Donald Keene - Böcker

-- The New York Times Book Review

A vivid chronicle of events in the feudal states of China between 722 and 468 B.C., the Tso Chuan has long been considered both a major historical document and and an influential literary model. Covering over 250 years, these historical narratives focus not only on the political, diplomatic, and military affairs of ancient China, but also on its economic and cultural developments during the turbulent era when warring feudal states were gradually working towards unification. Ending shortly after Confucius' death in 479 B.C., the Tso Chuan provides a background to the life and thought of Confucius and his followers that is available in no other work.

Perhaps no one is more qualified to write about Japanese culture than Donald Keene, considered the leading interpreter of that nation's literature to the Western world. The author, editor, or translator of nearly three dozen books of criticism and works of literature, Keene now offers an enjoyable and beautifully written introduction to traditional Japanese culture for the general reader. The book acquaints the reader with Japanese aesthetics, poetry, fiction, and theater, and offers Keene's appreciations of these topics. Based on lectures given at the New York Public Library, The Metropolitan Museum of Art, and the University of California, Los Angeles, the essays -though written by a renowned scholar- presuppose no knowledge of Japanese culture. Keene's deep learning, in fact, enables him to construct an overview as delightful to read as it is informative. His insights often illuminate aspects of traditional Japanese culture that endure today. One of these is the appreciation of "perishability." this appreciation os seen in countless little bits of Japanese life: in temples made of wood instead of durable materials; in the preference for objects -such as pottery- that are worn, broken, or used rather than new; and in the national love of the delicate cherry blossom, which normally falls after a brief three days of flowering.Keene quotes the fourteenth-century Buddhist monk Kenko, who wrote that "the most precious thing about life is its uncertainty." Throughout the volume, Keene demonstrates that the rich artistic and social traditions of Japan can indeed be understood by readers from our culture. This book will enlighten anyone interested in Japanese literature and culture.

Donald Keene combines informative works on two forms of classical Japanese theater into a single volume. The No text looks at all aspects of this traditional theater form including its history, its stage and props, the use of music and dance in its performances, the plays as literature, and the aesthetics of No. Also discussed are Kyogen, the comic farces that are typically interspersed with the solemn No dramas.

This is the third book in a multivolume history of modern Japanese literature by the world's authoritative translator and scholar of Japanese culture and literature. The Columbia paperback edition, with Donald Keene's new preface, includes an introduction, an appendix, glossary, index, and a selected list of translations into English.

Donald Keene, hailed in the New York Times Book Review as "the century's leading expert on Japanese literature," presents here a collection of premodern Japanese diaries that is both a literary history of this genre and a source of insight into Japanese life of the last thousand years. Ranging from objective to confessional, selections such as "The Poetic Memoirs of Lady Daibu" and "Diaries of Seventeenth-Century Courtiers" offer unparalleled glimpses into the lives of diverse writers from the Kamakura dynastic period to the Tokugawa period. Illuminating the hidden and largely unknown worlds of imperial courts, Buddhist monasteries, country inns, and merchants' houses, Travelers of a Hundred Ages is an intimate account of the diarists' lives and a testimony to the struggles and advances of Japanese culture.

-- Los Angeles Times

-- Los Angeles Times

Donald Keene employs his prodigious wealth of knowledge, critical insight, and narrative aplomb to guide readers through the first nine hundred years of Japanese literature-a period that not only defined the unique properties of Japanese prosody and prose but also produced some of its greatest works. Covering courtly fiction, Buddhist writings, war tales, diaries, poems, and more, Seeds in the Heart explores a vast and variegated treasury of writings. Detailed textual examinations of classic texts-from the Kojiki to The Tale of Genji, from The Pillow Book of Sei Shonagon to Zeami's No plays-allow students, lay readers, and scholars a new understanding and enjoyment of this great literature.

This is a collection of journals written by Japanese men and women--from samurai and other government officials to novelists and poets--who journeyed to America, Europe, and China between 1860 and 1920. The diaries faithfully record personal views of the countries and their cultures and sentiments that range from delight to disillusionment. At once an intimate account of the travellers' lives and a testimony to the greater struggles and advances of their cultures, Donald Keene's eloquent translation and commentary invites the reader to partake in the world as each person experienced it.

The Tokugawa family held the shogunate from 1603 to 1867, ruling Japan and keeping the island nation isolated from the rest of the world for more than 250 years. Donald Keene looks within the "walls" of isolation and meticulously chronicles the period's vast literary output, providing both lay readers and scholars with the definitive history of premodern Japanese literature. World Within Walls spans the age in which Japanese literature began to reach a popular audience-as opposed to the elite aristocratic readers to whom it had previously been confined. Keene comprehensively treats each of the new, popular genres that arose, including haiku, Kabuki, and the witty, urbane prose of the newly ascendant merchant class.

When Emperor Meiji began his rule, in 1867, Japan was a splintered empire, dominated by the shogun and the daimyos, who ruled over the country's more than 250 decentralized domains and who were, in the main, cut off from the outside world, staunchly antiforeign, and committed to the traditions of the past. Before long, the shogun surrendered to the emperor, a new constitution was adopted, and Japan emerged as a modern, industrialized state. Despite the length of his reign, little has been written about the strangely obscured figure of Meiji himself, the first emperor ever to meet a European. Most historians discuss the period that takes his name while barely mentioning the man, assuming that he had no real involvement in affairs of state. Even Japanese who believe Meiji to have been their nation's greatest ruler may have trouble recalling a single personal accomplishment that might account for such a glorious reputation. Renowned Japan scholar Donald Keene sifts the available evidence to present a rich portrait not only of Meiji but also of rapid and sometimes violent change during this pivotal period in Japan's history.In this vivid and engrossing biography, we move with the emperor through his early, traditional education; join in the formal processions that acquainted the young emperor with his country and its people; observe his behavior in court, his marriage, and his relationships with various consorts; and follow his maturation into a "Confucian" sovereign dedicated to simplicity, frugality, and hard work. Later, during Japan's wars with China and Russia, we witness Meiji's struggle to reconcile his personal commitment to peace and his nation's increasingly militarized experience of modernization. Emperor of Japan conveys in sparkling prose the complexity of the man and offers an unrivaled portrait of Japan in a period of unique interest.

When Emperor Meiji began his rule, in 1867, Japan was a splintered empire, dominated by the shogun and the daimyos, who ruled over the country's more than 250 decentralized domains and who were, in the main, cut off from the outside world, staunchly antiforeign, and committed to the traditions of the past. Before long, the shogun surrendered to the emperor, a new constitution was adopted, and Japan emerged as a modern, industrialized state. Despite the length of his reign, little has been written about the strangely obscured figure of Meiji himself, the first emperor ever to meet a European. Most historians discuss the period that takes his name while barely mentioning the man, assuming that he had no real involvement in affairs of state. Even Japanese who believe Meiji to have been their nation's greatest ruler may have trouble recalling a single personal accomplishment that might account for such a glorious reputation. Renowned Japan scholar Donald Keene sifts the available evidence to present a rich portrait not only of Meiji but also of rapid and sometimes violent change during this pivotal period in Japan's history.In this vivid and engrossing biography, we move with the emperor through his early, traditional education; join in the formal processions that acquainted the young emperor with his country and its people; observe his behavior in court, his marriage, and his relationships with various consorts; and follow his maturation into a "Confucian" sovereign dedicated to simplicity, frugality, and hard work. Later, during Japan's wars with China and Russia, we witness Meiji's struggle to reconcile his personal commitment to peace and his nation's increasingly militarized experience of modernization. Emperor of Japan conveys in sparkling prose the complexity of the man and offers an unrivaled portrait of Japan in a period of unique interest.

The New Yorker has called Donald Keene "America's preeminent scholar of Japanese literature." Now he presents a new book that serves as both a superb introduction to modern Japanese fiction and a memoir of his own lifelong love affair with Japanese literature and culture. Five Modern Japanese Novelistsprofiles five prominent writers whom Donald Keene knew personally: Tanizaki Jun'ichiro, Kawabata Yasunari, Mishima Yukio, Abe Kobo, and Shiba Ryotaro. Keene masterfully blends vignettes describing his personal encounters with these famous men with autobiographical observations and his trademark learned literary and cultural analysis. Keene opens with a confession: before arriving in Japan in 1953, despite having taught Japanese for several years at Cambridge, he knew the name of only one living Japanese writer: Tanizaki. Keene's training in classical Japanese literature and fluency in the language proved marvelous preparation, though, for the journey of literary discovery that began with that first trip to Japan, as he came into contact, sometimes quite fortuitously, with the genius of a generation. It is a journey that will fascinate experts and newcomers alike

The New Yorker has called Donald Keene "America's preeminent scholar of Japanese literature." Now he presents a new book that serves as both a superb introduction to modern Japanese fiction and a memoir of his own lifelong love affair with Japanese literature and culture. Five Modern Japanese Novelistsprofiles five prominent writers whom Donald Keene knew personally: Tanizaki Jun'ichiro, Kawabata Yasunari, Mishima Yukio, Abe Kobo, and Shiba Ryotaro. Keene masterfully blends vignettes describing his personal encounters with these famous men with autobiographical observations and his trademark learned literary and cultural analysis. Keene opens with a confession: before arriving in Japan in 1953, despite having taught Japanese for several years at Cambridge, he knew the name of only one living Japanese writer: Tanizaki. Keene's training in classical Japanese literature and fluency in the language proved marvelous preparation, though, for the journey of literary discovery that began with that first trip to Japan, as he came into contact, sometimes quite fortuitously, with the genius of a generation. It is a journey that will fascinate experts and newcomers alike

Yoshimasa may have been the worst shogun ever to rule Japan. He was a failure as a soldier, incompetent at dealing with state business, and dominated by his wife. But his influence on the cultural life of Japan was unparalleled. According to Donald Keene, Yoshimasa was the only shogun to leave a lasting heritage for the entire Japanese people. Today Yoshimasa is remembered primarily as the builder of the Temple of the Silver Pavilion and as the ruler at the time of the Onin War (1467-1477), after which the authority of the shogun all but disappeared. Unable to control the daimyos-provincial military governors-he abandoned politics and devoted himself to the quest for beauty. It was then, after Yoshimasa resigned as shogun and made his home in the mountain retreat now known as the Silver Pavilion, that his aesthetic taste came to define that of the Japanese: the no theater flourished, Japanese gardens were developed, and the tea ceremony had its origins in a small room at the Silver Pavilion. Flower arrangement, ink painting, and shoin-zukuri architecture began or became of major importance under Yoshimasa.Poets introduced their often barely literate warlord-hosts to the literary masterpieces of the past and taught them how to compose poetry. Even the most barbarous warlord came to want the trappings of culture that would enable him to feel like a civilized man. Yoshimasa and the Silver Pavilion gives this long-neglected but critical period in Japanese history the thorough treatment it deserves.

Yoshimasa may have been the worst shogun ever to rule Japan. He was a failure as a soldier, incompetent at dealing with state business, and dominated by his wife. But his influence on the cultural life of Japan was unparalleled. According to Donald Keene, Yoshimasa was the only shogun to leave a lasting heritage for the entire Japanese people. Today Yoshimasa is remembered primarily as the builder of the Temple of the Silver Pavilion and as the ruler at the time of the Onin War (1467-1477), after which the authority of the shogun all but disappeared. Unable to control the daimyos-provincial military governors-he abandoned politics and devoted himself to the quest for beauty. It was then, after Yoshimasa resigned as shogun and made his home in the mountain retreat now known as the Silver Pavilion, that his aesthetic taste came to define that of the Japanese: the no theater flourished, Japanese gardens were developed, and the tea ceremony had its origins in a small room at the Silver Pavilion. Flower arrangement, ink painting, and shoin-zukuri architecture began or became of major importance under Yoshimasa.Poets introduced their often barely literate warlord-hosts to the literary masterpieces of the past and taught them how to compose poetry. Even the most barbarous warlord came to want the trappings of culture that would enable him to feel like a civilized man. Yoshimasa and the Silver Pavilion gives this long-neglected but critical period in Japanese history the thorough treatment it deserves.

"I sometimes think that if, as the result of an accident, I were to lose my knowledge of Japanese, there would not be much left for me. Japanese, which at first had no connection with my ancestors, my literary tastes, or my awareness of myself as a person, has become the central element of my life." In this eloquent and wholly absorbing memoir, the renowned scholar Donald Keene shares more than half a century of his extraordinary adventures as a student of Japan. Keene begins with an account of his bittersweet childhood in New York; then he describes his initial encounters with Asia and Europe and the way in which World War II complicated that experience. He captures the sights, scents, and sounds of Japan as they first enveloped him, and talks of the unique travels and well-known intellectuals who later shaped the contours of his academic career. Keene traces the movement of his passions with delicacy and subtlety, deftly weaving his love for Japan into a larger narrative about identity and home and the circumstances that led a Westerner to find solace in a country on the opposite side of the world.Chronicles of My Life is not only a fascinating tale of two cultures colliding, but also a thrilling account of the emotions and experiences that connect us all, regardless of our individual origins.

The attack on Pearl Harbor, which precipitated the Greater East Asia War and its initial triumphs, aroused pride and a host of other emotions among the Japanese people. Yet the single year in which Japanese forces occupied territory from Alaska to Indonesia was followed by three years of terrible defeat. Nevertheless, until the shattering end of the war, many Japanese continued to believe in the invincibility of their country. But in the diaries of well-known writers--including Nagai Kafu, Takami Jun, Yamada Futaru, and Hirabayashi Taiko--and the scholar Watanabe Kazuo, varying doubts were vividly, though privately, expressed. Donald Keene, renowned scholar of Japan, selects from these diaries, some written by authors he knew well. Their revelations were sometimes poignant, sometimes shocking to Keene. Ito Sei's fervent patriotism and even claims of racial superiority stand in stark contrast to the soft-spoken, kindly man Keene knew. Weaving archival materials with personal recollections and the intimate accounts themselves, Keene reproduces the passions aroused during the war and the sharply contrasting reactions in the year following Japan's surrender.Whether detailed or fragmentary, these entries communicate the reality of false victory and all-too-real defeat.

Rather than resist the vast social and cultural changes sweeping Japan in the nineteenth century, the poet Masaoka Shiki (1867-1902) instead incorporated new Western influences into his country's native haiku and tanka verse. By reinvigorating these traditional forms, Shiki released them from outdated conventions and made them more responsive to newer trends in artistic expression. Altogether, his reforms made the haiku Japan's most influential modern cultural export. Using extensive readings of Shiki's own writings and accounts of the poet by his contemporaries and family, Donald Keene charts Shiki's revolutionary (and often contradictory) experiments with haiku and tanka, a dynamic process that made the survival of these traditional genres possible in a globalizing world. Keene particularly highlights random incidents and encounters in his impressionistic portrait of this tragically young life, moments that elicited significant shifts and discoveries in Shiki's work.The push and pull of a profoundly changing society is vividly felt in Keene's narrative, which also includes sharp observations of other recognizable characters, such as the famous novelist and critic Natsume Soseki. In addition, Keene reflects on his own personal relationship with Shiki's work, further developing the nuanced, deeply felt dimensions of its power.

Rather than resist the vast social and cultural changes sweeping Japan in the nineteenth century, the poet Masaoka Shiki (1867-1902) instead incorporated new Western influences into his country's native haiku and tanka verse. By reinvigorating these traditional forms, Shiki released them from outdated conventions and made them more responsive to newer trends in artistic expression. Altogether, his reforms made the haiku Japan's most influential modern cultural export. Using extensive readings of Shiki's own writings and accounts of the poet by his contemporaries and family, Donald Keene charts Shiki's revolutionary (and often contradictory) experiments with haiku and tanka, a dynamic process that made the survival of these traditional genres possible in a globalizing world. Keene particularly highlights random incidents and encounters in his impressionistic portrait of this tragically young life, moments that elicited significant shifts and discoveries in Shiki's work.The push and pull of a profoundly changing society is vividly felt in Keene's narrative, which also includes sharp observations of other recognizable characters, such as the famous novelist and critic Natsume Soseki. In addition, Keene reflects on his own personal relationship with Shiki's work, further developing the nuanced, deeply felt dimensions of its power.

Many books in Japanese have been devoted to the poet and critic Ishikawa Takuboku (1886-1912). Although he died at the age of twenty-six and wrote many of his best-known poems in the space of a few years, his name is familiar to every literate Japanese. Takuboku's early death added to the sad romance of the unhappy poet, but there has been no satisfactory biography of his life or career, even in Japanese, and only a small part of his writings have been translated. His mature poetry was based on the work of no predecessor, and he left no disciples. Takuboku stands unique. Takuboku's most popular poems, especially those with a humorous overlay, are often read and memorized, but his diaries and letters, though less familiar, contain rich and vivid glimpses of the poet's thoughts and experiences. They reflect the outlook of an unconstrained man who at times behaved in a startling or even shocking manner. Despite his misdemeanors, Takuboku is regarded as a national poet, all but a saint to his admirers, especially in the regions of Japan where he lived. His refusal to conform to the Japan of the time drove him in striking directions and ranked him as the first poet of the new Japan.

For more than thirty years, the acclaimed novelist Shirley Hazzard and the renowned scholar of Japanese literature Donald Keene maintained a remarkable epistolary friendship. Brought together by the death of a mutual friend in the late 1970s, they discovered a profound connection built on mutual affinities for literature and culture and common values of humanism and cosmopolitanism.Expatriates of No Country presents Hazzard and Keene’s correspondence, offering readers a new and intimate perspective on the work and achievements of these towering figures. Both left behind their countries of birth, and they shared experiences of displacement, estrangement, and fashioning new lives and selves in adopted homelands. Hazzard, who departed from Australia as a teenager without completing her formal education, led an expatriate life in New York and Italy as she attained literary fame. Keene, a pacifist who served as an intelligence officer in the U.S. Navy during World War II, devoted himself to the literature and culture of Japan, where he became revered. Their erudite and elegantly written letters trace the larger story of their friendship, finding striking overlaps between their distinctive worlds. Recording a vanished way of literary and intellectual life, Expatriates of No Country casts a new light on two extraordinary people through their unlikely connection.

For more than thirty years, the acclaimed novelist Shirley Hazzard and the renowned scholar of Japanese literature Donald Keene maintained a remarkable epistolary friendship. Brought together by the death of a mutual friend in the late 1970s, they discovered a profound connection built on mutual affinities for literature and culture and common values of humanism and cosmopolitanism.Expatriates of No Country presents Hazzard and Keene’s correspondence, offering readers a new and intimate perspective on the work and achievements of these towering figures. Both left behind their countries of birth, and they shared experiences of displacement, estrangement, and fashioning new lives and selves in adopted homelands. Hazzard, who departed from Australia as a teenager without completing her formal education, led an expatriate life in New York and Italy as she attained literary fame. Keene, a pacifist who served as an intelligence officer in the U.S. Navy during World War II, devoted himself to the literature and culture of Japan, where he became revered. Their erudite and elegantly written letters trace the larger story of their friendship, finding striking overlaps between their distinctive worlds. Recording a vanished way of literary and intellectual life, Expatriates of No Country casts a new light on two extraordinary people through their unlikely connection.

Originally published in 1952, this account of the growth and uses of Western learning in Japan has been enlarged by two new chapters that extend the story from 1798 to 1830. The author has incorporated the results of recent research by scholars in Japan and the West and made corrections in the text.

The sweep of Japanese literature in all its great variety was made available to Western readers for the first time in this anthology. Every genre and style, from the celebrated No plays to the poetry and novels of the seventeenth century, find a place in this book. An introduction by Donald Keene places the selections in their proper historical context, allowing the readers to enjoy the book both as literature and as a guide to the cultural history of Japan. Selections include “Man’yoshu” or “Collection of Ten Thousand Leaves” from the ancient period; “Kokinshu” or “Collection of Ancient and Modern Poetry,” “The Tosa Diary” of Ki No Tsurayuki, “Yugao” from “Tales of Genji” of Murasaki Shikibu, and “The Pillow Book” of Sei Shonagon from the Heian Period; “The Tale of the Heike” from the Kamakura Period; Plan of the No Stage, “Birds of Sorrow” of Seami Motokiyo, and “Three Poets at Minase” from the Muromachi Period; and Sections from Basho, including “The Narrow Road of Oku,” “The Love Suicides at Sonezaki” by Chikamatsu Monzaemon, and Waka and haiku of the Tokugawa Period.

This is an account of the growth and uses of Western learning in Japan from 1720 to 1830. These are the dates of the beginning of official interest in Western learning and of the expulsion of Siebold from the country, the first stage of a crisis that could be resolved only by the opening of the country of the West. The century and more included by the two dates was a most important period in Japanese history, when intellectuals, rebelling at the isolation of their country, desperately sought knowledge from abroad. The amazing energy and enthusiasm of men like Honda Toshiaki made possible the spectacular changes in Japan, which are all too often credited to the arrival of Commodore Perry.The author chose Honda Toshiaki (1744-1821) as his central figure. A page from any one of Honda's writings suffices to show that with him one has entered a new age, that of modern Japan. One finds in his books a new spirit, restless, curious and receptive. There is in him the wonder at new discoveries, the delight in widening horizons. Honda took a kind of pleasure even in revealing that Japan, after all, was only a small island in a large world. To the Japanese who had thought of Chinese civilization as being immemorial antiquity, he declared that Egypt's was thousands of years older and far superior. The world, he discovered, was full of wonderful things, and he insisted that Japan take advantage of them. Honda looked at Japan as he thought a Westerner might, and saw things that had to be changed, terrible drains on the country's moral and physical strength. Within him sprang the conviction that Japan must become one of the great nations of the world.