Mishimist

— Yukio Mishima, Megami (Goddess), dans Onnagami (Tokyo : Shinchōsha, 1955).

Mishima: A Life in Four Chapters (1985)

Yukio Mishima: The Death of a Man Photography by Kishin Shinoyama

Photo: Shinchosha With Utaemon in 1954. Mishima had a compulsion to love, but when he gained the attention of another person, he would take flight. A rare exception was his friendship with Utaemon, the well-known onnagata (the actor in the Kabuki theater who takes the female roles).

Dreams, memories, the sacred--they are all alike in that they are beyond our grasp. Once we are even marginally separated from what we can touch, the object is sanctified; it acquires the beauty of the unattainable, the quality of the miraculous. Everything, really, has this quality of sacredness, but we can desecrate it at a touch. How strange man is! His touch defiles and yet he contains the source of miracles/ Yukio Mishima, spring snow

—Yukio Mishima, The Decay of the Angel (1972)

Yukio Mishima

— Yukio Mishima, tiré de son discours final au camp d’Ichigaya lors de sa tentative de coup d’État avortée, le 25 novembre 1970.

Photographed by Tamotsu Yatō (1965)

Yukio Mishima: The Death of a Man Photography by Kishin Shinoyama

Photo: Shinchosha With Utaemon in 1954. Mishima had a compulsion to love, but when he gained the attention of another person, he would take flight. A rare exception was his friendship with Utaemon, the well-known onnagata (the actor in the Kabuki theater who takes the female roles).

ミシマ：ア・ライフ・イン・フォー・チャプターズ Mishima: A Life in Four Chapters (1985) dir. Paul Schrader