Eighty-five years old next week, Donald Keene is a man described as having done more for Japanese literature and culture than anybody in the world. A former wartime translator, author of 25 books in English and 30 books in Japanese, he is Professor Emeritus of Japanese Literature at Columbia University and holder of eight honorary degrees.
Serious credentials in anyone’s book. Yet despite eminent qualifications, I have to confess that it is only Donald Keene’s status as friend and translator of writer Yukio Mishima that piqued my interest in him. I doubt he would be offended—he is I am sure long resigned to being known for his connection to the most famous, perhaps infamous Japanese author of the twentieth century.
About midnight on the night of the incident, the telephone rang in my apartment in New York. The call was from a Yomiuri reporter in Washington. He informed me briefly what had taken place a few hours earlier in Tokyo and asked my impressions (kanso). I was too stunned to make a coherent reply. The telephone rang all night long, from many Japanese newspapers and magazines. Each asked the same question, and I gradually grew more articulate in my response, until I felt as if I were reciting lines from a play.
As is obvious from his output and recognition—the first non-Japanese to receive the Yomiuri Literary Prize and only the third non-Japanese person to be designated“an individual of distinguished cultural service” by the Japanese government—Keene is a fine writer in his own right, and I thoroughly enjoyed reading the following account of an attempt to rewrite Mishima’s modern No plays for their first ever staging outside of Japan:
The producers were unsuccessful in raising the money, with or without strings. They decided that the problem was that the three modern No plays they had chosen for a program were too similar in tone, and suggested to Mishima that he write a modern Kyogen to be played in between“Aoi no Ue” and “Sotoba Komachi.” Mishima was aware of the difficulty of preserving in a modern adaptation the humor of Kyogen, which depends so heavily on exaggerated gestures and inflexions of speech. He decided nevertheless that it might be possible to make a modern version of “Hanago,” with the daimyo of the original changed into an industrialist and Tarokaja into a butler. The Zen meditation scene could be rewritten as yoga, then popular in New York. Finally, knowing of my special interest in Kyogen, he asked me to write the“kindai kyogen.” He recognized that certain passages in the original, quite normal expression in medieval Japan, would not be tolerated in a modern play. For example, when the master threatens to kill Tarokaja if he does not obey his command, this would not seem comic to a modern audience. On the other hand, Mishima thought that when the daimyo’s wife threatens to beat Tarokaja if he does not reveal why he was sitting in meditation, this was amusing and could be retained. Even today a woman carried away by anger might say the same.
Mishima gave various other tips, but I was unable, even with great effort, to do what Mishima always did so easily. I tried everything, even making it a comedy in the manner of Moliere and giving the characters Greek names. Nothing worked. I confessed my failure to Mishima, who thereupon bought a notebook of the kind American junior-high school students use and wrote a modern Kyogen, based not on“Hanago” but“Busu.” He dashed off the manuscript at full speed, changing hardly a word.
The producers attempted to find backers with the new combination of two modern No and a modern Kyogen, but they still had no success. This time they decided that the problem was that Americans did not like one-act plays. They asked Mishima to rewrite three of his modern No plays as a single play. I thought this was virtually impossible, even for Mishima. The plays have entirely different characters and atmosphere. How could he join them into a single play? But Mishima was so desirous of seeing the plays performed in New York that he did the impossible: he made one play of the three plays. He gave the new play an English title with a double meaning—“Long After Love.”
One of only three people to receive a personally addressed farewell letter from Mishima, Keene is frustratingly reticent in his recollections of his friend of sixteen years, and understandably defensive. He describes himself as not a“kokoro no tomo” (bosom friend) of the writer, who from the outset of their friendship made it clear that he did not desire what he called“sticky” relations—the sharing of vulnerabilities or emotions.
We did not share secrets or ask each other for advice. We enjoyed meeting and conversing, whether about literature, the state of the world, or mutual acquaintances. It was also a working friendship. I translated not only Mishima’s serious works of fiction and plays but also amusing essays he wrote for American magazines.
Our relations were always rather formal. This was mainly my doing. He once asked that we drop polite language and talk in the informal manner of old friends, but I found this difficult and somehow unnatural. I did not grow up in Japan and had never talked Japanese to my family or to classmates. Calling Mishima kun instead of san would not have made me feel any closer, and might have sounded affected. Mishima, noticing that I did not respond to his request, never again asked me to speak more informally.
Although we were unquestionably friends, his politeness was unfailing and extended to every aspect of our relationship. He was my only Japanese friend who always answered letters promptly. He was never late for an appointment. When he invited me to dinner, it was invariably to a fine restaurant, even though I often suggested we eat in less expensive places. His conversation gave me greater pleasure than any meal. While eating, we laughed a great deal. Sometimes his laugh rang out so loudly that other diners in the restaurant turned in our direction. Yoshida Kenichi once said that Mishima laughed with his mouth, but not with his eyes. Perhaps this was true, but sincere or not, Mishima’s laughter was infectious.
In the summer of 1970 Mishima invited me to Shimoda where he was accustomed to spend August with his family. He normally worked on his writings every day from midnight to six, slept from six to two, then went to kendo practice or to some gathering until it was time to return home and start writing. He spent little time with his children, but he made up for the neglect by devoting to them the month of August.
I almost cancelled my trip to Shimoda because of a painful attack of gikkuri-goshi (slipped disk), but I was instinctively certain that Mishima had planned every moment of my stay in Shimoda from arrival to departure and I could not bear to upset his plans. On the train I debated whether or not to mention my gikkuri-goshi, but when I saw him on the platform, sunburned and cheerful, I decided I would act like a samurai and keep the pain to myself.
We had lunch at a sushi-ya. Mishima ordered only chu toro. Afterwards, I was able to guess the reason: he had no time to waste on lesser fish. That evening we were joined by the journalist Henry Scott Stokes who later wrote a book about Mishima. Mishima took us to a restaurant where lobsters were served out of season. He ordered five dinners for the three of us. When the five dinners appeared, he ordered two more, not satisfied with the quantity. I thought this was peculiar, but no doubt he wanted to be sure we would have our fill of lobster at our last meal together.
The next day Mishima and I went to the hotel pool. He did not enter the water, but he was pleased to display his muscular body. We talked about his tetralogy“The Sea of Fertility” that was approaching completion. He said he had put into the work everything he had learned as a writer, adding with a laugh that the only thing left was to die. I laughed too, but I must have sensed something was wrong. Violating our pledge not to discuss“sticky” matters, I asked, “If something is troubling you, why not tell me?” He averted his glance and said nothing. But he knew that three months later he would be dead.
I’m going through something of an extended, on again off again Mishima phase at the moment—an interest encouraged by his sensitivity, aesthetics, effortless writing ability and preference for action over ideas; utterly discouraged by his fascination come obsession with violence—if read literally.
Yet in reading about Yukio Mishima I have inadvertently discovered Donald Keene—writer of some of the most lucid, insightful commentaries in existence on his tragically flawed friend, but much more than that as well.
Keene’s fascinating essays on Mishima form only a small part of Chronicles of My Life in the 20th Century, a series of forty-eight, serialised installments written just last year; each well worth reading aside from their compelling insights into a most famous author.
I have often regretted that I haven’t kept a diary. A diary would surely help me to recapture much of the past. But perhaps it is just as well to have forgotten so much. If I remembered everything, I would recall things that frightened me when I was a small child, teachers I disliked at school, friends who I thought had betrayed me, people I loved who did not love me. No, it is probably better not to try to remember. I hope that this chronicle, for all its deficiencies, has at least suggested how one human being spent an essentially happy life.
The following is one of my very favourite passages, admittedly from only a very small sampling of Chronicles of My Life in the 20th Century, yet more than adequate representation of the author’s life-long pacifism and love of Japan—either of which are enough to make me his kokoro no tomo, and unabashed fan:
One day I noticed a large wooden box containing captured documents. The documents gave off a faint, unpleasant odor. I was told that the little notebooks were diaries taken from the bodies of dead Japanese soldiers or found floating in the sea. The odor came from the bloodstains. I felt squeamish about touching the little books but, carefully selecting one that seemed free of bloodstains, I began to translate it. At first I had trouble reading the handwriting, but the diaries, unlike the printed or mimeographed documents I previously had translated, were at times almost unbearably moving, recording the suffering of a soldier in his last days.
Members of the American armed forces were forbidden to keep diaries, lest they reveal strategic information to whoever found them; but Japanese soldiers and sailors were issued with diaries each New Year and were expected to write down their thoughts each day. They were aware that they might be required to show their diaries to a superior, to make sure the writer’s sentiments were correct, so they filled their pages with patriotic slogans as long as they were still in Japan. But when the ship next to the diarist’s was sunk by an enemy submarine or when the diarist, somewhere in the South Pacific, was alone and suffering from malaria, there was no element of deceit. He wrote what he really felt.
Sometimes the last page of a Japanese soldier’s diary contained a message in English, asking the American who found the diary to return it to his family after the war. I hid such diaries, though it was forbidden, intending to return the diaries to the diarist’s family, but my desk was searched and the diaries were confiscated. This was a great disappointment. The first Japanese I ever really knew were the writers of the diaries, though they were all dead by the time I met them.
- The Most Shocking Ending in All Literature
- Kokoro No Tomo (bosom friend)
- The selfish, selfless Yukio Mishima