In this fascinating document, one of Japan's best known-and controversial-writers created what might be termed a new literary form. It is new because it combines elements of many existing types of writing, yet in the end fits into none of them.

At one level, it may be read as an account of how a puny, bookish boy discovered the importance of his own physical being; the sun and steel of the title are themselves symbols respectively of the cult of the open air and the weights used in bodybuilding. At another level, it is a discussion by a major novelist of the relation between action and art, and his own highly polished art in particular. More personally, it is an account of one individual's search for identity and self-integration. Or again, the work could be seen as a demonstration of how an intensely individual preoccupation can be developed into a profound philosophy of life.

All these elements are woven together by Mishima's complex yet polished and supple style. The confession and the self-analysis, the philosophy and the poetry combine in the end to create something that is in itself perfect and self-sufficient. It is a piece of literature that is as carefully fashioned as Mishima's novels, and at the same time provides an indispensable key to the understanding of them as art.

The road Mishima took to salvation is a highly personal one. Yet here, ultimately, one detects the unmistakable tones of a self transcending the particular and attaining to a poetic vision of the universal. The book is therefore a moving document, and is highly significant as a pointer to the future development of one of the most interesting novelists of modern times.

In the title story, Voices of the Fallen Heroes, a séance brings forth the spirits of young officers in the Imperial Army and the kamikaze pilots of World War II, who reproach the Emperor and mourn Japan's modern decline. In another, Mishima recounts the true story of the time a deranged fan broke into his home at dawn, insisting on meeting the author and imploring him to tell the truth. Elsewhere, a beautiful youth achieves eternal life through violent murder, and an ill-matched couple seal their fate with a pack of cards, tangled in the web of time and unfulfilled desire.

Available in English for the first time, and carefully selected by a team of expert translators, these captivating stories serve as the perfect introduction to Mishima's work, on the 100th anniversary of his birth.

With an introduction by Donald Keene; Translated from the Japanese by Ivan Morris.

A novel from one of the outstanding writers of the world (The New York Times) that explores the vicious nature of youth that is sometimes mistaken for innocence. - A major work of art. -Time

Thirteen-year-old Noboru is a member of a gang of highly philosophical teenage boys who reject the tenets of the adult world - to them, adult life is illusory, hypocritical, and sentimental. When Noboru's widowed mother is romanced by Ryuji, a sailor, Noboru is thrilled. He idolizes this rugged man of the sea as a hero. But his admiration soon turns to hatred, as Ryuji forsakes life onboard the ship for marriage, rejecting everything Noboru holds sacred. Upset and appalled, he and his friends respond to this apparent betrayal with a terrible ferocity.

All eyes are on Rikio. And he likes it, mostly. His fans cheer, screaming and yelling to attract his attention--they would kill for a moment alone with him. Finally the director sets up the shot, the camera begins to roll, someone yells action; Rikio, for a moment, transforms into another being, a hardened young yakuza, but as soon as the shot is finished, he slumps back into his own anxieties and obsessions. Being a star, constantly performing, being watched and scrutinized as if under a microscope, is often a drag. But so is life. Written shortly after Yukio Mishima himself had acted in the film Afraid to Die, this novella is a rich and unflinching psychological portrait of a celebrity coming apart at the seams. With exquisite, vivid prose, Star begs the question: is there any escape from how we are seen by others?