This 1959 work is a symbolic and elusive short novel from Japan. It is also both provocative and down-to-earth, as it follows the daily routines of its characters. At its center is a volcano called Akadake, and the story is built around four men who are drawn to it. Indeed, this volcano holds the key to understanding the novel. It is a symbol of both death and the evil in mankind.
Endo creates a fictional Professor Koriyama, who establishes the symbolism: “What a mount of heartache it is. A volcano resembles human life. In youth it gives reign to the passions and burns with fire. It spurts out lava. But when it grows old, it assumes the burden of past evil deeds, and it turns as quiet as the grave.”
The four men drawn to this volcano are Jinpei Suda, section head at the Central Weather Bureau, from which he retires on the opening pages; Father Ginzo Sato, a local Catholic pastor who wishes to establish a retreat house on the volcano; City Councilman Aiba, who wishes to enhance the city, and his own wealth, by building a hotel near the retreat house; and Father Durand, an elderly, cynical, apostate French priest who can no longer relate to either his faith or to other human beings.
As the novel progresses, these four men live separate lives that are joined only by the volcano that hovers over their city across the bay. And the question the novel raises is whether or not this apparently dormant volcano will once again explode in fury, as in the past. Or will it remain dormant, like old men, as the distinguished professor says. For if it explodes, it will ruin, of course, the plans of both Father Sato and Councilman Aiba.
The cynical Father Durand believes it will explode, and the retired Jinpei Suda, who loves the volcano and has studied it for years, sees signs of that possibility even as he denies it. And, of course, the issue of whether or not it will explode leads the reader to anticipate that one or more of these older men might also explode.
Nothing much happens in this novel. There is office politics, a retirement party, a family squabble, trips to the volcano, holiday celebrations, dinner conversations, hospital visits, dreams, hallucinations, etc. What matters are the relationships that stem from the characters’ differing views—about the volcano, about civic growth, about one’s worth. About life below the surface of these pages.
One wonders how much of Endo’s own life influenced this and other novels of his. As a Catholic in Japan, part of a tiny minority, he surely had that sense of being an outcast that characterizes some of his characters here. Such as the retired Suda and the apostate Durand, the two key people in this work. Moreover, Endo himself fell ill after World War II when studying in France, and reportedly felt that adhering to his faith in a foreign land, plus anti-Japanese prejudice there, precipitated that illness. As a result, he endured a crisis of faith. And that faith survived. But what if…and we have Father Durand.
Endo is a major Catholic novelist who has been compared to Graham Greene. And so it is perhaps natural that he explores in his work the question of old age and death, as well as the question of evil. Toward the end, Suda recalls Professor Koriyama’s message, saying: “When we have taken on the years, we look back on our past, and even though we come to know the mistakes we made, there is no time left to live again and repair the damage. The tragedy of old age, after all, lies precisely in this, does it not?”
Thus, Suda introduces an awareness of one’s past and the wrongs one has committed, and speculates how one can make amends at the end. And, seeing his life paralleled with that of a volcano that seems to have died down, he decides to build the retreat house. While Councilman Aiba, who has adopted the same belief about the volcano, makes his plans for the hotel.
But we the reader are not that sure about the dormant future of the volcano. Not if there is meaning in the inner turmoil that Suda and Dormand endure. And perhaps also because this Catholic writer, a believer in original sin, accepts that evil does exist in the world, and often explodes within us.
There is also an emptiness to these characters’ lives. And a desperation within. No wonder they feel themselves to be outcasts. For they live alone, within themselves. Their main relationships are administrative and political. They are not friends. They share an interest in the volcano, yes, in its past history or its future role, but that is all they share. As translator Richard Schuchert writes, “Volcano depicts the sad state of human life when it is devoid of deep love. Suda, Ichiro [his son], and Aiba, and the other non-Christians show no trace of compassion. The Christian characters, like Durand and Father Sato go through the motions of Christian charity but without the spirit.”
As a result, there is a certain dryness to a novel when its characters are not infused with love. And have no personal relationship to others. Their common relationship here is with the volcano. And so we experience this novel on the more abstract level of humanity, rather than on the level of human interaction. Yes, there is significant meaning in its theme, but we encounter this early novel on an intellectual level rather than on an emotional level, that of identifying with its characters. We come away with the sense of the often elusive, often frustrating, meaning of life. As well as the meaning of death. And of how much there is a connection between the two.
This is the last of the Endo novels there are for me to read. Perhaps because it is an early novel there is more to the symbolism, the meaning, behind this novel, than there is to the richness of movement and character that I prefer. Its perfection, that is, is more in its message of life and death and evil than it is in the actual life story of its main characters. The prime memory one has of this novel is not of these people but of an inanimate (or is it?) mountain of earth. (January, 2017)