Columbia Anthology of Modern Japanese Literature (Book Review)

If you drop the Columbia Anthology of Modern Japanese Literature on your foot, you will end up in a plaster bandage. Physically, it is not a pleasure to read such a brick - I have the paperback edition that already starts cracking at the spine in the middle.

But the main question is: is this a good anthology? This is a tricky question because there could be as many anthologies as readers - everyone has his or her own preferences. I am not going to talk about authors who have been unjustly excluded or included, because that is too personal. But there are some objective markers as well.

One of these: Does the anthology offer a new view of modern Japanese literature?

My answer is: not really, this Columbia Anthology does not offer a new perspective. It is again an all-too-familiar anthology of mainly prose fiction. That ties in with the Western 19th-20th century view of literature as mostly prose fictional narrative. Some poetry and drama has been included, but in number of pages really very little. One of the poetic giants of Meiji literature, Masaoka Shiki, gets only two pages…

Therefore the book does not do justice to the Japanese tradition, also not of the late 19th c. and first half of the 20th c. treated in this anthology.

In Japan and China, lyrical poetry and short prose forms other than fiction (in Japan called zuihitsu and nikki) have always been of great importance as literature. (Besides that, they have of course also greatly influenced narrative fiction in Japan). What I almost completely miss are these short prose forms.

Where is the Romaji Diary of Takuboku? Why has not one of the uta-nikki, poetry diaries of Shiki been included, for example “One drop of Ink”? What about the diaries and zuihitsu of Kafu, for example Hiyori-geta or "Tidings from Okubo"? What about the essays and literary criticism of Tanizaki, for example a new translation of "In Praise of Shadows"? What about the diaries of Santoka? Why is the Tono Monogatari not included as this is certainly also great literature?
A really excellent anthology, doing justice to all in Japan important genres of literature would have to consist of five parts, in separate volumes:

1. Narrative Prose (prose fictional narrative)
2. Essays, diaries and letters (zuihitsu, nikki and other non-fictional literary prose)
3. Lyrical poetry (also including complete collections as Midaregami)
4. Drama and film scripts (Ozu, Kurosawa!)
5. Literary theory and criticism

Let's start thinking and puzzling about what to include!

Bach Cantatas (43): Trinity XII (BWV 69a, 137 & 35)

The twelfth Sunday after Trinity treats the theme of God constantly doing good for man (taking its cue from the story of the healing of a deaf mute man in the readings for this day). The Twelfth Sunday after the Trinity also was the day when town elections were celebrated, which meant this was a festive occasion on which trumpets and drums were at Bach's disposal.

There are three cantatas for this Sunday.

Readings:
2 Corinthians 3:4–11, "the Ministration of the Spirit"
Mark 7:31–37, "the healing of a deaf mute man"

Cantata Studies:
Bach Cantatas Website | Simon Crouch | Emmanuel Music | Julian Mincham | Wikipedia | Eduard van Hengel (in Dutch) | Bach Companion (Oxford U.P.) | Bach: The Learned Musician (Wolff) | Music in the Castle of Heaven (Gardiner)

[Christ healing the deaf mute of Decapolis,
by Bartholomeus Breenbergh, 1635]

Cantatas:

• Lobe den Herrn, meine Seele, BWV 69a, 15 August 1723
  
   Chorus: Lobe den Herrn, meine Seele
  Recitativo (soprano): Ach, daß ich tausend Zungen hätte!
  Aria (tenor, oboe da caccia, recorder, bassoon): Meine Seele, auf, erzähle
  Recitativo (alto): Gedenk ich nur zurück
  Aria (bass, oboe d'amore): Mein Erlöser und Erhalter
  Chorale: Was Gott tut, das ist wohlgetan, darbei will ich verbleiben
  
  "Praise the Lord, my soul"
  Text & translation
  
  Scored for soprano, alto, tenor and bass soloists, a four-part choir, three trumpets, timpani, three oboes, oboe da caccia, oboe d'amore, recorder, bassoon, two violins, viola, and basso continuo.
  
  Bach composed this festive cantata during his first year in Leipzig, which began after Trinity of 1723, specifically for the Twelfth Sunday after Trinity. The readings for the Sunday were from the Second Epistle to the Corinthians, focusing on the ministry of the Spirit, and from the Gospel of Mark, recounting the healing of a deaf mute man. Although the poet behind the text is unknown, he drew inspiration from the gospel narrative, interpreting the healing as a broader demonstration of God's constant benevolence towards humanity. The opening chorus, derived from Psalms 103:2, urges the soul to praise the Lord and remember His kindness.
  
  Throughout the cantata, the theme of "telling" recurs, reflecting the healed man's newfound ability to speak. Several movements borrow phrases from a cantata by Johann Oswald Knauer, originally published in 1720. To close the cantata, Bach incorporates the sixth verse of Samuel Rodigast's hymn "Was Gott tut, das ist wohlgetan" (What God does, is done well) from 1675.
  

  The opening chorus, a double fugue, magnificently begins with "Praise the Lord, my soul, and do not forget the good He has done for you," featuring a majestic trumpet introduction following an orchestral ritornello.

  The cantata maintains its connection to the gospel story, with subsequent movements often referencing "telling" and "tongues," as seen in the first recitative for soprano. The first aria for tenor, while continuing to extol God's grace, offers a delicate pastoral melody accompanied by recorder and English horn, providing a pleasing contrast to the preceding chorus.

  In contrast, the bass aria employs chromatic coloraturas to juxtapose suffering and joy, conveying a solemn plea for protection and assistance during times of hardship.
  
  The cantata concludes with a heartfelt harmonization of "Was Gott tut, das ist wohlgetan," bringing the work to a warm and affirming end.

  Video: J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)
  
  
  
• Lobe den Herren, den mächtigen König der Ehren, BWV 137, 19 August 1725
  
   Coro: Lobe den Herren, den mächtigen König der Ehren
  Aria (alto): Lobe den Herren, der alles so herrlich regieret,
  Aria (soprano, bass): Lobe den Herren, der künstlich und fein dich bereitet
  Aria (tenor): Lobe den Herren, der deinen Stand sichtbar gesegnet
  Chorale: Lobe den Herren, was in mir ist, lobe den Namen!
  
  "Praise the Lord, the mighty King of Honor"
  Text & translation
  
  Scored for four soloists, soprano, alto, tenor and bass, a four-part choir, three trumpets, timpani, two oboes, two violins, viola, and basso continuo.
  
  Bach composed this cantata for the Twelfth Sunday after Trinity as part of the cycle of chorale cantatas he composed in Leipzig from 1724 to 1725. In 1724, his second year in the city, Bach had concentrated on chorale cantatas from the First Sunday after Trinity through Palm Sunday. For Easter, however, he returned to composing cantatas with more varied texts, possibly due to the loss of his librettist. Later, Bach resumed composing chorale cantatas to complete his second annual cycle, and this cantata is one of those concluding works. It is based entirely on the unaltered words of the hymn "Praise the Lord, the Mighty King of Glory" (1680) by Joachim Neander, without reference to the Sunday readings.
  
  John Eliot Gardiner suggests that, given its festive instrumentation and themes of praise and thanksgiving, the cantata may have been performed that year to celebrate the inauguration of the City Council.
  
  Musically, the opening chorus, like other cantatas for this Sunday, is an example of an occasional piece, even bordering on popular music, with festive trumpets and drums. Structurally, it revolves around variations on the chorale melody. The lively fugue-like chorus, accompanied by an exuberant orchestra (which plays a concerto-like role), is followed by an alto aria with a violin obbligato that embellishes the chorale melody. It is noteworthy that Bach included this movement in his Schübler chorales.
  
  In a departure from the keys of C major and G major, the central duet for soprano and bass is in E minor, with two obbligato oboes. The first vocal section is uniquely repeated three times.
  
  The fourth movement, a tenor aria in A minor, sees a battle for harmonic supremacy between the trumpet's cantus firmus in C major and the independent vocal line, which quotes parts of the chorale melody.
  
  The cantata concludes with a triumphant chorale, once again featuring the majestic trumpet.
  
  Video: Netherlands Bach Society - Interview with conductor Peter Dijkstra, organist Leo van Doeselaar and cellist Lucia Swarts /
  J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)
  
  
  
• Geist und Seele wird verwirret, BWV 35, 8 September 1726
  
  Part I
  1. Sinfonia
  2. Aria: Geist und Seele wird verwirret
  3. Recitativo: Ich wundre mich
  4. Aria: Gott hat alles wohlgemacht
  Part 2
  5. Sinfonia
  6. Recitativo: Ach, starker Gott
  7. Aria: Ich wünsche nur bei Gott zu leben
  
  "Spirit and soul become confused"
  Text & translation
  
  Scored for an alto soloist, two oboes, taille, obbligato solo organ, two violins, viola, and basso continuo.
  
  A festive and long cantata with an alto soloist and no chorus, set to a poem by  Georg Christian Lehms, first published in 1711. The text quotes ideas from the Gospel and draws from them the analogy that just as the tongue of the deaf and dumb man was opened, so the believer should be open to admire God's miraculous acts. The cantatas for this Sunday have a positive character, which Bach emphasized in earlier works for this occasion by including trumpets in the score. In this work, however, he uses an obbligato solo organ in several movements.
  
  It is possible that parts of this work predate the first recorded performance in Leipzig in 1726. The work contains two large concerto movements for organ and orchestra - the organ is both an instrumental soloist in the two sinfonias and a partner for the singer in all three arias.
  
  The opening Allegro sinfonia incorporates concerto techniques, suggesting an origin in a pre-existing concerto, and other parts may be derived from other music - making this cantata a treasure trove of lost music. The organ plays both the solo melody and the continuo line, punctuated by quasi-cadenza passages and interspersed ten-bar ritornellos.
  
  The first aria in da capo form, "Geist und Seele wird verwirret," is characterized by a broken ritornello and a sense of confusion and uncertainty. The rhythm is a siciliano, a common feature in slow concerto movements by Bach and others.
  
  A secco recitative expresses reverence for creation. It begins in a major mode that contrasts with the preceding aria, then turns to a solemn minor mode.
  
  An aria with obbligato organ, "Gott hat alles wohlgemacht," is the first movement in a major mode and expresses joy at God's creation. It has a dominant two-part ritornello.
  
  Part 2 begins with another sinfonia, this time in binary form, an intriguing perpetuum mobile introduced by the keyboard. It may be based on the final movement of a concerto.
  
  Another secco recitative, "Ach, starker Gott, laß mich," is a prayer for the ability to always reflect on the miracle of creation.
  
  The cantata concludes with an aria with the complete orchestra, "Ich wünsche nur bei Gott zu leben" (I wish to live with God alone). It expresses the desire to dwell with God forever in a minuet of a positive character. The movement again uses a two-part ritornello. The organ provides triplet figures, which the voice also uses to express a joyful hallelujah.
  
  Bach himself probably played the virtuoso organ part.
  
  Video: Netherlands Bach Society (countertenor) - Interview countertenor Engeltjes /
  J.S. Bach Foundation (St. Gallen) - Workshop (in German) - Contemplation (in German)

Bach Cantata Index

"Bel Ami" (1885) by Guy de Maupassant (Book Review)

Bel Ami is a fun novel about cold-blooded social climbing, with a generous admixture of sex and seduction as ladders to success. I was reminded of Balzac's earlier novel Le Père Goriot (1835), where the student Rastignac uses similar methods for advancement in Parisian society, only Guy de Maupassant is much more radically cynical than Balzac. Bel Ami has not for nothing been called one of the nastiest pieces of French literature - never have liaisons been more ruthless, even Les Liaisons Dangereuses stands in the shadow of this cruel book.  But it is also one of the most delicious books imaginable.

"Bel Ami" ("Beautiful Boy") is the nickname of Georges Duroy, a penniless soldier just returned from French Algeria who comes to Paris to make his fortune in journalism, in a corrupt society where the press are in league with the politicians (they are involved in secret preparations for a North-African invasion that will enrich them all). Georges has the luck to be introduced into society by an old friend from the army, Charles Forestier, now editor at the powerful newspaper "La Vie Française." It is Charles' beautiful and intelligent wife Madeleine who helps Georges write his first article, for he has no real journalistic talent. She also teaches him that the most important part of the Parisian population are the women, not the men.

Georges starts on the lowest sport of the ladder with a prostitute, Rachel, but soon climbs up to his first liaison by seducing Madeleine's married friend Clotilde, with whom he sets up a veritable love nest. All the same, he is on friendly terms with her elderly husband, who suspects nothing. When Charles dies, Georges presses his suit on Madeleine and marries her for further social advancement, but he also seduces Mme Walter, the wife of the super-rich owner of "La Vie Française," and while visiting her house, to put the icing on the cake, her daughter Suzanne falls hopelessly in love with him.

Via an intrigue Georges gets rid of Madeleine, and he also pushes the besotted, clinging Mme Walters away with a hard hand. As the husband of millionaire's daughter Suzanne the world will lie open for him, perhaps he will even become a minister... Georges has cunningly built his success on the hypocrisy, decadence and corruption of society, but his rise to power has above all been made possible by the powerful and wealthy women around him. At the party of his marriage to Suzanne, he presses the hand of Clotilde - they should soon have one of their intimate meetings again!

And with the description of Georges' wedding to Suzanne the satirical novel ends - we have glimpsed the future and there is nothing more to say. Moreover, this marriage in a fashionable church is the apex of the hypocrisy the novel castigates: the triumphant rascal, adorned with the Order of the Legion of Honor marries the young daughter of a mother he has seduced and a father he has trapped into acquiescing with the marriage, and this marriage is blessed by the Church and recognized as something good and proper by all high society present! Readers who would like to see Georges punished for his unscrupulousness might be dissatisfied, but happily Maupassant is too much of a realist to fall into such a trap. The world is cruel, and that is what he wanted to show us. Wealth and glory are often for the unworthy.

Read it for free at Gutenberg, but pick the right translation: Bel Ami, Or, the History of a Scoundrel is more a paraphrase than a faithful translation, so please avoid it and read Bel Ami (A Ladies' Man). There is of course also an even better translation available as a Penguin Classic. The French version of this novel can be found here. There is also an audiobook in French.

Bel Ami was filmed several times, but no version can be recommended. The latest, made in 2012 by directors Declan Donnellan and Nick Ormerod and acted by Robert Pattinson, Uma Thurman, Christina Ricci and Kristin Scott Thomas, is visually beautiful, but the casting is all wrong (especially the young actor who plays Bel Ami with a terrible squint) and it crams so much of the plot in just 100 minutes that it becomes a superficial story racing along without any depth.

"Sweet Tooth" by Ian McEwan

Ian McEwan is one of the best contemporary (living) writers and a new book is therefore a feast. Sweet Tooth is the title and this novel gives us McEwan at his classical best. At first glance, it is the story of a young woman, Serena Frome, her love affairs and her entrance into MI5, the British security service; but there is a postmodern twist in the tail which turns this seemingly middlebrow story completely on its head. Sweet Tooth is also the story of Britain (and Europe) in 1972 with its sad malfunctioning of public services, terrorism threats, and of course the Cold War still very hot. And the novel pries into the problems of fictionality and literature, even giving us the young Ian McEwan and his literary world in the figure of his "invented self" Tom Haley. "Sweet Tooth," by the way, refers to an MI5 program to stealthily sponsor the arts, in order to promote some democratic ideals in that leftist environment. Selena Frome ("rather gorgeous" and "rhymes with plume") is selected to bring Tom Haley into the program, and of course she falls terribly in love with him...

Here are the main points:

1. The story told by Serena Frome. a rather gauche young woman who is addicted to "middlebrow" novels which she "speed-reads," reads itself like just such a middlebrow novel, until McEwan turns the tables on his readers with a highbrow, postmodern trick. The sweet story is about Serena's loves (Jeremy who turns out to be homosexual, the much older professorial Tony who dumps her to protect his marriage, and finally the young author Tom), her entrance into MI5 and her task to recruit the writer Tom Haley. She offers him a stipend "enough to keep a chap from having to do a day job for a year or two, even three." As happens in all novels she reads, she finally "gets" the right guy, although she fails miserably in her spy job.
2. The story of Britain (and wider, Europe) in the early 1970s: malfunctioning of the state (like a rotten tooth), terrorism threats, a war in the Middle East and the First Oil Crisis, the Cold War and rampant leftism among the young.
3. A tongue in cheek "Tinker Tailor" story of MI5 - the misogynist culture, the complicated secrecy about nothing, the silliness of the Sweet Tooth project.
4. The world of literature when McEwan himself was writing his first short stories - his colleagues as Martin Amis, his publisher, etc. Several of McEwan's early stories are paraphrased, the dystopian novel Tom Haley produces as part of the MI5 program (so not at all what they wanted!) is also based on such a story.

The construction of this novel, which has been called a "Russian doll" with its stories in stories and its mirroring images, is immaculate. But it is above all a comic novel, and McEwan clearly had lots of fun writing it - and at least this reader had as much fun reading it.