The Temple of Dawn

When I'd started The Sea of Fertility series years ago, I'd noticed that the third volume had a significantly lower rating than the other three. At the time, I'd assumed this probably had more to do with readers not accepting Mishima's female incarnation. Nope, that's not it; this book just truly pales in comparison.

The first two novels in Mishima's reincarnation tetralogy were widely different from one another. This, I believe, showcased the different aspects of the reincarnated Kiyoaki. The Temple of Dawn is also very different, though I don't know that it really provides much insight into the current incarnation of the Thai princess, Ying Chan.

While every novel in this series is very much about Honda, Kiyoaki's friend who recognizes each rebirth, the first two said much about the first and second incarnation. The first half of The Temple of Dawn is all about Honda. It is his travelogue, philosophizing, and in-depth explorations of reincarnation. Ying Chan makes a couple of appearances, but she is mostly left out of the tale.

The story picks up significantly in the second half, as Honda settles down and the princess becomes more prominent; and while Mishima writes some gorgeous prose, the story is itself troubling. Aside from being a beautiful princess, Ying Chan lacks distinction. The deplorable behaviors of the other characters to possess her and her beauty was troubling. While Honda's previous regard for his friend was great and he made every effort to save him, here he views his “friend” with only lust, desiring to rape and kill. It left me uncomfortable not only because of the depravity of these characters–men and women–but because it seemed out of place against the earlier volumes.

The first half of The Temple of Dawn is painfully rendered; the second bears some semblance to Mishima, but not to this ongoing narrative or to the characters it portrays. I've really enjoyed the author's work up to this point, but this one was truly disappointing, and probably would have a lower rating if not for his other, more outstanding works.