legend, but in a very different mode. Cast in the uniquely Japanese form of the ‘essay novel’, the narrative blends the stories of two friends on an expedition into the mountains south of Kyoto, one of them following the traces of a medieval myth, the other in search of a more recent, private past.‘After 20 years of writing novels in a fairly orthodox style, Tanizaki fused two interests - traditional Japanese storytelling and experimental narrative – into a unique style’ New York

Kaname’s marriage is disintegrating. It is the 1920s in Tokyo and he and his wife, Misako, are trapped in a parody of a progressive Western marriage. He escapes into the arms of a lover, whilst closing his eyes to the likelihood that his wife will do the same. But this unhappy arrangement can’t last. Misako’s father steps in, believing that their relationship has been damaged by the influence of a new and alien culture, attempting to heal the breach by educating his son-in-law in the Japanese traditions of aesthetic and sensual pleasure. Meanwhile a fixation with his father-in-law’s mistress is fermenting within Kaname.‘Chilling…Tanizaki is a master of ambiguity’ The Times‘Tanazaki pulls aside the shoji that screens Japanese home life to eavesdrop on what people are really saying and thinking behind their polite facades’ New York Times

Two or three times a day I think to myself: maybe I’ll die today.While recovering from a stroke, seventy-seven-year-old Utsugi turns to his diary to wryly record his struggle with his ageing body. Though impotent and in pain he notes down his growing desire for his beautiful daughter-in-law Satsuko, a chic, Westernised dancer with a shady past. Written when the author himself was an old man and shining with self-effacing humour, Tanizaki’s last novel is a tragicomedy about desire and the will to survive.‘Lightly comic, lyrically evocative and savagely cruel’ New York Times‘An artistic masterpiece’ Irish Times

A seductive psychological thriller about obsession, jealousy and deceit - and a Japanese queer classic. Sonoko must tell her story. Listen and decide for yourself.Sonoko Kakiuchi is a cultured Osaka lady in an uninspiring marriage. When she decides to take an art class in town she meets the extraordinary Mitsuko, a woman as beautiful and charismatic as she is cunning. They begin a passionate affair but as Sonoko’s infatuation with Mitsuko deepens, she finds herself sinking ever-further into a quicksand of sex, humiliation and deceit.‘A riveting tale of malevolent corruption fatally masked by a terrible and deceptive beauty’ Kirkus Reviews‘Classic Tanizaki…exuberant storytelling within a multi-layered narrative of sexual obsession’ Japan TimesWITH AN INTRODUCTION BY KRISTEN ROUPENIAN

Jun'ichiro Tanizaki's In Black and White is a literary murder mystery in which the lines between fiction and reality are blurred. The writer Mizuno is working on a story about the perfect murder. His fictional victim is modeled on an acquaintance, a fellow writer. When he notices that this man's real name has crept into his manuscript, he becomes terrified that an actual murder will take place-and that he will be the main suspect. Mizuno goes to great lengths to establish an alibi, venturing into the city's underworld. But he finds himself only more entangled as his paranoid fantasies, including a mysterious "Shadow Man" out to entrap him, intrude into real life. A sophisticated psychological and metafictional mystery, In Black and White is a masterful yet little-known novel from a great writer at the height of his powers. The year 1928 was a remarkable one for Tanizaki. He wrote three exquisite novels, but while two of them-Some Prefer Nettles and Quicksand-became famous, In Black and White disappeared from view. All three were serialized in Osaka and Tokyo newspapers and magazines, but In Black and White was never published as an independent volume.This translation restores it to its rightful place among Tanizaki's works and offers a window into the author's life at a crucial point in his career. A critical afterword explains the novel's context and importance for Tanizaki and Japan's literary and cultural scene in the 1920s, connecting autobiographical elements with the novel's key concerns, including Tanizaki's critique of Japanese literary culture and fiction itself.

Jun'ichiro Tanizaki's In Black and White is a literary murder mystery in which the lines between fiction and reality are blurred. The writer Mizuno is working on a story about the perfect murder. His fictional victim is modeled on an acquaintance, a fellow writer. When he notices that this man's real name has crept into his manuscript, he becomes terrified that an actual murder will take place-and that he will be the main suspect. Mizuno goes to great lengths to establish an alibi, venturing into the city's underworld. But he finds himself only more entangled as his paranoid fantasies, including a mysterious "Shadow Man" out to entrap him, intrude into real life. A sophisticated psychological and metafictional mystery, In Black and White is a masterful yet little-known novel from a great writer at the height of his powers. The year 1928 was a remarkable one for Tanizaki. He wrote three exquisite novels, but while two of them-Some Prefer Nettles and Quicksand-became famous, In Black and White disappeared from view. All three were serialized in Osaka and Tokyo newspapers and magazines, but In Black and White was never published as an independent volume.This translation restores it to its rightful place among Tanizaki's works and offers a window into the author's life at a crucial point in his career. A critical afterword explains the novel's context and importance for Tanizaki and Japan's literary and cultural scene in the 1920s, connecting autobiographical elements with the novel's key concerns, including Tanizaki's critique of Japanese literary culture and fiction itself.

Jun’ichirō Tanizaki is one of the most eminent Japanese writers of the twentieth century, renowned for his investigations of family dynamics, eroticism, and cultural identity. Most acclaimed for his postwar novels such as The Makioka Sisters and The Key, Tanizaki made his literary debut in 1910. This book presents three powerful stories of family life from the first decade of Tanizaki’s career that foreshadow the themes the great writer would go on to explore.“Longing” recounts the fantastic journey of a precocious young boy through an eerie nighttime landscape. Replete with striking natural images and uncanny human encounters, it ends with a striking revelation. “Sorrows of a Heretic” follows a university student and aspiring novelist who lives in degrading poverty in a Tokyo tenement. Ambitious and tormented, the young man rebels against his family against a backdrop of sickness and death. “The Story of an Unhappy Mother” describes a vivacious but self-centered woman’s drastic transformation after a freak accident involving her son and daughter-in-law. Written in different genres, the three stories are united by a focus on mothers and sons and a concern for Japan’s traditional culture in the face of Westernization. The longtime Tanizaki translators Anthony H. Chambers and Paul McCarthy masterfully bring these important works to an Anglophone audience.

Jun’ichirō Tanizaki is one of the most eminent Japanese writers of the twentieth century, renowned for his investigations of family dynamics, eroticism, and cultural identity. Most acclaimed for his postwar novels such as The Makioka Sisters and The Key, Tanizaki made his literary debut in 1910. This book presents three powerful stories of family life from the first decade of Tanizaki’s career that foreshadow the themes the great writer would go on to explore.“Longing” recounts the fantastic journey of a precocious young boy through an eerie nighttime landscape. Replete with striking natural images and uncanny human encounters, it ends with a striking revelation. “Sorrows of a Heretic” follows a university student and aspiring novelist who lives in degrading poverty in a Tokyo tenement. Ambitious and tormented, the young man rebels against his family against a backdrop of sickness and death. “The Story of an Unhappy Mother” describes a vivacious but self-centered woman’s drastic transformation after a freak accident involving her son and daughter-in-law. Written in different genres, the three stories are united by a focus on mothers and sons and a concern for Japan’s traditional culture in the face of Westernization. The longtime Tanizaki translators Anthony H. Chambers and Paul McCarthy masterfully bring these important works to an Anglophone audience.

Tanizaki Jun'ichiro (1886–1965), the author of Naomi; A Cat, a Man, and Two Women; and The Makioka Sisters, was one of the great writers of the twentieth century. The four stories in this volume date from the first and second decades of Tanizaki’s long career and reflect themes that appear throughout his work: exoticism, sexuality, sadomasochism, contrasts between traditional and modern societies, disparities between appearance and reality, the power of dreams, amorality, an interest in cinema, and a fascination with the techniques of storytelling. The stories—translated into English here for the first time—are: “The Strange Case of Tomoda and Matsunaga” (“Tomoda to Matsunaga no hanashi,” 1926), “A Night in Qinhuai” (“Shinwai no yo,” 1919), “The Magician” (“Majutsushi,” 1917), and “Red Roofs” (“Akai yane,” 1925).

The decadent tales in this collection span 45 years in the extraordinary career of Japan’s master storyteller, Tanizaki Jun’ichiro¯ (1886–1965), the author of Naomi, A Cat, a Man, and Two Women, and The Makioka Sisters. Made accessible in English by the expertise of translators Anthony H. Chambers and Paul McCarthy, the stories in The Gourmet Club vividly explore an array of human passions. In “The Children,” three mischievous friends play sadomasochistic games in a mysterious Western-style mansion. The sybaritic narrator of “The Secret” experiments with cross-dressing as he savors the delights of duplicity. “The Two Acolytes” evokes the conflicting attractions of spiritual fulfillment and worldly pleasure in medieval Kyoto. In the title story, the seductive tastes, aromas, and textures of outlandish Chinese dishes blend with those of the seductive hands that proffer them to blindfolded gourmets. In “Mr. Bluemound,” Tanizaki, who wrote for a film studio in the early 1920s, considers the relationship between a flesh-and-blood actress and her image fixed on celluloid, which one memorably degenerate admirer is obsessed with. And, finally, “Manganese Dioxide Dreams” offers a tantalizing insight into the author’s mind as he weaves together the musings of an old man very like Tanizaki himself-Chinese and Japanese cuisine, a French murder movie, Chinese history, and the contents of a toilet bowl. These beautifully translated stories will intrigue and entertain readers who are new to Tanizaki, as well as those who have already explored the bizarre world of his imagination.

In Childhood Years, originally published serially in a literary magazine between 1955 and 1956, Tanizaki Jun’ichirō (1886–1965) takes a meandering look back on his early life in Tokyo. He reflects on his upbringing, family, and the capital city with a conversational—and not necessarily honest—eye, offering insights into his later life and his writing.

Tanizaki Jun'ichiro (1886–1965), the author of Naomi; A Cat, a Man, and Two Women; and The Makioka Sisters, was one of the great writers of the twentieth century. The four stories in this volume date from the first and second decades of Tanizaki’s long career and reflect themes that appear throughout his work: exoticism, sexuality, sadomasochism, contrasts between traditional and modern societies, disparities between appearance and reality, the power of dreams, amorality, an interest in cinema, and a fascination with the techniques of storytelling. The stories—translated into English here for the first time—are: “The Strange Case of Tomoda and Matsunaga” (“Tomoda to Matsunaga no hanashi,” 1926), “A Night in Qinhuai” (“Shinwai no yo,” 1919), “The Magician” (“Majutsushi,” 1917), and “Red Roofs” (“Akai yane,” 1925).

The decadent tales in this collection span 45 years in the extraordinary career of Japan’s master storyteller, Tanizaki Jun’ichiro¯ (1886–1965), the author of Naomi, A Cat, a Man, and Two Women, and The Makioka Sisters. Made accessible in English by the expertise of translators Anthony H. Chambers and Paul McCarthy, the stories in The Gourmet Club vividly explore an array of human passions. In “The Children,” three mischievous friends play sadomasochistic games in a mysterious Western-style mansion. The sybaritic narrator of “The Secret” experiments with cross-dressing as he savors the delights of duplicity. “The Two Acolytes” evokes the conflicting attractions of spiritual fulfillment and worldly pleasure in medieval Kyoto. In the title story, the seductive tastes, aromas, and textures of outlandish Chinese dishes blend with those of the seductive hands that proffer them to blindfolded gourmets. In “Mr. Bluemound,” Tanizaki, who wrote for a film studio in the early 1920s, considers the relationship between a flesh-and-blood actress and her image fixed on celluloid, which one memorably degenerate admirer is obsessed with. And, finally, “Manganese Dioxide Dreams” offers a tantalizing insight into the author’s mind as he weaves together the musings of an old man very like Tanizaki himself-Chinese and Japanese cuisine, a French murder movie, Chinese history, and the contents of a toilet bowl. These beautifully translated stories will intrigue and entertain readers who are new to Tanizaki, as well as those who have already explored the bizarre world of his imagination.

In Childhood Years, originally published serially in a literary magazine between 1955 and 1956, Tanizaki Jun’ichirō (1886–1965) takes a meandering look back on his early life in Tokyo. He reflects on his upbringing, family, and the capital city with a conversational—and not necessarily honest—eye, offering insights into his later life and his writing.

Four sisters live in dilapidated houses, the daughters of a once-great merchant family of Osaka.Each of the women navigates her own complex relationship to the fading lustre of the Makioka family name, in the years leading up to the Second World War. Rich with breathtaking descriptions of ancient customs and an ever-changing natural world, Tanizaki evokes in poignant detail a long-lost way of life even as it withers under the harsh glare of modernity.‘An exquisite novel about four sisters living though a turbulent decade...I'd put it in the 10 greatest books of the 20th century’ David Mitchell‘A classic novel of a whole country about to turn on the terrible hinge of the war into modernity; its tone is elegiac and bleak’ Observer

The three pieces in this collection—the novella “A Cat, A Man, and Two Women” and two shorter pieces “The Little Kingdom” and “Professor Rado”—are lighthearted and entertaining variations on one of Tanizaki’s favorite preoccupations: dominance and submission in relationships, complicated even further here by customs, public opinion, and comic grotesqueries.In the title piece, the bumbling Shozo is caught in the middle of an ongoing struggle between his ex-wife and her younger successor. Shozo would prefer to stay out of it and be peacefully left alone with his elegant tortoiseshell cat Lily, but he keeps getting dragged back into the battles and arguments. The result is an oddball love triangle centered around Lily, the only true object of Shozo’s affections—“one of the finest pieces of literature concerning cats ever written” (Choice).