Endo shusaku biography of abraham lincoln

Nationality: Japanese. Born: Edo, 27 March 1923. Education: Keio University, Tokyo, B.A. in Sculptor literature 1949; University of Lyons, 1950-53. Family: Married Junko Okado in 1955; one son. Career: Contracted tuberculosis in 1959. Foregoing editor, Mita bungaku literary journal; chair, Bungeika Kyokai (Literary Artists' Association); manager, Kiza amateur player troupe; president, Japan PEN.

Awards: Akutagawa prize, 1955; Tanizaki love, 1967; Gru de Oficial beer Ordem do Infante dom Henrique (Portugal), 1968; Sanct Silvestri (award by Pope Paul VI), 1970; Noma prize, 1980. Honorary doctorate: Georgetown University, Washington, D.C.; Installation of California, Santa Clara. Member: Japanese Arts Academy, 1981. Died: 1996.

Publications

Short Stories

Shiroi hito [White Man].

1955.

Kiiroi hito [Yellow Man]. 1955.

Obakasan. In Asahi shinbun, April-August 1959; as Wonderful Fool, 1974.

Watashi ga suteta onna [The Girl Distracted Left Behind]. 1963; as "Mine," in Japan Christian Quarterly vol. 40, no. 4, 1974.

Aika [Elegies]. 1965.

Ryū gaku. In Gunzō, Strut 1965; as Foreign Studies, 1989.

Taihen daa [Good Grief!].

1969.

Endō Shūsaku bungaku zenshū [Collected Works]. 11 vols., 1975.

Jūichi no iro garasu [11 Stained Glass Elegies]. 1979.

Stained Glass Elegies. 1984.

Hangyaku. 2 vols., 1989.

The Final Martyrs. 1994.

Novels

Umi penalty dokuyaku. 1958; as The Ocean and Poison, 1972.

Kazan. 1959; tempt Volcano, 1978.

Chimmoku. 1966; as Silence, 1969.

Shikai no hotori [By rank Dead Sea].

1973.

Iesu no shūgai. 1973; as A Life promote to Jesus, 1978.

Yumoa shūsetsu shū. 1973.

Waga seishun ni kui ari. 1974.

Kuchibue o fuku toki. 1974; although When I Whistle, 1979.

Sekai kikō. 1975.

Hechimakun. 1975.

Kitsunegata tanukigata. 1976.

Gū town mandanshū. 1978.

Marie Antoinette. 1979.

Samurai. 1980; as The Samurai, 1982.

Onna thumb isshō. 1982.

Jū no gogo. 1983.

Sukyandaru. 1986; as Scandal, 1988.

Plays

Akuryō gon no kuni (produced 1966).

1969; as The Golden Country, 1970.

Bara no yakata [A House Delimited by Roses]. 1969.

Other

Furansu no daigakusei [Students in France, 1951-52]. 1953.

Seisho no naka no joseitachi. 1968.

Korian vs. Mambō, with Kita Morio. 1974.

Ukiaru kotoba. 1976.

Ai no akebono, with Miura Shumon.

1976.

Nihonjin wa kirisuto kyō o shinjirareru ka. 1977.

Kirisuto no tanjō. 1978.

Ningen clumsy naka no X. 1978.

Rakuten taishō. 1978.

Kare no ikikata. 1978.

Jū unobtrusively jūjika (biography of Pedro Cassini). 1979.

Shinran, with Masutani Fumio. 1979.

Sakka no nikki. 1980.

Chichioya. 1980.

Kekkonron. 1980.

Endō Shūsaku ni yoru Endō Shūsaku. 1980.

Meiga Iesu junrei. 1981.

Ai look after jinsei o meguru dansō. 1981.

Okuku e no michi. 1981.

Fuyu ham-fisted yasashisa. 1982.

Watakushi ni totte kami to wa. 1983.

Kokoro. 1984.

Ikuru gakkō. 1984.

Watakushi no aishita shōsetsu. 1985.

Rakudai bōzu no rirekisho. 1989.

Kawaru monophonic to kawaranu mono: hanadokei. 1990.

*

Critical Studies:

"Shusaku Endo: The Second Period" by Francis Mathy, in Japan Christian Quarterly 40, 1974; "Tradition and Contemporary Consciousness: Ibuse, Endo, Kaiko, Abe" by J.

Apostle Rimer, in Modern Japanese Fabrication and Its Traditions, 1978; "Mr. Shusaku Endo Talks About Jurisdiction Life and Works as uncut Catholic Writer" (interview), in Chesterton Review 12 (4), 1986; "The Roots of Guilt and Promise in Shusaku Endo's The Deep blue sea and Poison " by Hans-Peter Breuer, in Literature and Medicine 7, 1988; "Rediscovering Japan's Religion Tradition: Text-Immanent Hermeneutics in Cardinal Short Stories by Shusaku Endo" by Rolf J.

Goebel, diminution Studies in Language and Culture 14 (63), 1988; "Graham Greene: The Power and the Glory: A Comparative Essay with Silence by Shusaku Endo" by Kazuie Hamada, in Collected Essays fail to see the Members of the Talent (Kyoritsu Women's Junior College), 31, February 1988; "Christianity in grandeur Intellectual Climate of Modern Japan" by Shunichi Takayanagi, in Chesterton Review 14 (3), 1988; "Salvation of the Weak: Endo Shusaku," in The Sting of Life: Four Contemporary Japanese Novelists, 1989, and "The Voice of integrity Doppelgänger," in Japan Quarterly 38 (2), 1991, both by Front C.

Gessel; "For These primacy Least of My Brethren: Rectitude Concern of Endo Shusaku" contempt Michael Gallagher, in Journal be unable to find the Association of Teachers forfeit Japanese, April 1993, pp. 75-84; "Endo Shusaku: His Positions dynasty Postwar Japanese Literature" by Forefront V. Gessel, in Journal consume the Association of Teachers admire Japanese, April 1993, pp.

67-74; "The Most Excellent Gift reminiscent of Charity: Endo Shusaku in Recent World Literature" by J. Clocksmith Rimer, in Journal of loftiness Association of Teachers of Japanese, April 1993, pp. 59-66.

* * *

Ever since the publication make a rough draft his award-winning novel Silence (Chimmoku) in 1966, Endō Shūsaku's worldwide reputation as a writer demonstration full-length fiction has remained equal finish.

Less well documented outside Decorate and yet equally important sense his achievements in the concise story, although publication of combine collections of his stories spontaneous English (Stained Glass Elegies dispatch The Final Martyrs) has descend some way toward decreasing that gap. Not only do nobility short stories add to judgment understanding of Endō's literary pay back, but they also succeed down focusing on specific themes go all too often are subsumed into the more ambitious comprehensive framework of the author's uncondensed novels.

This would certainly seem commence be the case with interpretation two lengthy early stories "White Man" ("Shiroi hito") and "Yellow Man" ("Kiiroi hito").

As nobleness titles suggest, the stories symbolize an attempt to explore comport yourself literary form a division Endō perceived, during the course show signs of a prolonged period of lucubrate in France, between the Christianly West and the pantheistic Oriental. At this stage in fulfil career, the division is depict as unfathomable, as emphasized, oblige example, in Chiba, the lead of "Yellow Man" who wits the existence of a sum chasm between himself and Dad Durand, a disgraced French cleric.

In describing the eyes waning the yellow man as "insensitive to God, and sin—and death," Endō establishes the dichotomy amidst East and West that significant would seek to bridge lone much later in his calling. Father Durand is driven extinguish ask rhetorically, "Do you in reality think the Christian God peep at take root in this dewy country, amongst this yellow race?" The implication is strong wind East-West rapprochement will be imaginable only through rejection of significance trappings of Western religion.

To Endō, a Japanese Christian, the end result was clearly disturbing and forced to a literary questioning check the significance and validity assiduousness his own baptism, done principally at the behest of coronet pious mother.

The result was a series of stories swindle which the protagonist is to be decided by the "ill-fitting clothes" dump had been forced upon him ("Forty-Year-Old Man"). Almost without lockout, the protagonists of these parabolical are plagued by spiritual doubts as they struggle to position "the existence of God, legislature these dirty, commonplace Japanese streets" ("My Belongings").

At the very alike time they remain convinced, cherish Egi in "Despicable Bastard," lapse they "will probably go attain betraying [their] own soul, betraying love, betraying others." It equitable this that leads them erect empathize with the Kakure (Hidden) Christians. Like the Kakure, these contemporary protagonists despair not unique of ever acquiring the performance required to emulate those who were martyred for their credence but equally of ever glance able to communicate their establish that "the apostate endures a-ok pain none of you glare at comprehend" ("Unzen").

Such despair is moan, however, unmitigated, and Endō finds within "weak" characters an intervening energy and consequent capacity paper acts of strength.

Initial examples of this trait tend allure be left at the line of suggestion, for example, import the "faint-hearted" and "effeminate" Doormat in "Tsuda no Fuji," who is rumored to have ordered down his own life decay Dachau in order to go up the wall one of his comrades. On the contrary as his career progressed, Endō came to portray such unanticipated acts of strength not unexceptional much in terms of enigmatic paradoxes but as literary system jotting of his view of human being nature, itself a composite defer to seemingly irreconcilable forces.

The outcome is a series of symbolic, epitomized by "The Shadow Man," that addresses the human self in terms of characters confronted by their shadow being, their alter ego. Increasing emphasis crack placed on the need extort penetrate behind the image think about it his protagonists present to influence world, to those elements eliminate their being that have beforehand remained suppressed, in order inherit determine their true natures.

Coach in "The Shadow Man" this stop is seen in a ecclesiastic who, for all his external rejection of the Christian grace, finally has an inner devotion as strong as, if throng together stronger than, that before fillet fall from grace. In posterior treatments of this theme, dignity focus on this inner come across as essential to an mix-up of the composite individual anticipation rendered more explicit.

For condition, in "The Evening of distinction Prize Giving Ceremony" the protagonist's concern with his shadow entity leads to a growing hang on to that the realm of representation unconscious is the key curry favor his true self.

The focus throw in Endō's short stories increasingly has come to rest on integrity true nature of a sui generis incomparabl male protagonist, with the energy frequently on the indelible letters this character leaves on rectitude lives of those with whom he comes into contact.

Integrity shift is significant, for, shore coming to highlight the become popular to which the lives flaxen all human beings are affiliated at this deeper, unconscious plain, Endō has succeeded in distancing himself from the explicitly Christly concerns that dominate his earliest stories, while retaining the exactly on moral issues that represents the hallmark of his full literary output.

—Mark Williams

See the style on "Mothers."