favorites were death in midsummer, the priest and his love, onnagata, and above all: patriotism. ( )

“the priest and his love”, “patriotism”, and “onnagata” changed me. ( )

> LA MORT EN ÉTÉ, de Yukio Mishima (Gallimard, 1983)
Se reporter au compte rendu de Denise PELLETIER
In: (1984). Compte rendu de [Commentaires]. Nuit blanche, n° 12 (février–mars 1984), pp. 27-28… ; (en ligne),
URL : https://id.erudit.org/iderudit/21455ac

> LA MORT EN ÉTÉ par Yukio MISHIMA (Gallimard)
Se reporter au compte rendu de Bernadette CHOLLET
In: Revue Esprit No. 85 (1) (Janvier 1984), pp. 193-194… ; (en ligne),
URL : https://esprit.presse.fr/article/chollet-bernadette/le-palais-des-fetes-la-mort-...

These stories comprise a masterclass in form and technique. Each one centers on a significant moment in a character's life, something either small or grandiose that will alter that character completely. Such a simple project and yet Mishima demonstrates its range and potency.

This is my introduction to the author and though I'm not buying into his infatuation with the death drive his work is undeniably important to study.

So, yeah, I'm going to keep reading this beautiful weirdo. ( )

These stories comprise a masterclass in form and technique. Each one centers on a significant moment in a character's life, something either small or grandiose that will alter that character completely. Such a simple project and yet Mishima demonstrates its range and potency.

This is my introduction to the author and though I'm not buying into his infatuation with the death drive his work is undeniably important to study.

So, yeah, I'm going to keep reading this beautiful weirdo. ( )