Rashomon and Seventeen Other Stories (Penguin Classics Deluxe Edition)

I bought the new Penguin Classic, Rashōmon and Seventeen Other Stories by Japanese author, Ryūnosuke Akutagawa (1892-1927), with the intention of furthering my knowledge of Japanese fiction and its writers beyond Mishima and the spaghetti obsessed Murakami. What I found in this collection is an interesting mix of stories providing an adequate introduction to Akutagawa, but not enough, perhaps, to interest me further.

Preceded by a foreward by the aforementioned Haruki Murakami, the collection is split into four parts by translator Jay Rubin. This division is to differentiate the works between different parts of the author's short life much like Picasso's output can be pigeonholed into such periods as blue and rose. So, we have his early retelling of Japanese legends and anecdotes through to conflicts between native religion and Christianity missionaries, on to modern works highlighting both tragic and comic circumstances, before reaching his biographical work in which he showcased his own madness.

For me, the earlier stories of Akutagawa proved more interesting. Rashōmon, which provided the title for Akira Kurosawa's 1950 film, is followed by In A Bamboo Grove, the story upon which the film was based. The Nose, a comic tale of vanity, is followed by the great Dragon: A Potter's Tale, which in turn is followed by the wonderful, albeit predictable, Hell Screen, a story about an artist who requires to see his subject matter so that he may capture it on canvas; thus, when commissioned to paint Hell, he sets about having his vision of Hell recreated before him so that he may recreate it with measured strokes.

Of the later stories there are few standouts, although that may just be my preference for stories set in a highly romanticised medieval Japan than in a period (the 1920s) in which I know little of the nation. The stereotypical legends of samurai, peasants, and overlords sit far more comfortably with me than a beautiful history deeply influenced by western imports. One of the better stories is Horse Legs, a Kafkaesque tale in which a Japanese Gregor Samsa wakes to find that he has equine legs, complete with hooves, and there follows comic situations as he attempts to hide his secret from everyone, notably the wife whom he shares his bed. The Writer's Craft was another story that sat well with me, a tale about how the appreciation of an author's work is not determined by the time put in but by how others interpret it within their own lives.

The collection gathers together a blend of Akutagawa's well known short pieces in addition to a bunch of stories translated to English for the first time. While some of these freshly translated stories appealed, I couldn't help feel it was a cynical attempt to force a few new tales on those already initiated with the author's work: one story, for example, is just a fragment of a longer unfinished piece.

Akutagawa's writing, at least in translation, is certainly vibrant and his stories come at you from all manner of narrators, the most common seeming to be told from the point of view of someone who witnessed the events but was not integral to the plot. Later stories, such as The Life Of A Stupid Man, show interesting attempts at style but the narrative (a series of numbered paragraphs with individual titles) is so personal that it would seem to be only of interest to friends and family of the author, in addition to Akutagawa scholars.

All in, this book serves to give me an introduction to the author and, with the extensive footnotes, a further understanding of different periods in Japan's history. But, given my indifference to many of the stories, especially Akutagawa's more personal pieces, I doubt I'll go in search of his previously translated works, although the occasional retelling of previous Japanese tales may be enough to pique my interest in much the same way a cookie may keep me satisfied until teatime.

Rashomon (referring to an ancient Kyoto ‘The Outer Gate’) is the title for the book, but as the subtitle indicates there are seventeen other stories in this collection by early twentieth century and Meiji era Japanese author Ryunosuke Akutagawa. Two of the stories are adapted from 1,000-year-old tales, which also formed the basis for Akira Kurosawa’s film Rashomon. The film only credits one of the tales for its script and the short story is not its namesake. This film is responsible for launching Japanese cinema unto the world’s consciousness in the 1950s. Other stories are contemporary.
The material is an affirmation of the author’s reputation for descriptiveness and attention to human detail. They may be difficult to read being 100 years old, based in Japan and having gone through a translation to English. None other than Japan’s most famous contemporary author Haruki Murakami (1Q84, Norwegian Wood, etc.) has supplied an extensive introduction for the book. The introduction is detailed enough to require its own footnotes.
The book bunches the author’s stories into several groups, namely A World In Decay, Under The Sword, Modern Tragicomedy and Akutagawa’s Own Story. The earlier stories are not wholly original works and yet are personal picks. The later works see the author adapt to his period’s stylings and quasi-autobiographical self-reference. Given how he committed suicide it would be no exaggeration to ponder whether writing these late stories shortened Akutagawa’s life. There is also the matter of the derangement of the author’s mother and the real possibility of her son having inherited the same. This is worth mentioning because, for better or worse, superlative artists are often unbalanced.
The stories do not paint a rosy picture of humanity. The absurdities and hollow strangeness of it all are a particular focus of these pieces. Referring to religion in Dragon: The Old Potter’s Tale the translator writes, “toys with the likelihood that religion is nothing more than mass hysteria, a force so powerful that even the fabricator of an object of veneration can be taken in by it.”
Although moralistic in nature, the stories could certainly be read as pure entertainment or as depictions of Japanese thought and society including its customs and costumes. Moreover, the earlier stories are easily for anyone interested in Heian or Tokugawa Shogunate periods romanticized through modes like film and literature. Hell Screen, in particular, is a successful example of horrific outcomes set in the period of feudal Japan. This story, in my opinion, is second only to In A Bamboo Grove in its evocative draw and surreal psychology.
The eighteen stories are not always entertaining, but are consistently articulate, graphic and speak to that certain Japanese essence.

I heard so many good stuff about this book... I really didn't quite understand it... Kakakakakakakakaka. It's like poems, I hate when I don't understand a poem... I think this is not for everyone kakakakakakakakaka

Great book, he was an inspiration to both Kobo Abe and Haruki Murakami and it is clear how he influenced their vision in fiction. I love how his stories range from the 16th through the early 20th century. His storytelling travels well in time.
Read the very well written introduction and the notes to get the context.

Likely you came here because of the movie. The translation in this Penguin book is arguably the best, but you can find 'In a [Bamboo] Grove' on the web for free (in ePub/mobi/pdf) as it's out of copyright. Try feedbooks etc.

The movie is called Rashomon and yes that is a short story by the same author, but the movie is mostly based on 'In a Grove'.

Roshomon is one version on the subject of personal versions of the truth. "Outrage", with Paul Newman and Claire Bloom, is a film version of the same theme. A rape occurs, the witnesses have different opinions. The fact of intercourse between the character played by Newman and Bloom is a fact. Whether it is rape or love depends on who is telling the story.

This story translated from Japanese is well written, worth reading,and skillfully touches on this eternal debate.

The current popular version of this debate seems to be that facts and truth do not exist.

However, the sun rises from east to west. A man can not be younger than his mother. Are these facts, or is it possible they are just opinions or a subject of an extensive debate?

The world, according to some, is flat. As absurd as such a belief is today, someone who argues that from his perspective,the world does appear flat has merit. Objects do not fall into space, but sit ridgely on a table. Without the benefit of contact with modern science one could argue his opinion without being considered mentally ill. But, that same person he could not argue that the sun always rises in one place, and sets in another; or that he can not be younger than his natural mother.

The philosopy that no facts exist, or that all actions depend on personal observation is currently a popular theory. In the recent past, the majority of the world heard a US President state he did not have sex with a woman. He then justified that comment, to avoid commiting perjury, that from his point of view, his actions were not "sexual". For personal reasons of their own, others concured that his point of view was correct, and he did not suffer from an abberation.

"Crime and Punishment" is a story of a man, who decides that a selfish and evil woman should be robbed. In the course of the robbery, she is killed. And a completly innocent person is also killed. The writer creates a justification for the actions of the killer. He considers himself better than the murdered woman,more worthy and entitled to live. The torment within his mind and judgment of society eventually exposes that facts and truth. Some one was killed, and killed them. Ethical discussion and personal opinion is not sustained, and punishment follows.

The current trend of philosophy seems to be tacking in a different direction. A more recent Woody Allen movie, also named "Crime and Punishment" moves away from the act of murder to a justification based on circumstance. The killer by proxy, is a sucessful, married man who is tempted into an affair. He is honest with the woman. He is married and in love with his wife, and would never leave her. His point of view remains constant. The mistress has fallen in love and wants him to leave his wife. The ehtical problem presented is to prevent hurting his wife; and more selfishly to maintain his reputation and career. His choice, based on his conception of honesty, is that he is the person wronged. In his mind, the only solution is to rid himself of the woman. Although tormented by his decision, he feels justified in having the "trouble" removed by a hired assassin. The idea of killing his mistress is too revolting, as is the act itself. However, he goes on with his life, and the viewer is left with the perspective that the personal torment begins to fade as he goes on with his life.

The new philosphy is the fact of the murder has somehow been justified from the perspective that the murder was not murder, but a difficult but justifiable judgment. Whether the mistress was killed, a fact; or murdered as a result of an ethical perspective of one person, must be decided by the viewer or reader.

Ryunosuke Akutagawa, one of Japan's great writers, demonstrates his creative genius in the variety and excellence of the short stories included in this anthology. "Rashomon" and "In a Bamboo Grove" were the basis for Kurosawa's famed movie. However, the subsequent stories are equally captivating in their ability to briefly communicate original themes. The ability to eloquently surprise the reader with each of the stories is a credit to his fame. Recommended to anyone who enjoys the short story genre. Akutagawa's novels "Botchan" and "Kokoro" are also highly praised and recommended.

the book looks great but the stories in it are all boring

i rented this book from the library. i loved it so much, the catch phrases, and such, that i wanted to write in it and develop my own ideas on it. so i went out and bought it. (can i say that borders sucks! BN all the way) 12.95 later... i know, right? i have it. though, not the version i wanted. why do all the reprinted covers look so much worse. and no illustrations! i just couldn't understand how if he died in 1927, he made allusions to the holocaust, which occurred in the 40s. my favorite story was Yabu no Naka. this story, (in a grove), i liked because of the plot twist at the end. i also liked Kesa to Morito. same reason. i find it odd that both of these stories involved rape, and in hope to conceal their shame, the victim conspires to kill her husband. more creative on Kesa's part (i liked the monologues), but i liked the change of view in Yabu no Naka and how he felt sliding into death. ANOTHER short story compilation?? what am i thinking?! the lack of change of view in Ryuu was interesting as well, though i did not quite understand the aim of the outer frame (in the frame story, pocket 10 cents from ninth grade english), and it seemed redundant. a hollow way to end the book. (though it wasn't quite an ending because it was just a collection compiled some twenty some years after the author's death (in `52) to reflect his best work. not in my opinion, but hey.) AND i did like the foreword by the english guy. i did not like the title story Rashomon named after a ruined torii in Kyoto. it seemed short and empty. as if it tried to have a plot, a purpose, to teach a lesson or moral, but failed. It was was easy to tell what scenery the author was familiar with because he used the same prefectures, rivers, cities, and mountains over again.

Book came in great condition