Ten Thousand Kalpas cover

Ten Thousand Kalpas

Rating 3.9
Word count
98K words
Chapters
34
ISBN
9787532793891

Tags

Summary

Set in Showa 3, the story follows Sonoko, daughter of a wealthy family, who obeys her parents and marries Kotaro, a poor but diligent man. After supporting him through school, she becomes the well-off wife of a lawyer. With no common ground between her and her husband, Sonoko fills her idle hours at a private school for women's accomplishments, where she meets Mitsuko, a lady of good family. Sonoko calls Mitsuko "a goddess like Kannon" and is deeply drawn to her at first sight; the two become sworn sisters. Mitsuko's boyfriend Watanuki is a scheming man who, unwilling to let Mitsuko possibly marry another, devises a series of plots to ruin Mitsuko and Sonoko, her close friend. To save Sonoko, Kotaro is forced to get involved. As matters unfold, the four begin to envy and suspect one another, knotted together like the character "卍"...

In wrestling with this beauty of evil, Junichiro Tanizaki portrays with vivid delicacy the psychological states and behaviors that jealousy produces—possessiveness, suspicion, dependence. Sonoko, Mitsuko, and Kotaro are all born lacking in love. On the journey toward a world without jealousy, all love at last enters the grave.

Editor's review

The Wedge (Manji) is Junichiro Tanizaki's meticulous dissection of jealousy. The story begins with a socially matched marriage: Sonoko, secure in material comfort, feels an emptiness and is drawn to Mitsuko's "Kannon-like" beauty; the two become sworn sisters, and then Watanuki's scheme draws all four into a vortex of mutual suspicion. The title character "manji" (the swastika-like 卍 symbol) is both structure and metaphor: the characters' relations resemble a knotted rope that tightens the more it is pulled. Tanizaki's touch is so fine as to be almost obstinate, peeling back possessiveness, suspicion, and dependence layer by layer, letting readers see how "the beauty of evil" entangles with a lack of love. Yu Hua's translation preserves the original's subtle tone. Reading requires patience in entering the characters' psychology; those who can accept an aesthetic where ambiguity and morbidity intertwine will gain a distinctive literary experience, while those expecting clear moral judgment may feel uncomfortable.

Who it's for

A good fit for

  • Readers who like Junichiro Tanizaki and follow modern Japanese literature
  • Readers with patience for finely drawn psychological portraiture and complex character relationships
  • Readers studying psychological themes such as jealousy and possessiveness
  • Readers who can accept an ambiguous, morbid aesthetic and a slow narrative

Not a good fit for

  • Readers expecting clear moral judgment and a positive ending
  • Readers who prefer fast-paced plots driven by strong action
  • Readers liable to feel oppressed by morbid psychological description

Reading tips

  1. First sort out the relationships among Sonoko, Mitsuko, Kotaro, and Watanuki before entering the psychological description.
  2. Treat the character 卍 as a structural clue and watch how the characters' relations tighten.
  3. When reading passages of jealousy and suspicion, keep brief notes to help track the psychological shifts.
  4. After finishing, look back at the opening marriage setup to grasp the source of the characters' sense of lack.

About the publisher

Shanghai Translation Publishing House China · Founded in 1978

Shanghai Translation Publishing House is a Chinese publisher oriented mainly toward translation and publishing. Its publications cover foreign literature, world classics and classic works, as well as social culture, folk literature and classical poetry. The database contains 2,618 titles, including Never Let Me Go, Les Misérables (2 volumes), Don Quixote (illustrated collector's edition), The Complete Comedies of Molière (4 volumes), The Complete Novels of Kafka (3 volumes), The Collected Works of Dostoevsky (9-volume set), Reason and Persons, and Oedipus Rex (Translation Classics). Its author resources include foreign writers such as Kazuo Ishiguro, Victor Hugo, Cervantes and Molière, as well as translators such as Zheng Kelu, Sun Jiameng, Li Jianwu and Zhang Kun. The publisher has brands such as "Translation Classics Selections" and "Translation Documentary," and emphasizes translated works in foreign literature and the humanities and social sciences, while also publishing bilingual dictionaries and foreign-language educational books. Public information is limited; the above is based on the book information in the database.

Contents

  1. 版权信息
  2. 一
  3. 二
  4. 三
  5. 四
  6. 五
  7. 六
  8. 七
  9. 八
  10. 九
  11. 十
  12. 十一
  13. 十二
  14. 十三
  15. 十四
  16. 十五
  17. 十六
  18. 十七
  19. 十八
  20. 十九
  21. 二十
  22. 二十一
  23. 二十二
  24. 二十三
  25. 二十四
  26. 二十五
  27. 二十六
  28. 二十七
  29. 二十八
  30. 二十九
  31. 三十
  32. 三十一
  33. 三十二
  34. 三十三

FAQ

What is the relation between the book's title "Manji" and "卍"?
"卍" is a structural metaphor for the characters' relations: the four are caught in mutual jealousy and suspicion, like a rope knot pulled tighter and tighter; "Manji" points to how this entanglement ultimately draws everyone into the grave. Understanding this layer helps grasp the novel's slowly tightening narrative rhythm.
Is this book suitable as an introduction to Junichiro Tanizaki?
It can serve as an introduction, but be prepared: the psychological description is dense and the pace slow, with themes centered on jealousy and possessiveness. If you have not read Tanizaki before, it is advisable first to accept his ambiguous, morbid aesthetic tone, then read along as the four characters' relations unfold.
Who is the jealousy mainly located in?
Jealousy circulates among the four: Sonoko's fascination with and possessiveness toward Mitsuko, Watanuki's suspicion and scheming, and Kotaro's unease after being drawn in, all interwoven. It is through this circulation that Tanizaki portrays possessiveness, suspicion, and dependence with such truth and finesse.

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About the author

Jun'ichirō Tanizaki Author · Japanese · 1886–1965

Jun'ichirō Tanizaki was a modern Japanese novelist and a leading representative of aestheticist literature. Born in 1886 into a rice-merchant family in Tokyo, he studied in the Japanese literature department of Tokyo Imperial University before dropping out. In 1910 he made his name with the story "The Tattooer," which brought him attention in literary circles. After the Great Kanto Earthquake, he moved to the Kansai region, and his focus gradually shifted toward classical aesthetics. He left important works in both fiction and prose, including "The Makioka Sisters," "Naomi," "In Praise of Shadows," and "A Portrait of Shunkin." He also translated "The Tale of Genji" into modern Japanese, helping to spread the classical work. He died of kidney disease in 1965. His writing is delicate and refined, and he had a profound influence on modern Japanese aestheticist literature.

于华 Author

Yu Hua is an author about whom limited public information is available; details such as nationality, dates of birth and death, and an English name remain unconfirmed. Judging from the five works held in the collection, the author's writing spans several fields, including inspirational personal growth, foreign literature, social culture, and management. These range from personal-development titles such as The Power of Vision, Live Your Inner Power, and Life-Benefiting Survival Wisdom, to literary writing like Ten Thousand Calamities, and discussions of organizational management in Shared Employees: Organization, Leadership, and Change. This breadth suggests an interest in both self-improvement and broader humanistic and social themes, while the multi-volume editions indicate that the writing has reached readers in a sustained way. Given the lack of reliable biographical information, any assessment of style must rest on titles and categories, with further details awaiting additional sources.

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