
Mishima's "Spring Snow" - the haunting first volume of his masterpiece tetralogy - explores forbidden aristocratic love in 1912 Japan. Five-time Nobel nominee's final project captivated author David Mitchell, who called this "austere love story" his favorite Mishima novel.
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In the twilight of Japan's aristocratic era, beauty becomes both blessing and curse. Kiyoaki Matsugae, an eighteen-year-old of extraordinary handsomeness, drifts through 1912 Japan like a cherry blossom destined to fall. Born to a wealthy family with samurai origins, he was raised in the household of Count Ayakura to acquire refinement his nouveau riche father lacked. This unusual upbringing created in him a temperament at odds with his heritage-sensitive, melancholic, preoccupied with aesthetics rather than martial values. His beauty troubles those around him: his father worries about his "unmanliness," while his provincial tutor Iinuma views his sensitivity as moral decay. Even the Emperor once patted young Kiyoaki's head-a moment so sacred that the household hairdresser refused to cut those strands for months. By eighteen, he has grown isolated, with only his pragmatic friend Honda as confidant. Unlike other young men channeling energy into studies or military training, Kiyoaki cultivates discontents, meticulously recording dreams without interpretation-including one haunting vision of his own coffin with a young woman sobbing beside it. The Matsugae estate itself embodies Japan's cultural confusion-sprawling grounds with both Japanese gardens and European fountains, tatami rooms alongside Victorian parlors, servants in both kimono and Western uniforms. This physical setting mirrors the broader tensions of a nation caught between ancient traditions and Western influences-a struggle embodied in Kiyoaki's conflicted nature and the dying elegance of a world suspended between past and future.
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