A Young Yukio Mishima

Yukio Mishima is one of the most famous Japanese writers from the 20th century. Although he authored numerous acclaimed works and was even nominated for the Nobel Prize, he is probably better known for his ritual suicide at age 45 (and was also the subject of Marguerite Yourcenar’s MISHIMA: A VISION OF THE VOID). He burst out on to the Japanese literary scene with his semi-autobiographical CONFESSIONS OF A MASK, detailing a gay man coming of age in war time Japan and hiding his feelings behind a mask, and from there wrote a number of novels (34 in total), plays, short stories, poems, and nonfiction, many of which are still read 50 years later. Often times his first drafts required little revision. Though he was a little messed in the head, he was clearly a genius.

But, although he clearly had some talent, Mishima worked very hard to get to where he was. In fact, he may be the hardest working writer I’ve ever read about. As a teenager, he focused a great deal on poetry and was capable of churning out enough material to fill a chapbook in a week. But his interests soon shifted and he began writing prose. He read the dictionary to pepper his pieces with obscure and beautiful kanji at a time when I would have failed SAT vocab tests. It’s not clear just how many short stories he wrote at this point in his life, but the number must have been rather high and he also worked on a few novellas and novels. He also produced around 9 full-length plays during these years.

At 17, some teachers at his school were so impressed with his short story “The Forest in Full Bloom” that they published it in their magazine and offered to publish it in book form, a feat all the more amazing because it happened during World War 2 when paper shortages were common. The story, written in an elegant classical Japanese, tells the story of a boy reminiscing about his ancestors. There were a couple other stories to round out the collection.

Soon after Mishima began publishing other prose in various magazines, making a decent amount of money from his writings. Another short story collection soon followed, as did his first novel, BANDITS, about aristocratic lovers with suicidal preoccupations.

Keep in mind, while he was producing all this work, he also held a full time job at the finance ministry and would only write at night, staying up late and averaging four or so hours of sleep each night. When his father began to see the toll this lifestyle was taking on Mishima, he allowed his son to quit to focus on writing—right around the same time Mishima was offered a book deal for his next novel.

Mishima spent the next three months working on his novel, finishing in early 1949. This was CONFESSIONS OF A MASK. Published that summer, it received warm reception. But did not sell well. Mishima got nervous about his decision to resign from his finance post. He could still make a bit of money from his other writings, but would it be enough?

CONFESSIONS, which is now viewed as the work that cemented Mishima as a notable writer, was far from a sensation when first released. It was only in December, when it appeared on a number of critics’ “best of” lists, that the public started to take note. And take note they did. Mishima would enjoy fame for the rest of his life.

So, he was far from a genius figure who could effortlessly produce amazing manuscripts. He spent so much time writing as a teenager that it is quite likely he had written over a million words before BANDITS (often listed as the amount of practice needed to produce something great). And even then, it still took a while for him to find popular success.

To any wannabe writers feeling down because they’ll never be good enough, remember all the writing Mishima had to do before the public took note. Sure, he was 23 when that happened, but by that time he had also written more than most people do over a lifetime. And to anyone who thinks NaNoWriMo is a waste of time because people just shovel words on to a page, remember that Mishima practically did that every single day of his life.

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A Young Haruki Murakami

As a wannabe writer, I find nothing as motivating as learning about famous writers when they were just starting out. What were they like before they were well known, before they knew they had made it?

With millions of books sold across the world and numerous international literary prizes, Haruki Murakami is one of those rare writers who achieve popularity both with critics and with audiences. His characters’ apathy and the bizarre adventures have found resonance all across the globe.

He definitely has an easily identifiable style. The story of how he came to write his first extended prose piece at age 30 sounds like something straight out of his books: while watching a baseball game and drinking, a player hit a double and at that exact moment, Murakami realized he could write a novel. He went back home and began it. At that time he and his wife ran a jazz bar together, so his writing had to wait until late at night. But everyday for four months he kept on it. The result was the novella HEAR THE WIND SING, which he submitted to the Gunzo literary contest and won first prize, kick starting his career (a bit of trivia: the same contest also helped establish Ryu Murakami, who won for ALMOST TRANSPARENT BLUE).

He followed up with a slew of acclaimed novels, each one earning him more readers and awards, until he became Japan’s most famous writer.

It makes for a great story—who wouldn’t want to hit it out of the park with their first novel? But this leaves out quite a bit of backstory and makes Murakami into some lucky guy born with incredible talent, instead of a disciplined hardworker.

Anyone who has picked up a Murakami novel knows he is well versed in western (particularly American) literature. Since his teenage years, he had a voracious appetite for the works of Updike, Capote, Fitzgerald, and Raymond Carver, among many others. By the time he started his first novella, he probably knew more about contemporary American literature than many young American writers.

And, as he states in his introduction to Soseki’s SANSHIRO, in his 20s he made his way through THE TALE OF GENJI and the complete works of Natsume Soseki and Junichiro Tanizaki. (I cannot find anything on Murakami reading Kenzaburo Oe, but given how often the older novelists works are reference in Murakami’s, he probably read a lot of Oe.)

Hardcore Murakami fans might be aware of all this, but arguably the most important part of his origin story is rarely if ever mentioned. At Waseda University, he studied drama with a focus on screenwriting. In fact, running his Japanese wiki page through Google translate, it seems being a screenwriter was his first ambition, producing numerous scripts and scenarios, none of which have ever been produced. I’ve seen posts online about how these scripts, still stuck in his drawer, number in the twenties, but at this time I cannot confirm that number. Either way, he did a lot of screenwriting before trying his hand at prose.

Murakami thus goes from being a natural prodigy who struck gold with his first piece to an ambitious, well read, prolific writer who began creating work years before any of it saw the light of day. So any would-be writers feeling down today, just remember even the best often spend lots of time slaving away in anonymity, and if their biography suggests that they didn’t, it is much more likely that that section is just missing. And for those still discouraged, perhaps try switching formats. After all, a rejected screenwriter found success as a novelist: who’s to say it couldn’t happen again.