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Detrás del Bambú, antología poética bilingüe
Akutagawa Ryūnosuke, célebre en Japón y en el mundo por sus cuentos, compuso más de mil hokku o haiku, también tanka, cantos y formas poéticas modernas. Escribió casi toda su obra entre 1915 y 1927, año de su suicidio. En su poesía el kokoro, el corazón, se muestra en cada palabra, como esos árboles inmensos que tienen parte de las raíces al iré y que día a día las dejan ver más.
"Camino sin rumbo,/en mí cabeza melancólica sólo el reflejo del filo de la navaja", dice en uno de sus poemas. Está edición bilingüe y anotada trae por primera vez al español una amplia selección de las distintas formas poéticas escritas por Akutagawa.
"Camino sin rumbo,/en mí cabeza melancólica sólo el reflejo del filo de la navaja", dice en uno de sus poemas. Está edición bilingüe y anotada trae por primera vez al español una amplia selección de las distintas formas poéticas escritas por Akutagawa.
299 pages, Paperback
Published April 1, 2021
1 person is currently reading
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About the author
Ryūnosuke Akutagawa
1,343 books2,145 followersAkutagawa Ryūnosuke (芥川 龍之介) was one of the first prewar Japanese writers to achieve a wide foreign readership, partly because of his technical virtuosity, partly because his work seemed to represent imaginative fiction as opposed to the mundane accounts of the I-novelists of the time, partly because of his brilliant joining of traditional material to a modern sensibility, and partly because of film director Kurosawa Akira's masterful adaptation of two of his short stories for the screen.
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
Akutagawa was born in the Kyōbashi district Tokyo as the eldest son of a dairy operator named Shinbara Toshizō and his wife Fuku. He was named "Ryūnosuke" ("Dragon Offshoot") because he was born in the Year of the Dragon, in the Month of the Dragon, on the Day of the Dragon, and at the Hour of the Dragon (8 a.m.). Seven months after Akutagawa's birth, his mother went insane and he was adopted by her older brother, taking the Akutagawa family name. Despite the shadow this experience cast over Akutagawa's life, he benefited from the traditional literary atmosphere of his uncle's home, located in what had been the "downtown" section of Edo.
At school Akutagawa was an outstanding student, excelling in the Chinese classics. He entered the First High School in 1910, striking up relationships with such classmates as Kikuchi Kan, Kume Masao, Yamamoto Yūzō, and Tsuchiya Bunmei. Immersing himself in Western literature, he increasingly came to look for meaning in art rather than in life. In 1913, he entered Tokyo Imperial University, majoring in English literature. The next year, Akutagawa and his former high school friends revived the journal Shinshichō (New Currents of Thought), publishing translations of William Butler Yeats and Anatole France along with original works of their own. Akutagawa published the story Rashōmon in the magazine Teikoku bungaku (Imperial Literature) in 1915. The story, which went largely unnoticed, grew out of the egoism Akutagawa confronted after experiencing disappointment in love. The same year, Akutagawa started going to the meetings held every Thursday at the house of Natsume Sōseki, and thereafter considered himself Sōseki's disciple.
The lapsed Shinshichō was revived yet again in 1916, and Sōseki lavished praise on Akutagawa's story Hana (The Nose) when it appeared in the first issue of that magazine. After graduating from Tokyo University, Akutagawa earned a reputation as a highly skilled stylist whose stories reinterpreted classical works and historical incidents from a distinctly modern standpoint. His overriding themes became the ugliness of human egoism and the value of art, themes that received expression in a number of brilliant, tightly organized short stories conventionally categorized as Edo-mono (stories set in the Edo period), ōchō-mono (stories set in the Heian period), Kirishitan-mono (stories dealing with premodern Christians in Japan), and kaika-mono (stories of the early Meiji period). The Edo-mono include Gesaku zanmai (A Life Devoted to Gesaku, 1917) and Kareno-shō (Gleanings from a Withered Field, 1918); the ōchō-mono are perhaps best represented by Jigoku hen (Hell Screen, 1918); the Kirishitan-mono include Hokōnin no shi (The Death of a Christian, 1918), and kaika-mono include Butōkai(The Ball, 1920).
Akutagawa married Tsukamoto Fumiko in 1918 and the following year left his post as English instructor at the naval academy in Yokosuka, becoming an employee of the Mainichi Shinbun. This period was a productive one, as has already been noted, and the success of stories like Mikan (Mandarin Oranges, 1919) and Aki (Autumn, 1920) prompted him to turn his attention increasingly to modern materials. This, along with the introspection occasioned by growing health and nervous problems, resulted in a series of autobiographically-based stories known as Yasukichi-mono, after the name of the main character. Works such as Daidōji Shinsuke no hansei(The Early Life of
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Displaying 1 - 4 of 4 reviews
January 24, 2023
Simplemente, enamorado de estas antologias bilingües y con comentarios
El desafío de leer poesía japonesa es enorme, un idioma tan diferente y una cultura con sus propios códigos, que nos son desconocidos, y una visión lírica particular hacen que pueda parecer un poco sinsentido tratar de adentrarse en la poesía nipona, pero labores editoriales como esta hacen que sea un placer
Mi acercamiento a Akutawaga nace desde la narrativa, así que absorbo con mucho respeto y felicidad su obra poética
El desafío de leer poesía japonesa es enorme, un idioma tan diferente y una cultura con sus propios códigos, que nos son desconocidos, y una visión lírica particular hacen que pueda parecer un poco sinsentido tratar de adentrarse en la poesía nipona, pero labores editoriales como esta hacen que sea un placer
Mi acercamiento a Akutawaga nace desde la narrativa, así que absorbo con mucho respeto y felicidad su obra poética
January 26, 2026
DETRAS DEL BAMBU
AUTOR: AKUTAGAWA RYUNOSUKE
EDITORIAL: @editorialduino
PAGINAS: 299
TRADUCCION: KAMIYA MAMORU
VERSIONES DE: ALEJANDRA KAMIYA Y ARIEL PEREZ GUZMAN
Regresar al maestro Akutagawa es reconocer su obra como novelista y Haijin, además de que todavía hay mucho que explorar de su escritura (como los diarios de viaje a China) . En esta antología poética, encontramos Haiku, tanka y otras formas poéticas que reflejan la personalidad, la esencia, y sobre todo la visión del autor en ese paso del tiempo, no solo en la apreciación de la naturaleza sino de la vida misma.
La voz de Akutagawa la podemos dividir en dos , aquella que se mantuvo en los relatos de corte histórico medieval japonés y aquella voz que busco grita desesperadamente para vivir. En este extraordinario trabajo de traducción, recorremos muchas de las facetas del autor, y como también se reflejan etapas de su vida hasta el cierre de la misma. Me atrevo a decir que por medio de su voz poética, seguimos descubriendo al genio roto que es Akutagawa.
Cómo ejemplo te dejo dos pequeños poemas que me gustaron:
Luoyang
Vuela el polvo de trigo,
Acaso cubre
El sueño de los niños.
En la penumbra
Junto a la entrada
Pasan los hombres;
Hasta un bostezo
Me espanta.
El primer poema es de su viaje por China en 1921 dónde paso cuatro meses, aquí ve las diferencias y semejanzas entre Japón y China.
El otro poema fue escrito previo a su defunción en 1927, es de estos poemas que quizá escribio como despedída y sufrimiento.
Akutagawa es grande como escritor, y como poeta , algo que he de resaltar de esta Antología es la explicación de cada poema escrito no solo por las palabras sino el análisis que se hace y la relación que tienen con la vida de este maravilloso autor, este es una obra interesante que vale la pena seguir explorando a él "genio roto" que es Akutagawa.
#reseña
#poesiajaponesa
#ryunosukeakutagawa
#detrasdelbambu
#literaturajaponesa
AUTOR: AKUTAGAWA RYUNOSUKE
EDITORIAL: @editorialduino
PAGINAS: 299
TRADUCCION: KAMIYA MAMORU
VERSIONES DE: ALEJANDRA KAMIYA Y ARIEL PEREZ GUZMAN
Regresar al maestro Akutagawa es reconocer su obra como novelista y Haijin, además de que todavía hay mucho que explorar de su escritura (como los diarios de viaje a China) . En esta antología poética, encontramos Haiku, tanka y otras formas poéticas que reflejan la personalidad, la esencia, y sobre todo la visión del autor en ese paso del tiempo, no solo en la apreciación de la naturaleza sino de la vida misma.
La voz de Akutagawa la podemos dividir en dos , aquella que se mantuvo en los relatos de corte histórico medieval japonés y aquella voz que busco grita desesperadamente para vivir. En este extraordinario trabajo de traducción, recorremos muchas de las facetas del autor, y como también se reflejan etapas de su vida hasta el cierre de la misma. Me atrevo a decir que por medio de su voz poética, seguimos descubriendo al genio roto que es Akutagawa.
Cómo ejemplo te dejo dos pequeños poemas que me gustaron:
Luoyang
Vuela el polvo de trigo,
Acaso cubre
El sueño de los niños.
En la penumbra
Junto a la entrada
Pasan los hombres;
Hasta un bostezo
Me espanta.
El primer poema es de su viaje por China en 1921 dónde paso cuatro meses, aquí ve las diferencias y semejanzas entre Japón y China.
El otro poema fue escrito previo a su defunción en 1927, es de estos poemas que quizá escribio como despedída y sufrimiento.
Akutagawa es grande como escritor, y como poeta , algo que he de resaltar de esta Antología es la explicación de cada poema escrito no solo por las palabras sino el análisis que se hace y la relación que tienen con la vida de este maravilloso autor, este es una obra interesante que vale la pena seguir explorando a él "genio roto" que es Akutagawa.
#reseña
#poesiajaponesa
#ryunosukeakutagawa
#detrasdelbambu
#literaturajaponesa
April 26, 2022
Muy buena colección de poesía de Akutagawa, bilingüe, con anotaciones y incluso con algunos de sus dibujos.
Me gustaría leer más de este autor.
Me gustaría leer más de este autor.
April 4, 2023
4:05 p.m. De mis libros preferidos, y fuera de mí, uno de los libros más grandes. Muchas gracias a todos los que aportaron en él. 4 de abril del 2023.
Displaying 1 - 4 of 4 reviews