Yukio Mishima, After the Banquet, translated from the Japanese by Donald Keene (New York: Vintage International, 1963, 1999).
Yukio Mishima, Confessions of a Mask, translated from the Japanese by Meredith Weatherby (New York: New Directions Book, 1958).
Yukio Mishima, Death in Midsummer and Other Stories, translated from the Japanese by Donald Keene, Ivan Morris, Geoffrey Sargent, and Edward Seidensticker (New York: New Directions Book, 1966).
Yukio Mishima, Five Modern Plays, translated from the Japanese, with an introduction, by Donald Keene (Tokyo: Tuttle, 1957, 1967) (From The Damask Drum: "There're too many laws. That's why there're more lawyers than anybody knows what to do with." Id. at 35, 39.).
Yukio Mishima, Forbidden Colours, translated from the Japanese by Alfred H. Marks (Penguin Books, 1951, 1968) ("'Today, I didn't want to go back home, no matter what,' said Yuichi. 'There are days like that--when you're young. There are days when everybody seems to be living a rat's life, and on those days you hate living like a rat more than ever.' 'On days like that, what can you do?' 'You can at least gnaw the time up as would a rat. When you do that you make a little hole. Even though you still can't escape you can at least stick your nose out.'" Id. at 194.).
Yukio Mishima, The Sailor Who Fell From Grace With the Sea, translated from the Japanese by John Nathan (New York: Vintage International, 1965, 1994).
Yukio Mishima, The Sound of Waves, translated from the Japanese by Meredith Weatherby, drawings by Yoshinori Kinoshita (New York: Vintage International, 1956, 1994).
Yukio Mishima, The Temple of the Golden Pavilion, translated from the Japanese by Ivan Morris, introduction by Nancy Wilson Ross, and drawings by Yoshinori Kinoshita (New York: Vintage International, 1956, 1994) ("A type of cipher seemed to operate in my general experience of life. As in a corridor of mirrors, a single image is reflected again and again to an endless depth. Things that I had seen in the past were clearly reflected on those that I encountered for the first time, and I felt that I was being led by such resemblances into the inner recesses of the corridor, into some fathomless inner chamber. We do not collide with our destiny all of a sudden. The man who later in his life is to be executed is constantly--every time that he passes a telegraph pole on his way to work, every time that he passes a railway crossing--drawing an image in his mind of the execution site, and is becoming familiar with that image." Id. at 155.).
Yukio Mishima, Thirst For Love, translated from the Japanese by Alfred H. Marks, with an introduction by Donal Keene (New York: Perigee Books, 1950, 1969) ("Etsuko now had a reason for living.... Etsuko had never asked for salvation. As a result, it was strange that a reason for living should have been born to her. It is easy enough for people to see life as valueless. In fact, people with any degree of sensitivity have difficulty forgetting it. Etsulo's instinct in these matters was strikingly like that of the hunter. If in the distant wood she should chance to see the white tail of a hare, her cunning would come into play, all the blood of her body would grow turbulent, her sinews would surge, her nervous system would grow taut and concentrate itself like an arrow in flight. In the leisurely days when she lacked a reason for living she was like quite a different hunter, passing indolent days and nights asking no more than a sleep by the fire. To some people living is extremely simple; to others, it is extremely difficult. Against this unjust imbalance, more striking than the injustice of racial discrimination, Etsuko felt not the slightest rancor." Id. at 95-96. "Saburo never acted by the proposition that if a person did not love someone he would have to be in love with someone else, or that if he loved someone he could not be in love with someone else. Again, therefore, he couldn't answer her." Id. at 191.).
