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Yasushi Inoue: The shotgun



Those who know the work of Japanese writer Inoue Yasushi, best known for historical novels of great commitment and capacity, will read with wonder His first novel, The Shotgun, published in 1949, when the author was 42 years old. (1) The wonder is fully justified: instead of the large historical frescoes, rich in detailed descriptions, to which the author has accustomed us, the short novel presents a very intimate size, characterized by dramatic confessions of three unhappy women.

The story begins with a situation seemingly trivial. To respond to the insistent demands of a friend who runs a hunting magazine, the author composed a poem on a subject that for some time attracted his attention: the similarity between a shotgun and the loneliness of man. The poem seems to go completely unnoticed until the author receives a letter from a hunter who had read and considered it to be the figure described by the verse: feeling flattered that someone would be insignificant as its object the interest of an important person, feels entitled to send all & rsquo , author of three letters received from three women who hit him and that he wishes to bring to its attention. The letters reveal three situations abnormal, morbid, psychologically laden with explosive energy, all focused on the theme of human loneliness and the inability to realize their dreams when they clash with the agreements and obligations of the company. The

Poetry is not a simple chance to give start to the narrative, but a real key to the interpretation and evocative instrument with which the author creates the psychological atmosphere in which the characters are dropped. The reported below for an analysis of some elements of its structure.

"With a big sailor's pipe in his mouth,
boots on your feet,
and a setter who ran forward,
man stepped on the frozen ground
going slow
a grassy path on Mount Amagi, beginning winter.
Twenty-five cartridges in the belt, a brown leather jacket burned,
and a rifle, a shotgun Churchill
a double-barreled.
What was to make him a cold warrior
Armed and shining white steel
To kill the creatures? At that meeting
something quick in the high figure of the hunter back attracted me strongly
inexplicable.

From that day I suddenly occurs, the stations of the city,
in the crowded streets at night,
to think: Ah, I could walk
like him!
With that step so slow, calm, cold

And every once in my eyes closed
to act as his background is not the
icy landscape of Mount Amagi
early winter
but white bed of a river somewhere desolate
.
His shotgun, polished and shining, the press

digging on the side in the spirit lonely, lonely
in the flesh of the man of middle age.
a peculiar beauty, wet with blood,
emanates from him in those moments, as he points the gun
invisible
on its prey. "

dell'aggettivazione analysis can distinguish four main aspects, characteristics in much the same way: the objects, places, actions and the human body. Among the objects is different gun, which is described as white, bright, shiny. The sites (soil, paths, roads, landscape, river bed, river) are characterized mainly by the three adjectives white, frozen, desolate. The actions, adjectives slow, calm, cold. The human body, from awkward, lonely and inexplicable. The man is likened to a "cold warrior, armed with shining steel and white, to kill the creatures and the beauty that emerges is strange," wet with blood. "

The picture evoked is that of a desolate environment, cold, marked by color of death (white), where an entity strange, solitary, inexplicable (the man) does things slow, calm, cold, death. The desire expressed by the author is to die for the company to seek beauty in the act of deadly lone warrior. The three letters



From this lunar landscape, which well describes the character of the man to whom the letters are addressed in the course of the novel takes off to fly up the passions and behaviors of perturbing three women, whose actions appear to be agitated in the air like a nightmare, then fell tumbling to the ground.

A girl named Shoko, daughter of Saiko woman who died recently, wrote to his uncle (the hunter's poem, called here Misugi Josuke), a letter, which informed him his state of mind after learning that Misugi was the loving mother. This woman beautiful and sad, in love, but at the same time eaten up by guilt for unlawful relationship, lives in fear of being discovered. Builds a world of fake social relations, which are hidden under his great sadness and loneliness. Before you commit suicide with poison, asks his daughter to destroy his diary that, this, however, the law. All the ideals of the girl vanish in front of the lie, the loneliness, the sin of the mother's relationship with his uncle: the appearance of joyful life hid the horrors of a guilty fiction. In particular, the great disappointment of the girl in terms of feelings: for he had always believed that love was something bright and shining like the sun, for ever blessed by God and men. "

The second letter and 'written by the wife of Josuke, Midori (Midori's aunt speaks of the young Shoko), and e' the request for divorce to her husband: as opposed to all suspected, Midori was aware, until since of her marriage, her husband's betrayal. This has helped to reduce their relation to a frosty mutual tolerance, "If you think about it for more than ten years we lived locked inside this fortress, you tricked me, and I eventually learned to deceive you (it was you begin with). " The long-awaited revenge takes place during the visit to Saiko, the day before his death on that occasion Midori suggests to the woman that she was aware of the report, and deceiving her for a long time pretending not to know anything.

The third and last letter is a testament to Saiko. Here too we are dealing with a character that has always hidden his true self, hiding under the guise: the woman ends its existence because it is now off, it is full. She had promised herself to kill him if Midori had learned of his secret, but eventually kills himself because he realizes that trying to forget its previous history (the one with her husband, from whom he had separated for a his infidelity) has sacrificed everything, agreeing to be loved but not love.

The short novel by Yasushi Inoue is one of the masterpieces of contemporary Japanese fiction and, in the apparent modernity of themes and characters, is fully embedded in the literature inspired by the rupture of the old code of conduct, derived Confucian ethics, which focuses on family and respect for roles in society. The guilt of which were splashed all the characters is that of non-compliance in respect of the roles assigned to them. The debt contracted by any Japanese (called on), was in fact two types: the contract without his direct responsibility, emerging, and it was against the authority and parents, and had to be repaid (gimu), at least partially because in practice, unquenchable, with his respectful behavior toward them (Chu, the debt to Ko and the Emperor to their parents), the contract as a result of our actions, for example against the master, the lord of their similar (RPM), the break which led, for example, in samurai class, to suicide. (2)



Note 1) Yasushi Inoue, the shotgun, Adelphi, Milano 2004.
2) Review published in Arts of the East, March-April 2005.