Jun'ichirō Tanizaki





Jun'ichirō Tanizaki


Born
in Nihonbashi,Tokyo, Japan
July 24, 1886

Died
July 30, 1965

Genre

Influences


Jun'ichiro Tanizaki (谷崎 潤一郎) was a Japanese author, one of the major writers of modern Japanese literature, and perhaps the most popular Japanese novelist after Natsume Sōseki.

Some of his works present a rather shocking world of sexuality and destructive erotic obsessions; others, less sensational, subtly portray the dynamics of family life in the context of the rapid changes in 20th-century Japanese society.

Frequently his stories are narrated in the context of a search for cultural identity in which constructions of "the West" and "Japanese tradition" are juxtaposed. The results are complex, ironic, demure, and provocative.

Average rating: 3.84 · 20,954 ratings · 1,763 reviews · 117 distinct works · Similar authors
In Praise of Shadows

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4.13 avg rating — 4,296 ratings — published 1933 — 50 editions
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The Makioka Sisters

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3.99 avg rating — 3,676 ratings — published 1943 — 37 editions
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Naomi

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3.68 avg rating — 2,787 ratings — published 1924 — 26 editions
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Some Prefer Nettles

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3.66 avg rating — 2,016 ratings — published 1928 — 35 editions
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The Key

3.60 avg rating — 2,154 ratings — published 1956 — 54 editions
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Diary of a Mad Old Man

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3.56 avg rating — 1,279 ratings — published 1961 — 32 editions
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Seven Japanese Tales

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3.86 avg rating — 996 ratings — published 1963 — 16 editions
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Quicksand

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3.68 avg rating — 813 ratings — published 1928 — 21 editions
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A Cat, a Man, and Two Women

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3.71 avg rating — 486 ratings — published 1936 — 15 editions
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The Key & Diary of a Mad Ol...

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3.78 avg rating — 246 ratings — published 1961
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More books by Jun'ichirō Tanizaki…
“The older we get the more we seem to think that everything was better in the past.”
Jun'ichirō Tanizaki

“Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into its forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.”
Jun'ichirō Tanizaki, In Praise of Shadows

“With lacquerware there is an extra beauty in that moment between removing the lid and lifting the bowl to the mouth, when one gazes at the still, silent liquid in the dark depths of the bowl, its colour hardly differing from that of the bowl itself. What lies within the darkness one cannot distinguish, but the palm senses the gentle movements of the liquid, vapour rises from within, forming droplets on the rim, and the fragrance carried upon the vapour brings a delicate anticipation ... a moment of mystery, it might almost be called, a moment of trance.”
Jun'ichirō Tanizaki, In Praise of Shadows

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