Kawabata's Thousand Cranes

Forgive me if I compare Thousand Cranes to my first reading of Kawabata's works, Beauty and Sadness. As I've been told, it's indeed an easier read, with different themes (and I'll tell why I'm glad), but still all about feelings, and with the same style. More enticing, a bit of a page turner at times. Again, an enjoyable reading.

The narrative structure is slightly more conventional in this novel than in the other I read, but I'll share what I find specific, the deliberate choices of the master.

The most striking narrative initiative, is that the author teases us about an upcoming scene, describing the prelude of the scene where two antagonizing characters are about to perform the main action of the setting. And the narration stops. End of chapter. The curtain rises on the next scene that unfolds later. What? We missed the juice! What happened back then? Oh, well, the author soon grants us with the blessing of a short flashback to let us know the main outline, or only an aspect, of what we couldn't witness before. As a reader, this is quite funny to be the repeated victim of such a device. Isn't Kawabata playing with us? Or is there a more profound reason and meaning to this technique?

Another point of the narration, of maybe just the prose, is a form of insistent redundancy. The author set up a rich and beautiful metaphor in the scene, for instance the two cups that are like two souls of one of each parents of the protagonists here. Okay, knowing the history of those cups we clearly see the analogy when they are displayed next to each other. But Kawabata insists twice more about the two cups, yes they are there, and their origin, yes one from F's mother, the other from K's father, we know, we know, we got it, why remind us, no need, that's three times already. Finally, and this kills me as I read it, he literally tells us about the metaphor of the two souls: he spells it out for us readers, this is no joke, and it's really like holding our head pushed down, our nose on this idea of his for the analogy he devised. That's very strange. Does he not trust his readers? Or am I missing something?

Characters. What really infuriated me, in a positive way (experience wise), is the mean and toxic character of Chikako, an horrible lady, along with the too lenient main character Kikuji (in his shoes I would have booted her out of my place since long), and the most passive Fumiko (stop enduring this!!). So irritating to witness the emotional damage spreading, with dire consequences, without any rebelion, and to see how successful the schemer is. I feel it's like the modern NTR thing in other stories. So, the more angry I got, the more it shown how successful was the master, if he meant it.

Plot. After the first big thing in the middle of the story, I really wondered what could happen next that would make it a story still going strong. Isn't that funny? I couldn't foresee any significant event worth my reader's attention if I only cared about the plot. This doesn't mean that the novel became dull at that point, not at all. It was still holding me well for different reasons, but, for the plot, more with the acquired impetus than with a suspense about to unfold. And, yes, other things happen and they are in line with the rest. I mean the author doesn't pull off a trick to reboot the plot, as it unfolds naturally and it's interesting. Well, I like it. Lastly, open ending, not surprising but still catching me off-guard.

Themes. I'm so glad it's not about youth (obsession of) and breasts. Well, there are breasts but not much and he spares us the hyperfocus on them. And for the age gap it's the 25 guy with a well over forty lady, which is much more to my liking (personal taste that biases my overall judgement more positively, regardless of the literary merits). The other novel wasn't comfortable in that respect.

Anyway, what themes did I find?

The main one is centered around the idea that some words are like poison, venomous, and Kawabata makes it very clear. The other theme is conveyed by the omnipresence of tea and tea ware (ceramics, mostly), along with sensible things like the adequation of the decoration with the season. This goes with a touch of nostalgia (but not that strong), and the legacy of history (through the old bowls). A fine blend, giving its consistency to the mood throughout the story. Another secondary theme is loneliness.

The main interest of the novel: feelings. Tortured characters again, with detailed feelings. Often literally told, not shown (I got used to it), with the closest psychic distance from the characters. All this is displayed with the typical Japanese mentality, or cultural habits and customs. Very immersive. Exactly what I was looking for. Nice descriptions of the settings too, connected to nature.

A last note, as I reflect on my impression of the other novel: this time I couldn't find any hint of sexism or male gaze in the authorial intent. Great. Of course there's the sexist society that is depicted in the background, but that's not what I'm talking about.

(Usual disclaimer: Not trying to look like something—my non-native English might seem formal or odd at times. Thanks for bearing with me, I’m an amateur. Not written with AI.)