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2023/04/01

알라딘: 신부 이태석 - 톤즈에서 빛으로 이충렬

알라딘: 신부 이태석

신부 이태석 - 톤즈에서 빛으로 
이충렬
(지은이)김영사2021-12-16






























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책소개

가장 낮은 곳에서 사랑을 실천해 아프리카 톤즈의 눈물을 닦아준 사람, 가난하고 불우한 이들의 영원한 친구 이태석 신부. 사제가 되기로 결심한 순간부터 그를 톤즈로 이끈 운명 같은 만남, 그동안 알려지지 않았던 내면의 갈등과 짧지만 아름다웠던 이별까지. 이태석 신부가 남긴 친필 자료, 그와 함께한 사람들의 증언, 100여 장의 생생한 사진을 통해 ‘인간 이태석’의 삶, ‘신부 이태석’의 길을 생생하게 되살려낸다.

수단어린이장학회와 함께 발간하는 선종 10주기 기념도서이자, 이태석 신부가 몸담았던 한국 살레시오회의 공인과 천주교 서울대교구의 출판 인가를 받아 완성된 공식 정본 전기. 《간송 전형필》 《아, 김수환 추기경》 등 한국 전기문학의 대표 작가 이충렬 신작.


목차


저자의 글_ 이태석 신부가 남기고 간 선물은 ‘사랑’

Ⅰ 길
전공의 시험장의 빈자리
26호집에서 태어난 아이
첫 번째 부르심
갈등 속에서
의사의 길
부르심 앞에서
수도자의 길

Ⅱ 운명
돌멩이와 다이아몬드
살레시안으로
제안을 받다
운명적 만남
아! 톤즈
한센병 환자 마을에서
주여, 나를 보내주소서
선교사의 십자가
발을 씻어주시는 예수님
준비 또 준비

Ⅲ 사랑
주님, 알아서 하이소
동정 아닌 사랑으로
당신은 ‘마장딧’입니다
한센병 환자 발아래
음악과 함께
쫄리의 병원
1%를 향한 호소
슈크란 바바
희망을 짓다
씨앗을 뿌리는 마음

Ⅳ 약속
징후
암 진단을 받다
투쟁의 계곡
Everything is Good!

감사의 글
이태석 신부 연보
인터뷰 및 참고 자료
접기


책속에서


P. 47 날씨가 유난히도 춥던 어느 날 이태석은 성당에서 기도를 올렸다. 그때 아침 햇살이 유리창 너머로 들어왔다. 그 순간 오후마다 햇볕 아래서 풍금을 치던 어린 시절의 모습이 떠올랐다. 지금도 하느님은 자신을 기다리고 계실까. 당신의 부르심에서 멀리 떠나온 자신을 옆에서 바라보고 계신다는 생각이 들자 저도 모르게 눈물이 흘렀다.
P. 112 그는 옷을 걸친 이가 거의 없는 한센병 환자들과 움막에서 올라오는 악취에 온몸이 감전된 것 같은 충격에 빠졌다. 의대 다닐 때 해부학 실습까지 한 그였지만, 50여 명의 남녀노소가 흙바닥에 누운 채 죽음을 기다리는 모습은 너무나 처참해 차마 바라볼 수가 없었다. 이태석 수사는 손으로 입을 틀어막은 채 차를 타고 왔던 길을 향해 무작정 달렸다. 눈에서는 하염없이 눈물이 흘렀다. 어디로 가는지도 모른 채 계속 뛰어가다가 수풀 옆에 주저앉았다. 숨을 고르며 자신이 본 처참한 광경을 떠올렸다. 그리고 외쳤다. 주님, 어떻게 아직 이런 곳이 존재합니까……. 접기
P. 178 “여러분 중에는 맨발로 다녀서 상처가 많고 이미 발 모양이 걷기에 불편해진 분도 계십니다. 그래서 맨발로 다니지 말라고 제가 여러분의 발 모양에 맞는 신발을 나이로비에 주문해서 갖고 오려고 합니다. 편하게 걸을 수 있을 뿐 아니라 발에 상처도 더 이상 생기지 않을 겁니다.”
이태석 신부는 준비해 온 흰 종이를 가지고 환자들 앞에 무릎을 꿇었다. 그리고 한 명 한 명의 발 모양을 그린 후 이름을 적었다. 그가 준비한 세족례였다. 접기
P. 214 석유 냉장고를 톤즈로 가져온 이태석 신부는 홍역, 파상풍, 볼거리, 백일해, 결핵 등의 예방접종을 시작했다. 주사를 맞기 위해 아이를 데리고 온 아주머니들이 아침 일찍부터 병원 앞에 긴 줄을 섰다. 일주일에 두 번 나가는 이동 진료 때는 숲속에 있는 마을 구석구석을 돌아다니면서 교육과 홍보를 겸하며 많은 아이에게 예방주사를 놓아줬... 더보기
P. 238 “신부님…… 빨리 치료를 시작하셔야지요…….”
“예, 원래는 다음 주에 톤즈로 가야 하는데, 며칠 후 1차 항암 치료를 시작합니다. 속이 상합니다……. 학교는 짓다 말고 왔고, 우물도 파다 만 곳이 있는데, 제가 없는 동안에도 잘 진행이 될지 그게 걱정입니다. 오라토리오 아이들도 보고 싶으니 하루빨리 치료를 마치고 톤즈로 돌아가야지요.” 접기
더보기



추천글
〈울지마 톤즈〉를 울면서 보던 때가 엊그제 같은데 세월이 무심히 흘러 이태석 신부님이 우리 곁을 떠난 지 벌써 10년이 넘었다. 가장 아름다운 꽃을 먼저 꺾어 천국을 장식하는 하느님께서 가장 아름다운 인간의 꽃, 이태석 신부님을 꺾어 천국을 장식하셨지만 우리는 언제나 신부님이 그립고 보고 싶다. 그는 동방(東邦)의 사제로서 예수 그리스도의 사랑을 실천한 분이다. 자신의 영육(靈肉)을 완전히 사랑으로 연소시킨 인간의 촛불이자 성자(聖者)다. 그의 실천적 사랑을 섬세한 필치로 정성껏 그려낸 이 책을 읽으며 나는 무엇이 인간으로서 가장 가치 있는 삶인지 분명 깨닫게 되었다. 이제 이 가난한 지구 곳곳마다 그가 뿌린 사랑의 씨앗이 인류를 위한 사랑의 나무로 자랄 것이다.
- 정호승 (시인, 《내 인생에 용기가 되어준 한마디》의 저자)

진정한 사랑의 의미를 돌아봐야 하는 이 어려운 시대에 희망의 등불이 되어줄 책을 만나게 되어 기쁩니다. 신부님의 48년 삶의 여정과 사랑의 기적, 아름다운 내면이 오롯이 담긴 이 책을 읽으며 오랜만에 이태석 신부님을 떠올렸습니다. 마음이 따뜻해집니다.
- 김연아

이 책을 추천한 다른 분들 :
한겨레 신문
- 한겨레 신문 2021년 12월 3일 출판 새책
문화일보
- 문화일보 2021년 12월 6일자


=========================
저자 및 역자소개
이충렬 (지은이)
저자파일
신간알리미 신청

한국 전기문학의 새로운 지평을 연 전기 작가. 한국의 문화 및 사회에 큰 발자취를 남긴 인물의 삶을 되살리는 데 전념하고 있다. 치밀한 자료 조사와 탄탄한 스토리텔링으로 인물의 궤적과 시대정신을 담아내 독보적인 전기 작가의 길을 개척했다. 1994년 《실천문학》에서 작품 활동을 시작했다. 지은 책으로 《간송 전형필》 《혜곡 최순우, 한국미의 순례자》 《아, 김수환 추기경》 《국제법학자, 그 사람 백충현》 《천년의 화가 김홍도》 《김환기, 어디서 무엇이 되어 다시 만나랴》 《아름다운 사람 권정생》 등이 있다. 전기를 통해 한국 문화예술계 대표 인물의 생애를 발굴·복원한 공로로 제3회 혜곡최순우상을 수상했다. 접기

최근작 : <김대건, 조선의 첫 사제>,<신부 이태석>,<[큰글자책] 아름다운 사람 권정생> … 총 29종 (모두보기)



출판사 제공 책소개





마침내 만나는 이태석 신부 ‘공식 정본 전기’

★★★ 천주교 서울대교구 인가 ★★★ 한국 살레시오회 공인
★★★ 선종 10주기 기념도서 ★★★ 정호승·김연아 강력 추천


이태석 신부가 남긴 친필 자료, 그와 함께한 사람들의 증언,
100여 장의 생생한 사진을 통해 되살린
‘인간 이태석’의 삶, ‘신부 이태석’의 길

사랑이 필요한 시대이다. 숨 막히는 불안과 팽배한 갈등, 만연한 질병, 물질과 권력에 중독된 사람들…. 이렇게 어두운 시기일수록 희망과 나눔의 의미를 되돌아보아야 한다. “나누기에 가진 것이 너무 적다고 걱정하지 마십시오. 우리에겐 하찮은 1%가 누군가에게는 100%가 될 수 있습니다.” 대한민국을 감동시킨 이태석 신부의 이름을 다시 부르는 이유이다.

그는 세상에서 가장 가난한 이들 중에서도 아픈 이와 청소년을 끝없이 사랑한 사제였고, 수도자였으며, 선교사였다. 그리스도가 보여준 사랑을 이 세상의 가장 낮은 곳에서 실천하려 노력하고 또 노력했기에 그의 숭고한 사랑과 헌신 앞에 고개를 숙인다. _‘저자의 글’에서

그동안 이태석 신부를 그리워하는 사람들에 의해 다양한 도서와 다큐멘터리 영화가 제작되었다. 그리고 마침내 이태석 신부 48년의 삶을 생생하게 그려낸 《신부 이태석》이 김영사에서 출간되었다. 이 책은 수단어린이장학회와 더불어 발간하는 이태석 신부 선종 10주기 기념도서이다. 이태석 신부가 생전에 함께했던 수단어린이장학회는 그의 뜻을 기려 아프리카의 가난한 청소년들을 지원하고 있다. 이태석 신부가 몸담았던 한국 살레시오회의 아낌없는 지원을 받아 완성된 이 책은 천주교 서울대교구의 출판 인가를 받은 ‘공식 정본 전기’이다.
저자 이충렬 작가는 한국 전기문학의 새 지평을 열며, 《간송 전형필》 《아, 김수환 추기경》 등 한국 문화·사회사에 큰 발자취를 남긴 인물의 궤적과 시대정신을 알리는 데 전념해왔다. 그런 그가 이번에는 이태석 신부의 헌신적인 삶과 영성을 충실히 복원했다. 이를 위해 먼저 편지와 이메일, 메모, 축일 카드 등 각종 문서를 비롯해 사진과 영상까지 이태석 신부가 직접 남긴 모든 기록을 섭렵했다. 서적과 논문, 일간지, 천주교 회보 등 이태석 신부와 관련된 자료 또한 전부 꼼꼼히 검증했다. 어린 시절 친구들, 의대 동창과 살레시오회 동료 신부들, 톤즈에서 함께 지낸 봉사자까지 직접 취재해 육성을 담았으며, 지금까지 잘못 알려졌던 사실을 바로잡고 공개되지 않았던 일화를 조명했다.
가장 낮은 곳에서 사랑을 실천해 아프리카의 눈물을 닦아준 사람, 가난하고 불우한 이들의 영원한 친구 이태석 신부. 사제가 되기로 결심한 순간부터 그를 톤즈로 이끈 운명 같은 만남, 치열했던 내면의 갈등과 짧지만 아름다웠던 이별까지. 그리운 사람, 이태석의 삶 사랑 나눔을 온전히 되살려냈다.

가난하고 불우한 이들의 영원한 친구 이태석 신부의
48년 삶의 기록과 사랑, 나눔, 행복에 관한 이야기

세상에서 가장 낮은 곳이라 불리는 남수단 톤즈는 오랜 내전으로 주민들이 떠나고 황폐해진 절망의 땅이었다. 이태석 신부는 그곳에서 맨손으로 학교와 병원을 세우며 희망을 일구었다. 그가 ‘쫄리 신부님’, ‘수단의 슈바이처’라 불리며 수많은 생명을 구한 사실은 이미 유명하다.

이태석 신부는 오전마다 200~300명의 환자를 진료했다. 학교에서는 수학을 가르쳤고, 오후엔 오라토리오 활동을 하면서 밴드부 아이들에게 새로운 노래를 연습시켰다. 저녁에는 학생들 자습을 도와주었는데, 응급 환자가 심심치 않게 찾아오곤 해 보통 자정쯤 되어 잠자리에 들곤 했다. 가끔은 심한 말라리아로 병원 문을 두드리는 환자를 진료하기 위해 새벽에 잠자리에서 일어나기도 했다. 그도 인간이기에 짜증 날 때가 있었다. 그러나 가진 것 하나 없는 불쌍한 사람들이라는 생각에 예수님을 맞이하듯 기쁘게, 그리고 최선을 다해 치료했다. 덕분에 기적적으로 살아서 퇴원하는 환자들을 보면 큰 보람을 느끼곤 했다. _본문에서

그런데 이태석 신부가 왜 하필 아프리카 중에서도 남수단 톤즈로 선교를 떠났는지에 대해서는 자세히 알려져 있지 않다. 저자는 의대에 진학했던 그가 어떻게 자신의 성소를 받아들여 사제가 되었는지, 여러 수도회 가운데 왜 살레시오회에 입회했는지, 어떤 과정을 거쳐 열악한 아프리카에서 열정적으로 활동할 수 있는 선교사가 되었는지 등 이태석 신부를 톤즈로 이끈 운명에 주목했다. 특히 이태석 신부가 톤즈로 향하는 데 결정적 역할을 한 제임스 신부를 국내 최초로 인터뷰했다.

자신감에 찬 그는 제임스 신부를 따라 한센병 환자들이 격리된 마을을 방문했다. 그러나 자동차에서 내리는 순간 그는 악취를 참지 못하고 빈 들판을 향해 달음질쳤다. 그리고 톤즈의 너른 벌판에서 의술만 믿고 가난한 이들을 위한 의사와 선교 사제가 되겠다던 생각이 틀렸음을 깨달았다. 가난하고 병든 이들과 함께하겠다는 마음이 먼저 필요했다. 그리고 그 마음은 그들을 진정으로 사랑할 때 우러나왔다. ‘인간 이태석’이 무너지고 ‘사랑의 선교 사제’로 다시 태어나는 순간이었다. _‘저자의 글’에서

이 책은 이태석 신부를 찬양하는 위인전이나 영웅담과는 다르다. 사제로서의 꿈을 포기했던 시절, 톤즈의 처참한 환경에 두려움을 느꼈던 순간, 암 진단 후 괴로웠던 영적 투쟁의 시간 등 그동안 우리가 알지 못했던 이태석 신부의 번민과 고뇌까지 숨기지 않고 있는 그대로 풀어냈다. 그는 어떻게 삶과 신앙의 좌절을 이겨내고 오롯이 자신을 봉헌한 사랑의 사제가 되었을까. 이 책은 이태석 신부의 일생을 다각도로 조명함으로써 ‘인간 이태석’의 삶과 ‘신부 이태석’의 마음을 진솔하게 담았다.

그리운 이름 이태석, 여전히 그에게 사랑을 배운다
“이 책을 읽으며 무엇이 가치 있는 삶인지 분명 깨달았다.” 정호승 시인
“어려운 시대에 희망의 등불이 되어줄 책.” 김연아 전 피겨스케이팅 선수

이태석 신부는 미처 결실을 보지 못하고 세상을 떠났지만, 그가 남긴 작은 씨앗들이 나무로 자라고 있다. 이태석 신부가 가르쳤던 톤즈의 학생 가운데 수녀 한 명과 살레시오 수사(修士) 두 명이 탄생했다. 그와 가깝게 지냈던 신학생은 이제 신부가 되어 남수단에서 사목 활동을 하고 있다. 이태석 신부의 봉사와 선행을 따라 의사, 약사, 의대생이 된 제자들도 많다.
이태석 신부의 생애는 길지 않았다. 그가 톤즈에서 활동한 기간도 채 10년이 넘지 않는다. 그러나 이태석 신부의 짧은 생이 우리에게 던지는 질문은 묵직하다. 무엇이 가치 있는 삶인가? 참된 성공과 행복은 어디에 있는가? 이태석 신부가 실천한 희생과 헌신은 인간으로서 진정 추구해야 할 소중한 가치가 무엇인지 성찰하게 한다.

“왜 의사를 그만두고 신부님이 되려고 하세요?” 이태석은 처음 이 질문을 받았을 때 어떻게 대답해야 하나 머뭇거렸다. 그러다 문득 돌과 다이아몬드 비유를 떠올렸다. “너는 길에 돌멩이와 다이아몬드가 있으면 뭘 줍겠니? 나에게 의사는 돌멩이고 하느님과 너희들은 다이아몬드야.” 이태석의 대답에는 망설임이 없었다. _본문에서

저자는 이 책의 인세 전액을 수단어린이장학회에 기부하기로 했다. 이태석 신부가 우리 곁을 떠난 지 어느새 10년이 넘었다. 이제 그가 전한 나눔의 메시지에 우리가 답할 차례다. 이 책과 함께 이태석 신부가 미처 다 펼치지 못한 ‘사랑 나누기’를 완성할 수 있다. 접기


평점분포

9.9




눈물 콧물 때문에 책장 넘기기가 힘드네요. 이태석 신부님의 인간적인 모습들, 다양한 면모를 가감 없이 솔직담백하게 알 수 있어서 더 좋았습니다. 작가님의 과장되지 않은 담백한 서술도 좋습니다.
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다이아몬드를 선택한 이태석 신부님께


신부님의 삶을 다룬 책을 읽었습니다. 신부님 선종 10주기에 맞춰 나온 정본 전기 《신부 이태석》(이충렬, 김영사)이었지요. 잠자리에 들기 전에 앞부분만 보려고 펼쳤는데, 마지막장을 덮을 때까지 멈출 수가 없어 한 호흡에 끝까지 읽고 말았습니다.



신부님에 관한 이야기는 다큐멘터리 <울지마 톤즈>와 생활성서사에서 출간한 《내 친구 쫄리 신부님》을 통해서 익히 알고 있었습니다. 신부님이 톤즈에서 가르쳤던 제자가 한국에서 의사가 되었다는 소식도 들었고, 얼마 전에는 그가 출연한 <유 퀴즈 온 더 블록>도 챙겨보았습니다. 그래서 신부님에 대해 많이 알고 있다고 생각했는데, 《신부 이태석》을 읽으면서 그게 아니었음을 깨달았습니다. 책 속에는 내가 몰랐던 신부님이 너무 많았으니까요.



저는 신부님이 ‘의대를 졸업하고 사제가 되었다’고 알고 있었습니다. 단순하게 의사의 길을 가려다 하느님의 부르심을 받고 사제가 되었다고만 알고 있던 것입니다. ‘의대를 졸업하고 사제가 되었다’는 문장 속에 숨어있는 수많은 이야기들을 간과한 것이지요. 그래서 신부님이 전공의 시험이 있던 날, 시험장 대신 성당을 찾았다는 사실에 적잖이 충격을 받았습니다. 세속적인 측면에서 보자면 시험은 봐도 되지 않았을까, 일단 시험을 보고 천천히 생각해도 되지 않았을까 싶었기 때문입니다. 그런데 신부님은 그 분 발 앞에 엎드려 세상을 향해 자라날 욕심마저도 봉헌하셨더군요. 이 사실이 제가 간과한 이야기의 출발이었습니다.



신부님이 부산에서 태어나 소알로이시오 신부님께 세례를 받았다는 사실도 제가 몰랐던 사실입니다. 책을 읽으며 ‘소알로이시오’라는 이름을 만났을 때 저는 전율했습니다. 소알로이시오 신부님은 가난한 아이들을 위해서 평생을 헌신한 선교사였으니까요. 훗날 선교 사제가 되어 톤즈의 아이들을 만나러 갈 신부님께 세례를 베푼 사제가 세계 곳곳에 <소년의 집>과 <소녀의 집>을 만든 소알로이시오 신부님이었다는 사실은 에디트 슈타인 성녀의 고백을 떠올리게 했습니다. “내 계획에 없었던 일이 하느님 당신 계획에는 있었습니다.”라는 고백이었지요.



《신부 이태석》을 읽으면서 에디트 슈타인 성녀의 고백이 신부님 삶 안에서도 펼쳐졌음을 느꼈습니다. 의사가 되려다 살레시오 수도회의 수사가 되고, 사제가 되고, 선교사가 되어 톤즈로 가기까지 신부님 삶의 여정에 보이지 않는 계획이 있음을 깨달았기 때문입니다. 이 계획들은 신부님께 주어진 ‘자유 의지’ 속에서 선택돼 더 빛을 발했지요. 돌이 아니라 ‘다이아몬드’를 집어든 신부님의 선택 덕분에 말이에요.



의사의 삶을 포기하고 사제가 되기 위해 수도원에서 지원했을 때 수도원 시설에 있던 청소년들이 신부님께 물었습니다. “지원자 수사님은 왜 의사를 그만두고 신부님이 되려고 하세요?” 아이들은 의사로 누릴 수 있는 것들을 포기하고 하느님의 사람이 되겠다는 신부님을 이해할 수 없었겠지요. 신부님은 ‘의사보다 신부가 좋아서 수도원에 왔다’고 대답했지만 이내 아이들의 눈높이에 맞는 대답을 찾아냅니다. 그것이 ‘돌멩이’와 ‘다이아몬드’였지요.



아이들이 또 다시 ‘의사 말고 왜 신부님이 되려고 하느냐?’고 묻자 신부님은 아이들에게 되 물었습니다. 길거리에 돌멩이와 다이아몬드가 떨어져 있으면 무엇을 집어들겠느냐고요. 아이들이 “당연히 다이아몬드죠!”라고 대답하자 신부님은 말합니다. “나에게 의사는 돌멩이고 하느님과 너희들은 다이아몬드야.”라고요.



‘하느님과 청소년’이라는 다이아몬드를 집어든 신부님은 여러 과정을 마치고 톤즈로 향합니다. 그곳에 있는 아이들과 함께 살기 위해서였지요. 가난과 전쟁에 일상을 잃어버린 아이들 속에서 신부님은 돈보스코 성인의 삶을 이어갑니다. “청소년은 젊다는 것만으로도 사랑받을 자격이 있다”고 말씀하신 성인, 신부님이 소속돼 있는 살레시오수도회의 창립자인 돈보스코 성인처럼 아이들 곁에서 살아간 것이지요. 아이들과 함께 뛰어 놀고, 함께 악기를 연주하고, 함께 공부하며 “청소년들이 사랑받고 있다는 것을 느낄 때까지 사랑”하며, 다이아몬드의 원석인 아이들이 스스로의 삶을 세공할 수 있도록 다양한 기회를 주었습니다.



당신이 보여준 사랑 덕분에 아이들도 자신의 삶을 새롭게 만들어갔습니다. 늦은 밤까지 공부를 하고, 악기를 연습하며 꿈을 꾸기 시작했지요. 그러나 안타깝게도… 신부님은 완성된 다이아몬드를 보지 못했습니다. 갑자기 발견된 병 때문에 한국에서 치료를 받다 끝내 톤즈로 돌아가지 못했으니까요. 신부님의 죽음은 톤즈에 깊은 슬픔을 안겨 주었습니다. 신부님과 우정을 나누던 아이들은 물론, 신부님께 치료를 받던 한센인들과 서로를 향해 총칼을 겨누던 군인들까지도 신부님의 죽음을 애도했지요. 그러나 슬픔은 슬픔으로 끝나지 않았습니다. 신부님이 가르친 제자들이 각자의 자리에서 빛나는 방법을 찾았기 때문입니다.



신부님이 돌아가신 뒤에도 톤즈의 아이들은 자신의 삶을 이어갔습니다. 어른이 되어 가정을 꾸린 제자들도 있고, 의료진이 된 아이들도 있었지요. 신부님이 가르친 제자 중에 40여 명이 의료진이 되었다는 사실을 알게 되었을 때 얼마나 놀랐는지 모릅니다. 그들이 당신을 기억하며 톤즈에 있는 한센인들을 치료하고 있다는 사실에 울컥하고 말았어요. 세상을 변화시키는 힘은 ‘한 사람의 사랑’에서 나온다는 것을 느꼈기 때문입니다……



2021년 겨울의 세상은 코로나 바이러스로 인해 꽁꽁 얼어붙어 있습니다. 세계 어디서나 서로를 향해 마음 한 조각 내어줄 여유가 없는 상황이지요. 이런 시기에 사랑을 나누었던 신부님의 이야기가 우리 곁에 온 것에도 어떤 이유가 있지 않을까 생각해봅니다. 책을 읽는 독자마다 그 이유를 다르게 해석하겠지만, 그것이 무엇이든 많은 사람들이 《신부 이태석》을 읽으며 그 이유를 찾아보았으면 좋겠습니다. 어쩌면 이 책은 신부님의 열 번째 하늘 생일을 기념하며 세상에 온 선물일지도 모르니까요.



돌멩이가 아닌 다이아몬드를 집어 들었던 이태석 신부님!

당신의 삶을 읽으며 많은 사람들이 물질적인 다이아몬드가 아니라 ‘나에게 보이는 다이아몬드’를 집어들길, 그래서 우리가 함께 사는 세상이 더 반짝 빛나게 되길 함께 기도해주세요. 신부님께서 사제서품 성구로 선택하신 ‘설령 여인들은 잊는다 하더라도 나는 너를 잊지 않는다(이사야 49,15)’는 말씀처럼 많은 이들이 우리 곁에 있는 사람을 잊지 않도록, 그들을 기억하는 이들을 하느님께서도 기억해주시기를 전구해주시리라 믿습니다. 그리하여 ‘하느님의 음악인 청소년의 웃음소리’가 날마다 천국까지 전해지길, 그 음악을 들으며 신부님과 돈보스코 성인이 함께 미소짓는 날들이 이어지기를 바라며 편지를 마치겠습니다.



짧았지만 빛나는 삶을 살았던 쫄리 신부님, 신부님이 발견한 다이아몬드가 온 세계에 빛나는 날이 오기를 바라겠습니다. 그럼 안녕!



2021년 12월, 당신을 기억하는 이 드림



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《신부 이태석》 크리스마스에 읽어 본 ‘울지마 톤즈‘의 기억



​


"Everything is Good"



이 말은 이태석 신부가 남긴 마지막 말이다.

​
영화 <울지마 톤즈>로 알려지고 기억된 이태석 신부의 정본 전기를 마침 크리스마스에 만났다. 올해는 이태석 신부 선종 10주기다. 그나 세상에 뿌리고 간 씨앗이 무럭무럭 자라 싹을 내고 열매 맺은 성과와 나눔의 이야기를 전해 들을 수 있다.



비록 종교는 없지만 영화 내내 수도꼭지는 멈추지 않았던 이름만 들어도 눈물이 줄줄 흐르는 다큐의 주인공이자, 매우 존경하는 이태석 신부에 대한 모든 것이 담긴 책이라 읽어보지 않을 수 없었다.



얼마 전 사진가 '사울 레이터'의 다큐멘터리 <사울 레이터: 인 노 그레이 허리>를 보는 내내 성공한 사진가가 한없이 낮춰 별 볼일 없는 80 넘은 늙은이를 왜 찍느냐, 내가 남긴 사진이 무슨 쓸모가 있느냐, 나는 세상에서 잊히고 싶은 사람이다, 행복을 찾는 일은 미친 짓이다.



행복은 인생의 기준이 될 수 없고, 그보다 더 한 게 많다고 말한 점이 인상적이었다. ​



그렇다. 행복은 상대적인 것이다. 많으면 많을수록 좋은 거라 느끼지만 인간의 욕심은 끝이 없고, 갖고 있다고 해서 결코 행복하지 않다. 가진 것을 지키느라 수단과 방법을 가리지 않고 악다구니를 쓰는 모습을 떠올려보자. 반면 오히려 톤즈 사람들은 가진 것은 없지만 작은 것에 기뻐하고 감사할 줄 알기에 어려운 상황에서도 행복할 수 있는 것이다.



이태석 신부는 누구?







신의 사제였던 이태석 신부는 살아생전 의사, 선생님, 건축가, 지휘자로 다양한 활동을 펼쳤다. 필요하면 무엇이든 스스로 공부하고 만드는 사람이었다. 전기가 들어오지 않는 톤즈의 건물 지붕에 태양열 집열기를 설치하고 톤즈의 밤을 밝혔으며, 톤즈에서 세운 병원이 자리를 잡자 톤즈의 미래는 아이들이라며 학교를 세우기도 했다.



이태석 신부는 열악하고 가난한 땅에서 오히려 자신이 행복의 가치를 깨달았다고 겸손히 말한다. 행복을 부와 건강이라고 생각하면 톤즈 사람들은 절망뿐일 것이다. 그러나 그들은 결고 절망하지 않고 삶은 신이 준 선물이라 여기고 소중히 한다.



이 책을 권하는 이유



믿고 읽는 이충렬 작가가 썼다. 이충렬 작가가 쓴 전기를 몇 편 읽어본 적이 있는데 항상 만족스럽다. 《아! 김수환 추기경》, 《간송 전형필》 정도다. 그밖에 김홍도, 최순우, 김환기, 권정생 등에 대한 책이 있다. 전기를 통해 한국 문화예술계 대표 인물의 생애를 발굴하고 복원한 공로로 제3회 혜곡최순우상을 받았다.



생전에 그가 남긴 편지, 이메일, 메모, 축일 카드 하나까지 모두 찾아 내 참고했다. 100장의 사진, 영상 등 이태석 신부가 직접 남긴 발걸음을 추적했고, 서적, 논문, 일간지, 천주교 회보 까지 모두 긁어모았다. 그리고 의대 동창, 살레시오회 동료 신부들, 톤즈에서 함께한 봉사자 등을 직접 인터뷰했다. 톤즈로 떠나는 데 결정적 계기가 된 제임스 신부의 인터뷰를 국내 최초로 담았다.



이태석 신부를 이해할 수 있는 단 한 권의 백과사전이라 할 수 있다. 사실을 드라마틱 하게 구성하고 이야기하는 작가적 견해와 수려한 필력으로 다큐멘터리와는 다른 질감의 경험을 할 수 있다. 마지막으로 세상을 떠날 때까지 아픔을 굳이 드러내지 않고 안으로 함구했던 내면에 대해 알 수 있는 귀한 자료다.



이 땅에 평화와 사랑의 가치를 전파한 예수와 이태석 신부는 닮았다. 떠들썩하고 즐거운 크리스마스도 좋지만. 어쩌면 경건하게 영화, 책등으로 만나볼 수 있는 두 인물을 원한다면 더할 나위 없는 선물이겠다.



참고로 <울지마 톤즈>(넷플릭스, 웨이브, 티빙, 왓챠), <울지마 톤즈2: 슈크란 바바>(티빙, 왓챠)는 스트리밍 사이트에서 만날 수 있다.



'도서를 제공받아 주관적으로 작성한 글입니다.'​
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《신부 이태석》

『신부 이태석』
-톤즈에서 빛으로
이충렬 지음 / 김영사

.
.
🔖"Everything is Good!"
_이태석 신부가 남긴 마지막 말
.
.

다큐멘터리 <울지마 톤즈>는 보지 못했지만
이태석 신부님의 일화는 종종
접할 수 있었다.
그저 좋은 분이었구나,
너무 일찍 세상을 떠나셨구나,
누구나 할 수 있는 그런 인사치레로 끝났다.
그러다 책으로 만난 신부 이태석.

무려
"수단어린이장학회와 함께 발간하는
선종 10주기 기념도서이자, 이태석 신부가
몸담았던 한국 살레시오회의 공인과
천주교 서울대교구의 출판 인가를 받아
완성된 공식 정본 전기"

그와 함께한 사람들의 증언과 인터뷰는 물론, 100여장의 사진으로 아프리카 수단 남쪽의
작은 마을 톤즈에서 그의 삶을 더욱 짙게
그려볼 수 있다.
무엇보다 귀하게 만날 있는 건 그가 남긴
편지와 메모들이다.

가장 낮은 자세로 가장 인간적인
톤즈의 빛, 신부 이태석.
매순간 존경과 경탄이 터져나오는 것을
읽는 내내 경험할 수 있었다.
.
.
✔김영사서포터즈 자격으로 제공받은 도서입니다.
.
.
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[신부이태석] 그가 사랑한 하느님의 길



나는 세상을 위해 어디까지 낮아질 수 있는가. 얼마나 많은 것들을 용감하게 포기 할 수 있는가. 많은 전기들을 읽다보면 속세에서 비슷한 영광을 찾으려 노력을 하게 되는 경우가 많았으나, [울지마, 톤즈]로 이미 유명한 이태석 신부님의 이야기는 과거와 미래를 턱 돌아보게 했다. 사랑과 평화, 자기 희생의 고결함 이런 이야기들에게 강한 유대감을 느꼈다. 변화하는 변실에서 이미 멀고 어려운 이야기가 되는 것들. 그럼에도 커다랗고 소중한 가치이기에 포기하라면 할 수 없는 이러한 이상들을 잃어버리지 않는 어른이 되고 싶었다. 그 이상을 위해 내가 가진 것을 기꺼이 포기하고 더 큰 사랑을 가슴에 품은 사람. 그게 어린 내가 만난 영화속의 이태석 신부님이었다.

김영사의 [신부 이태석]은 내게 사람으로서의 이태석을 알게 했다. 어머니를 힘들게 하고 싶지 않아 신부로서의 길을 완강히 거절한 사람, 전공의 시험을 앞두고 성당으로 뛰쳐가 홀로 조용히 기도한 이태석, 성당 앞 마당에서 아이들과 축구를 하고 노래를 부르는 평범한 사람. 그러나 그는 평범하지 않다 못해 어렵고 고귀한 선택들을 이어나갔다. 사람을 특별하게 만드는 순간은 선택과 그 선택을 하는 과정이 큰 영향을 한다고 생각한다. 그는 인간적인 고민을 한다. 이태석 신부가 전공의 시험을 치러 갔다고 그 누구도 비난하지 않았을 것이다. 오히려 그게 현명하다고 말하는 사람들이 더 많지 않을까. 그는 자신의 옳음과 하느님의 부름을 따른다. 그리고 모든 삶 속에서 이 자세를 유지하고 무너지지 않는다.

톤즈, 수단. 그가 인생의 큰 시간을 보낸 곳은 아주 오지였다. 제대로 된 의료 기구도 학습 환경도 없다 못해 폭격의 위험이 따르는 곳, 삶의 경계가 언제 다가올지 모르는 곳. 그가 선교를 가서 차에서 내렸을 때 역한 악취에 들판으로 뛰어가버렸다는 이야기를 읽고 부드러운 웃음이 지어졌다. 새삼 신부님이 더 숭고해 보였다. 그는 인간이었다. 인간이 하느님의 일을 해내었다. 고양이를 임시보호하다가 낯설고 지독한 배변향에 주방에서 헛구역질을 했던 나는 들판에서 다시 돌아온 그의 모습에 커다란 존경을 느꼈다. 남다른 사람들에게 과연 우리가 같은 인간일까 의문이 드는 순간이 간혹 있는데, 그의 행동이 대신 대답해 주는 것 같았다. 우리는 모두 같은 사람이라고, 그래도 할 수 있었다고. 어쩌면 나도 일상을 그처럼 좀 더 숭고하게 살아갈 수도 있지 않을까 하는 생각이 들었다.

이미 내가 할 수 없는 정도부터 정하는 비겁한 다짐들이지만, 세상을 아름답게 하는 일에 경중이 없다고 스스로를 위로하며 그의 이야기들을, 삶을 읽어나갔다. 나는 내일보다 더 어려운 선택들을 수월하게 해낼 것이다. 더 옳고 선한 선택, 그가 말한 하느님이 시키신 일들을 더듬 더듬 꽃 피우는 일상을 살아가고자 한다.

우리는 사랑을 위해 무엇을 포기하고 낮아질 수 있을까. 나는 어떤 선택을 하게 될까.

오랜만에 삶에 만연하던 냉소들이 걷힌다. 따뜻한 햇살이 뚫고 나를 비치는 기분을 느끼며 책을 닫았다. 글에 담긴 사랑을 내 삶에 가져올 시간이다.








<이 서평은 김영사 대학생 서포터즈 활동의 일환으로 김영사로부터 도서를 지원받아 작성하였습니다.>
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신부 이태석






"가장 보잘것없는 형제 한 사람에게 해준 것이 곧 나에게 해준 것과 같다"


가장 낮은 곳에서 사랑을 실천해 아프리카 톤즈의 눈물을 닦아준 사람, 가난하고 불우한 이들의 영원한 친구 이태석 신부님의 선종 10주기를 기념하는 책이 나왔다.

크리스마스가 지나가는 순간에 이 책을 읽으며 많은 생각이 든다. 나는 모태 신앙으로 유아 세례를 받았지만 지금은 냉담하고 있는 천주교 신자로서 그래도 '신부 이태석'이란 이름은 왠지 꼭 기억해야 할 주문 같은 단어이자 지금 이 시대에 다시 되새겨볼 '나눔', '배려'를 떠오르게 하는 '사랑'의 단어가 되었다.


사제가 되기로 결심한 순간부터 그를 톤즈로 이끈 운명 같은 만남, 그동안 알려지지 않았던 내면의 갈등과 짧지만 아름다웠던 이별까지. 이태석 신부가 남긴 친필 자료, 그와 함께한 사람들의 증언, 100여 장의 생생한 사진을 통해 ‘인간 이태석’의 삶, ‘신부 이태석’의 길을 생생하게 되살려낸다.


"나누기엔 가진 것이 너무 적다고 걱정하지 마십시오. 우리에겐 하찮을 수 있는 1%가 누군가에게는 100%가 될 수 있습니다."


하늘에서 그의 쓰임이 더 필요했을까. 너무도 빨리 우리 곁을 떠났지만 세상의 잣대에서 저 밑바닥에 있는 아픈 이들과 가난한 청소년을 사랑한 사제이자 수도자, 선교자인 이태석 신부님의 이름은 영원히 기억될 것이다.


2001년 12월 7일 아침, 이태석 신부는 선교사 십자가를 목에 걸었다. 그리고 가슴을 활짝 펴고 보고 싶은 아이들과 환자들이 기다리는 톤즈를 향해 떠났다.



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공감

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Don’t cry for me Sudan on Vimeo

Don’t cry for me Sudan on Vimeo

Don’t cry for me Sudan
NOT YET RATED

10 years ago


Missioni Don Bosco ONLUSFollow

The extraordinary life of Father John Lee. A Korean Salesian of many talents who committed himself to the people from the Sudanese village of Tonj. They used to call him Father Jolly ... He died of cancer at the age of 48, nevertheless he showed how to be a hope for the others.

2 Comments


James Thuch Madhier9 years ago


Just as I indicated on my blog thuchjames.wordpress.com, Some people never die and you never did Fr.Lee. We love you and thank you for all that you did.
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carol collins8 years ago


Is there a way to send supplies to this village in Tonj? Fr. John Lee started a way to give hope to those most deprived of it and I am wondering where to send aid?
Posted by Sejin at April 01, 2023
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2023/03/31

싸리비

Posted by Sejin at March 31, 2023
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Analysis of Shūsaku Endō’s Deep River – Literary Theory and Criticism

Analysis of Shūsaku Endō’s Deep River – Literary Theory and Criticism



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HOME › JAPANESE LITERATURE › ANALYSIS OF SHŪSAKU ENDŌ’S DEEP RIVER


Analysis of Shūsaku Endō’s Deep River

BY NASRULLAH MAMBROL on OCTOBER 10, 2022

The Japanese writer Shūsaku Endō (1923– 96) was a Christian author who embraced a faith that combined both Eastern and Western spirituality. The novel Deep River centers on a visit to India by a group of Japanese tourists. The novel examines the internal journeys of four of the travelers—Isobe, Kiguchi, Numada, and Mitsuko—and explores their motivations for going to India, the fulfillment of their quests, and their discoveries along the way.

The novel begins with an account of the months just before and after the death of Isobe’s wife. Isobe, confronted with the fact that his mate of 35 years has cancer, comes to realize his dependence on his wife, whom he had taken for granted up to that point. After her death, her final words haunt him: “I . . . I know for sure . . . I’ll be reborn somewhere in this world. Look for me . . . find me . . . promise . . . promise!” In an attempt to fulfill her request, Isobe writes to a professor at the University of Virginia who is doing research on people who claim to have experienced previous lives. After learning of a young woman named Rajini Puniral, who lives in a village near Varanasi and who professes to have been Japanese in a prior life, Isobe determines to go to India in search of the woman.



At an informational meeting prior to the trip, Isobe recognizes Mitsuko, a hospital volunteer with whom his wife had bonded in her last days. On the way home from the meeting, Mitsuko recalls the “hollowness in her heart” during her university days and remembers her attempts to draw Ōtsu, a classmate who practiced the Christian faith, away from God. Ōtsu had told her, “Even if I try to abandon God . . . God won’t abandon me.” After graduating from the university, Mitsuko had married in hope of becoming a typical housewife and ridding herself of the destructive element that “lurked within the depths of her heart.” The marriage ended in divorce. Through the years she had carried on an intermittent correspondence with Ōtsu. His conversation and letters always spoke of a God who “made use even of my sins and turned me towards salvation.” Perhaps, Mitsuko thinks that Ōtsu, who now lives in Va¯ra¯nası¯, is drawing her to India.



At the pretrip meeting, Numada, an author of stories with dogs and birds as the main characters, expresses a desire to visit a wild bird sanctuary during the trip. He had had a pet hornbill but had released it when he entered a hospital for treatment for tuberculosis. His wife, sensing his need for an animal companion, brought a myna bird to the hospital to keep him company. After recovering from a surgery during which his heart had stopped, Numada learned that the myna had died during the operation, and he refl ects, “I wonder if it died in place of me?”

Kiguchi, another member of the tour group, fought in Burma during the war and now wishes to have a memorial service in India for his comrades who had died and for Tsukada, who had nursed Kiguchi when he had contracted malaria in the jungle. Years after the war, an American volunteer, Gaston, had comforted Tsukada as he died by assuring him of God’s forgiveness for his having eaten meat from the body of a comrade. Kiguchi had felt that the peaceful look on Tsukada’s face at his death “had been made possible because Gaston had soaked up all the anguish in Tsukada’s heart.”



Arriving in Va¯ra¯nası¯, Isobe sets about to fulfill the plea his wife had made on her deathbed. After meeting failure after failure, he cries out in his loneliness, “Darling! . . . Where have you gone?” Mitsuko answers his question with her comment: “At the very least, I’m sure your wife has come back to life inside your heart.”



Numada and Kiguchi also fulfill their personal missions. Numada, after buying a myna and carrying it to a wildlife sanctuary where no hunting is allowed, opens the door of the cage, urges the bird out, and watches it enjoy its freedom. He feels “as though a heavy burden he had carried on his back for many years had been removed.” On the banks of the Ganges, Kiguchi chants a sutra for Tsukada and his comrades who had died in the war. In so doing he carries out the wish he has had since the war.



Though Mitsuko remains unsure as to why she has come on the trip, she knows that she longs for something. After discovering that Ōtsu now devotes himself to carrying dying Hindus to the Ganges, she puts on a sari and approaches the river. A man beckons her to enter. She submerges her body and then acknowledges: “. . . there is a river of humanity. . . . I feel as though I’ve started to understand what I was yearning for through all the many mistakes of my past.”

Deep River deals with the universal themes of love, loss, sacrifice, acceptance, and redemption. Isobe, Numada, Kiguchi, and Mitsuko take spiritual journeys which lead them to understand God as “a great life force” in man and in nature. They recognize sacrificial love in many forms and in so doing experience the God whom Ōtsu defined as “love itself.”



BIBLIOGRAPHY

Endo, Shusaku. Deep River. Translated by Van C. Gessel. New York: New Directions, 1994.
Henry, Rick. “Review of Deep River, by Shusaku Endo.” Review of Contemporary Fiction 16, no. 2 (1996): 182–183.
O’Connell, Patricia. “Review of Deep River, by Shusaku Endo.” Commonweal 122, no. 10 (19 May 1995): 34–35.

===
Deep River

by
Endo Shusaku

general information | review summaries | our review | links | about the author

To purchase Deep River


Title: Deep River
Author: Endo Shusaku
Genre: Novel
Written: 1993 (Eng. 1994)
Length: 216 pages
Original in: Japanese
Availability: Deep River - US
Deep River - UK
Deep River - Canada
Deep River - India
Le fleuve sacré - France
Wiedergeburt am Ganges - Deutschland
Japanese title: 深い河
Translated by Van C. Gessel

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Our Assessment:
B : fine if overly preachy tale of spiritual journeys
See our review for fuller assessment.



Review Summaries
Source Rating Date Reviewer
The Independent . 25/6/1994 Euan Cameron
The LA Times . 22/5/1995 Michael Harris
The Washington Post A 25/6/1995 Andrew Greeley


  From the Reviews:
"Endo has always sought to interpret the proselytising spirit of Christianity for oriental sensibilities. (...) Now, in this beautifully crafted, mature work, his standpoint has changed. Understanding is possible, he now implies, and the path seems to be one that combines the Christian faith with Buddhist acceptance." - Euan Cameron, The Independent

"Deep River is a story of a kind usually dared only by veteran writers -- a direct, seemingly guileless inquiry into the meaning of life. (...) Endo's achievement here is mixed. Kiguchi, Isobe and Numada are realistic characters, and their stories are quietly effective. Otsu and Mitsuko, though, are the sort of people we bump into only in religious novels." - Michael Harris, The Los Angeles Times

"Endo is one of the world's great novelists, a wizard with plot and character and description who writes a simple story about simple people and packs it densely with drama, challenge and finally faith. (...) Endo has written so many wonderful novels that it would be patronizing to suggest that one is better than others. But surely Deep River, this moving story about a pilgrimage of grace, must be rated as one of the best of all of them." - Andrew Greeley, The Washington Post

Please note that these ratings solely represent the complete review's biased interpretation and subjective opinion of the actual reviews and do not claim to accurately reflect or represent the views of the reviewers. Similarly the illustrative quotes chosen here are merely those the complete review subjectively believes represent the tenor and judgment of the review as a whole. We acknowledge (and remind and warn you) that they may, in fact, be entirely unrepresentative of the actual reviews by any other measure.
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The complete review's Review:

       Deep River is a novel of spiritual journeys. Lots of spiritual journeys. It begins with the wife of Isobe being diagnosed as terminally ill, with only a few months to live. In typical Japanese fashion, the diagnosis is kept from her (though she catches on pretty quickly, wasting away in hospital), while Isobe realizes he has never really been that close to her and has, in many senses, failed her as a husband. Her dying demand of him is that he look for the reincarnation she is certain she will return to the world as.
       It's a tall order for Isobe. Sensibly:

Because he lacked any religious conviction, like most Japanese, death meant to him the extinction of everything.
       Nevertheless, he makes a sincere effort to follow her wishes, looking into this whole reincarnation idea and even corresponding with academics who study it. Eventually, this leads him to join a group tour to India, in 1984, where he thinks he might find what he's looking for.
       Among the others on the tour happens to be a woman who volunteered at the hospital while Isobe's wife wasted away, Mitsuko. She is pulled to India because she is also looking for a spiritual encounter. Specifically, she hopes to again meet a man from her past, Ōtsu. An oddball Christian at the university she went to, she seduced him on a whim and challenge -- and demanded he gives up his religious ways if he wanted to be with her. When she dumped him, he turned all the more devoutly to Christianity, going to France to become a priest. A few years later she visited him in France -- while on her honeymoon ! -- and they've corresponded occasionally over the years, and now that he's in the Indian holy city of Vārānasī she wants to seek him out again. (Unsurprisingly, her marriage failed, and obviously she's also been looking for 'meaning' in her life -- hence also her penance cum charity work dealing with patients at the hospital.)
       There are others on the trip too, including a veteran of the war who suffered greatly during the Japanese campaign in Burma, a successful author who writes "stories with dogs and birds as their main characters", and a couple on their honeymoon. They have a Japanese tour guide, Mr. Enami, who studied for four years in India and then found to his great disappointment that no Japanese university was interested in having him preach that kind of eastern wisdom, reducing him to this; he does his job dutifully, but is immensely frustrated.
       India offers a spiritual contrast to Japan, and by bringing in Ōtsu's experiences in France -- where the Church derailed his ambitions to become a priest because his theology was too eastern-tinged to meet with their approval -- allows Endo to cover a wide spectrum, from Buddhism through Hinduism to Christianity. Ōtsu is the central spiritual figure -- and ultimately the Christian martyr, too -- but significantly his religious belief isn't by-the-Book Christianity. As he tells his French superiors:
I don't think God is someone to be looked up to as a being separate from man, the way you regard him. I think he is within man, and that he is a great life force that envelops man, envelops the trees, envelops the flowers and grasses.
       Predictably, they dismiss this as pantheistic mumbo-jumbo; as to why Ōtsu spends so much of his life as a seminarian when his basic understanding of religion differs so from the official line, that is left unexplained.
       Ōtsu explained to Mitsuko:
I can't help but be struck by the clarity and logic of the way Europeans think, but it seems to me as an Asian that there's something they have lost sight of with their excessive clarity and their overabundance of logic, and I just can't go along with it. Their lucid logic and their ways of explaining everything in such clear-cut terms sometimes even causes me pain.
       It's hard not to see Deep River as Endo's own religious summa. Japan's most famous Catholic writer, he also had a difficult time in Europe (and also had severe medical issues which are also echoed in this book), yet clung to his Christianity. The East-meets-West aspect of Deep River, and the suggestion of how Christianity can meld with eastern religion -- the way how he, near the end of his own life, fit all the pieces of his experience together--, frequently threaten to overwhelm the book -- but then, of course, that basically is the book.
       Endo is a fine writer, and much of the novel is quite good. An interesting feature is that he times the India-trip so that they are there when Indira Gandhi is assassinated (by a Sikh bodyguard -- another religious complication he has a bit more trouble with). But this remains a book a book about spiritual journeys -- which would be fine if it weren't so freighted with a specific message, which can make it tough to take. Granted, being entirely unspiritual, I am hardly the ideal audience for such a story, but it's the preachiness on offer here rather than the focus on the spiritual that weighs the books down so terribly -- belief, after all, is a common enough human condition, and can readily be conveyed even to those who don't share it without becoming too irritating, but Endo too often is more preacher than novelist here. Simplistic notions of 'east' and 'west' also grate -- this is a late-twentieth century novel by a worldly writer, and are thus considerably harder to excuse or accept than in fiction from an earlier time. And the martyring of Ōtsu -- christ, another guy who dies for 'our' sins ? give me a break ... -- predictable though it was, is certainly the final straw.
- M.A.Orthofer, 24 January 2013

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===
January 28, 2014
‘DEEP RIVER’ BY SHUSAKU ENDO (REVIEW)

Shusaku Endo is one of our recent additions to the J-Lit Giants hall of fame, and a well deserved one.  I’ve enjoyed several of his books, and I’ve had this novel, highly recommended, on the shelves for a long time.  Fortunately, it didn’t disappoint…

*****
Deep River (translated by Van C. Gessel, published by New Directions) is centred on a package tour to India by a group of Japanese tourists in October 1984 (the date is significant…).  Over the course of just over two-hundred pages, we meet many people, all with different motivations for making the trip abroad.

Four of the group members stand out.  There’s Numada, a children’s author, who finds peace in nature, preferring animals to people; old soldier Kiguchi, returning to the subcontinent to make offerings to his dead colleagues;  Mitsuko, a single woman searching for meaning in her empty life; and Isobe, an old man whose wife recently died of cancer.  Her last wish was for him to look for her after her death – you see, she believes in reincarnation…

The story starts off slowly as we learn about the background of the main characters and their reasons for joining the tour.  While interesting in its way, I was a little impatient at times, with the writer taking half the book to get us to India.  It is important though, as these first chapters set up everything that happens when we arrive.

Of the main characters, it’s perhaps Isobe and Mitsuko (who nursed Isobe’s wife in hospital) who stand out.  Isobe is a typical, unemotional Japanese salaryman, learning to cope with life alone after decades of being cared for in a conventional, dry Japanese marriage.  His wife’s death throws him off guard, leaving him unable to quite grasp what has happened:

“Isobe could not bring himself to believe that the strangely pallid fragments of bone strewn in the box were those of his wife.  What the hell is this?  What are we doing? He mumbled to himself as he stood beside his weeping mother-in-law and several other female relatives.  This isn’t her.”
p.18 (New Directions, 1994)






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Posted by Sejin at March 31, 2023
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Labels: shusaku endo, 엔도 슈사쿠

Rewriting the Death of Jesus: An Intertextual Reading of Shusaku Endo’s Deep River - Christian Scholar’s Review

Rewriting the Death of Jesus: An Intertextual Reading of Shusaku Endo’s Deep River - Christian Scholar’s Review


Article
Rewriting the Death of Jesus: An Intertextual Reading of Shusaku Endo’s Deep River
ByOctober 15, 2016No Comments



With the theme of hospitable readers and neighboring texts, the classical Greek virtue of hospitality meets the Christian virtue of loving one’s neighbor as one’s self.

Either virtue involves looking out for the well-being of those whom we encounter, whether as guest or as neighbor, including those whose claim on us might not seem natural or invited. Jesus’ response to the rich young ruler’s question, “Who is my neighbor?” (Luke 10:25-37) disrupts conventional notions of neighboring obligations, uncomfortably suggesting that our neighbor, and our accompanying ethical obligations of hospitality, extend beyond traditional boundaries formed by kinship and tribal solidarity. What then might it mean to consider texts as neighbors or readers as hosts from whom hospitality is to be expected?

Deep River, the last novel of Shusaku Endo, explores the spiritual yearnings of five Japanese characters, whose lives converge on a tour of sacred Buddhist sites in India. Each of these characters bears lifelong burdens of loneliness, isolation, or guilt, and their shared pilgrimage to the sacred river Ganges opens them up to the possibility of receiving and giving the love they so desperately need. Thematically, the novel moves toward a vision of an inclusive spiritual hospitality, in which the alien and the outcast can find spiritual consolation. These spiritual pilgrimages are set against the backdrop of multiple religious personae, but at the heart of the novel is the self-giving, unconditional love of Jesus and of the radical manner in which one character, Otsu, seeks to emulate Jesus’ love. In the multi-ethnic, multi-cultural, and multi-religious setting of India, Otsu’s willingness to take up his cross and imitate Jesus’ example suggests an expansive understanding of what it means to love one’s neighbor.

In its textual composition as well, the novel opens up space in which the text itself enacts what could be construed as a form of hospitable reading. To describe a text as host is to build on longstanding tropes that personify the narrative perspective of a text in terms of a narrator or persona who tells the story. To describe the narrator of Deep River as a host is to acknowledge the multiple layers of stories and allusions that this narrator invites into the narrative fabric of the story. Nearly a prototypical embodiment of what Julia Kristeva has termed “intertextuality,”1 the narrative structure of Deep River consists of a pastiche of “neighboring texts”: each of the five characters has a personal story told through the construct of a clinical case study; at least two of these stories are revised adaptations of previous short stories written by Endo; the narrative frequently invokes the words of Isaiah 53, a passage of profound Christological significance for Christian readers; and several key episodes allude, both verbally and through narrative pattern, to the Christian sacraments of baptism, the Eucharist, and confession (penance and reconciliation). In addition, there is in the text an interpretive trace or echo of the religious pluralism of John Hick, who proposed that “there is not merely one way but a plurality of ways of salvation or liberation.”2 This pluralistic paradigm takes familiar Christian references and allusions, appropriating the spiritual and ethical associations of these Christian allusions, but reinterpreting their religious meaning through the pluralist theological paradigm.

Read intertextually, the novel raises important questions as to whether these allusive practices by a “host text” demonstrate hermeneutical hospitality or, perhaps, a more subversive undermining of the religious texts it reinterprets. While the intertextual text employs familiar rhetorical figures such as allusion or direct quotation—and this paper will at times refer to allusion as a metonymical shorthand for various rhetorical strategies employed in Deep River—Kristeva’s concept of the intertextual novel redefines the relationship between host text and its antecedent sources. Kristeva cites the view of the Russian theorist Mikhail Bakhtin, that “any text is constructed as a mosaic of quotations; any text is the absorption and transformation of another,”3 to define intertextuality as an appropriation of multiple voices and perspectives which results in referential ambivalence. According to Kristeva’s reading of Bakhtin, a “writer can use another’s word, giving it a new meaning while retaining the meaning it already had. The result is a word with two significations: it becomes ambivalent.”4 What Bakhtin called the “hidden interior polemic” is a type of verbal ambiguity “characterized by the active (modifying) influence of another’s words on the writer’s word. It is the writer who ‘speaks,’ but a foreign discourse is constantly present in the speech that it distorts.”5

Kristevan and Bakhtinian intertextuality has a powerful anti-authoritarian teleology to it. For Bakhtin, writing in the context of the authoritarian Soviet state, the subversive nature of the dialogic text serves a purpose of political dissidence, but for Kristeva, that dissidence serves what she terms an “anti-theological” purpose.6

One need not agree with Kristeva that all such texts are inevitably “anti-Christian and anti-rationalist”7 to recognize that the “hidden interior polemic” could be a powerful means of undermining official pronouncements of powerful institutions, including the church. Such is the effect of the interpretive presence of Hick’s religious pluralism in Endo’s novel. This interpretive paradigm of pluralism acts as the “foreign discourse” in the novel, altering and redefining the iconography and the sacred texts that the novel, as host text, invites into its narrative.

For the first half of his career, Endo frequently described a tension between his Japanese identity and the beliefs of his adopted Christian faith, often using the metaphor of Christianity as a Western-style suit that did not fit his Japanese body. His project, as he described it to Kazumi Yamagata, was to “reshape this Western dress that my mother gave me and make it fit the Japanese body; [to explore if] it was possible to adapt Christianity to our mentality without distorting Christianity.”8 After Silence (1966), a novel in which a character provocatively pronounces Christianity to be a sapling that cannot grow in the swampy waters of Japan,9 Endo apparently concluded that the problem was with a paternalistic, judgmental Christianity that, in his view, had been shaped by Western culture. In his Life of Jesus, Endo articulated an alternative, maternal theology of Jesus’ love:


The religious mentality of the Japanese is—just as it was at the time when the people accepted Buddhism—responsive to one who “suffers with us” and who “allows for our weakness,” but their mentality has little tolerance for any kind of transcendent being who judges humans harshly, then punishes them. In brief, the Japanese tend to seek in their gods and buddhas a warm-hearted mother rather than a stern father. With this fact always in mind I tried not so much to depict God in the father-image that tends to characterize Christianity, but rather to depict the kind-hearted maternal aspect of God revealed to us in the personality of Jesus.10

From this point in his career, Endo would characterize Jesus’ love almost exclusively in terms of an empathetic identification with human suffering. Many readers, myself included, have interpreted this development in Endo’s thinking as an expression of his desire to find an enculturated expression of Christianity congenial to Japanese culture. By the time he wrote Deep River, however, Endo had apparently moved beyond Christian orthodoxy to embrace the paradigm of religious pluralism. Indeed, Mark Williams argues that Endo had “openly espoused” pluralism long before Deep River and that it can be “clearly seen germinating in his earlier works.”11

While composing Deep River, Endo discovered John Hick’s 1985 book, The Problems of Religious Pluralism, and embraced Hick’s argument that no religion has exclusive access to the divine. In his composition notes, Endo describes the shock of discovering a Christian theologian who claimed that “world religions are seeking the same God through different paths, cultures, and symbols” and who proposed that “religious pluralism should give up such a theology as to see Jesus as Messiah, and so should reconsider the problem of Jesus’s incarnation and of the Holy Trinity.”12 Hick rejected what he called “a juridical conception of salvation” whereby humans are granted a “change of status in the eyes of God from the guilt of participation in Adam’s original sin to a forgiveness made possible by Christ’s sacrifice on the cross,”13 instead redefining salvation or liberation as “the transformation of human existence from self-centredness to Reality-centredness.”14

In Deep River, Endo shapes the spiritual quests of his characters in pluralistic terms. Each character needs to be brought out of self-enclosed isolation to encounter some form of divine reality and to experience unconditional love and acceptance. Four of the characters (the remarkably cynical and nihilistic divorcée Mitsuko Naruse, the guilt-stricken war hero Kiguchi, the recently-widowed businessman Isobe, and Numada, the writer of children’s tales) have traveled to India to tour its sacred Buddhist sites. In Varinasi, they meet up with Otsu, one of Endo’s most compelling characters. Socially inept as a young man, he had been seduced and abandoned by Ms. Naruse, tried unhappily to reconcile his Japanese sensibilities with the scholastic theology he studied in a French seminary, and now pursues an unconventional ministry of bringing the dead bodies of the untouchables to the funeral pyres by the banks of the Ganges. Otsu is a contemporary holy fool, who understands one thing well: because Jesus has experienced rejection, he will never abandon anyone. Otsu clings fiercely to the unconditional love of Jesus and seeks to emulate that love in his idiosyncratic practice of the Imitatio Christi.

These tourists harbor private secrets too shameful or embarrassing to voice. Kiguchi wants to offer Buddhist prayers on behalf of his fellow soldiers who perished in the harrowing retreat through the jungles of Burma. He cannot forget the horrors of war and the guilt felt by his army buddy Tsukada for having eaten the flesh of a dead soldier. Isobe is in India on a quixotic quest to see if his deceased wife might be reincarnated as a young Indian girl. For most of his life, Isobe has embodied the stereotype of the workaholic Japanese businessman who takes his wife for granted and has only discovered upon her death how deeply he misses her. Numada has since childhood found it easier to communicate with dogs and birds than with humans and as an adult would confide his deepest secrets to a myna bird. This bird died while Numada was undergoing a dangerous operation, and Numada has long believed that the bird had, in some mysterious way, died in his place. He has come to India to repay this debt by releasing another bird into a bird sanctuary. Ms. Naruse’s motives for traveling to India are less clear, but she has never been able to forget the earnest young man she heartlessly seduced and discarded and has kept in touch with him sporadically from his seminary days to his present vocation of mercy. As a younger woman, she despised Otsu’s “foreign” god, and throughout her life had fiercely guarded her autonomy while simultaneously acknowledging her incapacity to love. She comes to India out of boredom, curiosity, and a spiritual longing of which she may not be entirely aware.
The Suffering Servant of Isaiah 53

From the earliest chapters of Deep River, with the extended flashback to Mitsuko’s and Otsu’s undergraduate days, to the day of the riot that appears to take Otsu’s life, the text of Isaiah 53 appears as a recurring refrain. From their first appearance, the suffering servant references are woven into a narrative argument that Christianity must be liberated from Western culture. In chapter three, the narrative takes us back to Mitsuko’s and Otsu’s undergraduate days at a Catholic university, where, as she waits for Otsu, she sees the crucifix, opens the Bible, and reads from Isaiah 53:


…he hath no form nor comeliness; and when we shall see him, there is no beauty that we should desire him. He is despised and rejected of men; a man of sorrows, and acquainted with grief: and we hid as it were our faces from him…. Surely he hath borne our griefs, and carried our sorrows.15

Initially, this passage emphasizes the cultural incomprehensibility of this image. Mitsuko implicitly associates the man with no beauty in the text with the iconic image of “the scrawny naked man on the cross,” the “ugly man she did not believe in.”16 Mitsuko, who has no discernible beliefs of her own, is offended that Otsu would serve this foreign God and determines to seduce Otsu, thereby intending to make him betray this God. Throughout the novel, Mitsuko continues to dismiss Christianity as a foreign religion. When she meets up with Otsu years later at the seminary in France, she tells him, “‘You’re a strange man. You’re Japanese, aren’t you? It makes my teeth stand on edge just to think of you as a Japanese believing in this European Christianity nonsense.’”17 In his defense, Otsu insists that he does not “‘believe in European Christianity’” and that he finds European “ways of thinking … ponderous to an Asian” like himself.18 Otsu’s statement concisely expresses the problem that Endo explored throughout his writing career: Christianity appears to many of his Japanese characters to be so enculturated in Western ways of thinking that it feels alien to their cultural identity. Because of Mitsuko’s antipathy to the word “God,” he proposes that they use an arbitrary signifier, “the 70 Onion,” to refer to a “force,” or an “entity that performs the labours of love.”19 Ironically, it is through the suffering servant motif of Isaiah 53 that Mitsuko discovers an alternative image of the divine, one less alienating to her cultural sensibilities. Mitsuko even begins to think of Otsu in language reminiscent of Isaiah: “He [Otsu] had no charm as a man, had nothing in his looks that might appeal to her, and he always aroused her feelings of contempt.”20 Although she claims to despise Otsu, she continues to write to him and to read the letters in which he defines his vocational mission in terms of Jesus’ ministry to the “lonely, the sick, and the suffering.”21 In these letters, he also begins to work out his emerging philosophy of religious pluralism: “‘God has many different faces. I don’t think God exists exclusively in the churches and chapels of Europe. I think he is also among the Jews and the Buddhists and the Hindus.’”22 This theme of God’s multiple faces is developed by associating the suffering servant not only with Christ, but also with Otsu and, through Mitsuko’s imagination, with the goddess Chamunda, “the goddess festering with leprosy, encoiled by poisonous vipers, gaunt, yet nursing children from her drooping breasts. … In them she had discovered the Asian mother who groans beneath the weight of the torments of this life.”23 For Mitsuko, this image of Chamunda is a fitting symbol of human suffering. She did not feel that same identification with the “ugly man on the cross,” but the “Asian mother” Chamunda manages to reach the emotional core of Mitsuko’s being.

In its pluralistically-inclusive practice of hospitable reading, the host text absorbs the language of Isaiah 53 to serve as a proxy for multiple avatars of suffering and compassion. The Isaiah text becomes cross-culturally inscribed in complex ways—as a traditional Christian reference to Jesus’ suffering on behalf of humanity, in support of Otsu’s anti-Western critique of scholastic theology, by association with the Hindu deities of Kali and Chamunda, as an image that fuses Christian and Asian images of suffering love, and then finally as the inspiration for Otsu to take up his own cross to follow Jesus, which Otsu pledges to do on the day of the riot and his fatal wound. Thematically, the novel uses this text to suggest the presence of a longsuffering, divine love infused in all religions, a love that, like the great river itself, welcomes all of humanity.

While it appears that the suffering servant motif becomes an inclusive expression of a universal divine love, the textual host exercises an important editorial excision that significantly transforms the meaning of his suffering. In the novel, the references to Isaiah 53 never complete verse 4, instead ending with the clause “Surely he hath borne our griefs, and carried our sorrows.” What is omitted are the theologically significant lines that follow:


… yet we esteemed him stricken, smitten by God, and afflicted.
[5] But he was wounded for our transgressions, he was bruised for our iniquities; upon him was the chastisement that made us whole, and with his stripes we are healed.
[6] All we like sheep have gone astray; we have turned every one to his own way; and the LORD has laid on him the iniquity of us all. (Revised Standard Version)

Ending the quotations with the reference to bearing griefs and sorrows is consistent with Endo’s depiction of Jesus as an empathetic fellow-sufferer who understands grief and comforts the sorrowful. The omitted verses, however, point to the heart of the Christian gospel: the suffering servant is “wounded for our transgressions, bruised for our iniquities,” and it is through this very “chastisement” that the people are made whole. Isaiah speaks of these sufferings as a punishment on behalf of others, a theme that Paul expands on in Romans where he explains the meaning of Jesus’ death: “since all have sinned and fall short of the glory of God, they are justified by his grace as a gift, through the redemption which is in Christ Jesus, whom God put forward as an expiation by his blood, to be received by faith” (Romans 3:23-25, RSV). The apostle Peter quotes directly from Isaiah 53 to declare that Jesus “bore our sins in his body on the tree, that we might die to sin and live to righteousness. By his wounds you have been healed. For you were straying like sheep, but have now returned to the Shepherd and Guardian of your souls” (I Peter 2: 24-25, RSV).

Omitting these references in Isaiah 53 to what the Christian church has always recognized to refer to Christ’s redemptive suffering on the cross might be an innocent redaction, a desire to focus primarily on Jesus’ empathetic experience of suffering without dismissing the salvific purpose of his death, were it not for the pluralist trace, which not only makes the idea of an atoning death unnecessary but identifies it as the problem for which pluralism is the solution. Moreover, the narrative echoes of the sacraments of baptism, the Eucharist, and penance also follow this theological revisionism by reinterpreting the meaning of the sacraments in therapeutic rather than soteriological terms.

The sacraments of baptism, the Eucharist, and penance (of which our focus will be on confession) are each alluded to in significant plot narratives in Deep River. The first two (baptism and the Eucharist) are part of the “sacraments of Christian initiation” while penance (confession) is the first of the “sacraments of healing.”24 Each of these sacraments is inextricably connected to the sacrificial death of Jesus, through which the grace of salvation is extended. According to the Catechism of the Catholic Church, of which Endo was a member, teaches that “through Baptism we are freed from sin and reborn as sons of God.”25 Through the Eucharist, “those who have been raised to the dignity of the royal priesthood by Baptism and configured more deeply to Christ by Confirmation participate with the whole community in the Lord’s own sacrifice by means of the Eucharist.”26 The sacrament of penance and reconciliation, which includes the act of confession, involves an acknowledgement “of the holiness of God and of his mercy toward sinful man.”27 All of these sacraments point to the central claim of the Christian gospel: that humans are naturally in a state of sinful alienation from God, but that through the sacrificial death of Jesus Christ, they may be saved from their sins and receive the gift of eternal life.

In the novel, these sacramental motifs appear at moments of spiritual cleansing or emotional healing that occur in the lives of several characters. While these sacramental motifs draw ethical and even spiritual power from their association with the death of Jesus, they minimize the need for the kind of confession that leads to repentance; indeed, they avoid using the category of sin as a descriptor of human actions. What marks the turning points in these characters’ lives is not a turning from sin to grace as much as it is a turning away from egotism, self-absorption, and loneliness toward greater empathy and love. The “salvation” of these characters thus follows the pluralist paradigm by which Hick refers to salvation as “the transformation of human existence from self-centredness to Reality-centredness.”28

Mitsuko’s spiritual quest takes her at the end of the novel literally into the sacred river in an initiation rite that, with symbolic allusions both to Christian baptism and to Hindu purification rites, suggests some form of spiritual epiphany. Before entering the river, Mitsuko overhears a guide explain that “‘The Hindus believe that once you enter this river, all of your past sins are washed away.”29 Indeed, the Ganges is understood to be “the archetype of all sacred waters; she is a goddess, Mother Gangā (Gangā Mātā), representative of the life-giving maternal waters of the ancient Vedic hymns; above all, she is the symbol par excellence of purity and the purifying power of the sacred.”30 At the same time, Mitsuko also continues her obsessive fixation on Otsu and the “Onion,” wondering “why did she care about him, why did she keep searching for him even as she went on mocking him”?31 The ambiguous pronoun “him” could refer either to Otsu or to the “Onion,” who, despite Otsu’s definition of the Onion as a force, is increasingly identified in the novel as a proxy for Jesus of Nazareth.

Both the Christian sacrament of baptism and Hindu purification rites presume that the water is associated with cleansing from sin. Mitsuko’s spiritual epiphany, however, conspicuously avoids any conscious expression of confession or even regret. Rather, it is an expression of discovery. Her self-described “‘fabricated prayer’”32 is largely an expression of her identification with the “river of humanity”:

“I have learned, though, that there is a river of humanity…. I feel as though I’ve started to understand what I was yearning for through all the many mistakes of my past”
***
“What I can believe in now is the sight of all these people, each carrying his or her own individual burdens, praying at this river…. I believe that the river embraces these people and carries them away… and I am a part of it.”33

The closest her prayer comes to a confession of sin is her reference to “the many mistakes of my past,” which she attributes to an unknown yearning. As an admission of sin, it is somewhat less robust than that expected in either Christian baptism or Hindu purification rites. Also unlike Christian baptism, in which God is always named in the persons of the Father, the Son, and the Holy Spirit, Mitsuko resolutely refuses to name the object of her prayer, even maintaining ambivalence about the arbitrary name “Onion,” implying that it might itself be a portal that, at best, gestures toward something greater “that could not be limited to the Onion.”34 Her willingness to open herself up to, and identify with, the experiences of humanity represents a moment of significant personal growth for her, a sharp contrast to her hellion days of youth when she eagerly and maliciously sought her pleasure by inflicting pain on others. Her epiphany also illustrates the generic movement from self-centeredness to an other-centeredness by which Hick defines salvation. If it is meant to draw on the symbolic associations of baptism or a purification rite, however, it does so by omitting, or at the least minimizing, the need for repentance.

In addition to this baptismal motif, the novel has several confessional scenes. Kiguchi’s and Numada’s stories have multiple levels of self-disclosure, including moments that resemble the rite of confession. Both stories, coincidentally, are revised versions of short stories Endo wrote a decade or more earlier, and it is by comparing the earlier versions with the revised form in which they appear in Deep River that we can see most clearly Endo’s displacement of the theological language of confession in favor of a more therapeutic desire for self-disclosure and understanding.

Kiguchi needs to reveal the burden he has carried with him since the Second World War, a story that Endo first wrote in 1984 as a short story with the theologically-significant title, “The Last Supper.”35 Both versions share the same basic plot: a soldier named Tsukada survived the infamous Death March through Burma by eating the flesh of a deceased comrade. For the rest of his life, Tsukada is tormented by guilt and drinks himself to an early death, spending his last hours in a hospital where a foreign volunteer hears his confession and gives him absolution of sorts by indicating that he, too, as a survivor of the 1972 plane crash in the Andes, had eaten human flesh. By confessing his deed and hearing these words of understanding, Tsukada is able to die in peace. In “The Last Supper,” the foreign volunteer is an Argentinian named Echenique; in Deep River, the foreigner is a Frenchman named Gaston. In Deep River, Kiguchi was a fellow soldier, whose life was saved because Tsukada ate human flesh and thereby maintained his strength to carry his comrade to safety.

There are several subtle differences between the two versions of the story, differences that indicate a shift in the way that sin, guilt, and forgiveness are presented. In the earlier version, Tsukada ate the flesh of his deceased comrade for his own survival, not to save the life of another. Hence, Tsukada asks the Christian foreigner if his God could forgive “someone who has fallen into such depravity.”36 In Deep River, Tsukada asks if “someone who’s fallen that far into the hell of starvation” could be forgiven,37 the former term “depravity” conveying a moral failure while the latter construction (“fallen into the hell of starvation”) suggests greater passivity into material conditions of deprivation. The fact that Tsukada eats the meat to save Kiguchi’s life also affects the way in which the action is viewed by others. Late in the novel, Kiguchi dreams that Gaston explained to him that his friend “‘would be forgiven because he had done it out of compassion.’”38 This subtle change implies that forgiveness is merited if an offense is motivated by compassion. Christian forgiveness, however, does not depend upon what motivated the transgression, a truth more clearly communicated in the earlier version of the story.

The later version also changes the narrator of Kiguchi’s story from the hospital psychiatrist to Kiguchi himself. The earlier version contrasts the psychiatrist’s inability to relieve Tsukada’s guilt with the theologically-inflected compassion of the Christian foreigner, whose words seem to bring Tsukada peace in his final moments. To be sure, the psychiatrist manages to draw out Tsukada’s painful confession, but his consolations offer Tsukada no lasting relief: “Mr. Tsukada. You drink every night to forget those eyes, don’t you? … But not even that child [the son of the deceased soldier] blames you. It’s just the way things were.”39 By contrast, Echenique, after hearing Tsukada’s story, has his own startling revelation. One of the survivors of Uruguayan Air Force Flight 571 that crashed in the Andes in 1972, he lived by eating the flesh of the deceased fellow passengers. In a brilliant plot device, Endo gives Echenique’s experience Eucharistic symbolism, using language that alludes, as does the title of the story, to the Last Supper.

Echenique explains that a priest on the plane sustained fatal injuries, but before dying, he gave the surviving passengers permission to eat his flesh. This priest had been a habitual drinker, and he implored the rest of the passengers to “eat my body … and wait until you’re saved.”40 In a bit of grim humor, he cannot help but joke about his alcohol-saturated body: “If you eat too much in one sitting, you’ll get drunk. I’ve got a thirteen-year supply of alcohol inside me.”41 This man offers up his body and his wine that others might be saved, and Echenique, in his halting Japanese, emphasizes the sacramental overtones of this grisly action: “I too eat. … But then I eat also his love.”42

In Deep River, the Eucharistic overtones remain, if less pronounced. The dying passenger, still described as a drunken man, tells the passengers to eat his flesh for “help” will come,43 a term with less theological resonance than the word “saved.” The narrative omits the joke about ingesting the man’s alcohol in his flesh, instead treating his history of alcoholism primarily as his moral failing that his final act of generosity redeems in the eyes of others. Most telling, however, is the final image given of Gaston sitting beside Tsukada’s bed:


Kiguchi could not tell whether such comfort eased Tsukada’s pain. But the figure of Gaston kneeling beside his bed looked like a bent nail, and the bent nail struggled to become one with the contortions of Tsukada’s mind, and to suffer along with Tsukada.44

When Tsukada finally does pass away, “Kiguchi couldn’t help but feel that this peaceful death-mask had been made possible because Gaston had soaked up all the anguish in Tsukada’s heart.”45 This beautiful and emotionally powerful image of a fellow-sufferer makes the purpose of his compassion the easing of Tsukada’s anguish, an action that is depicted without reference to forgiveness.

Numada has a different story of confession, one that merges the sacramental imagery of confession with the motif of a substitutionary death. An earlier version of Numada’s story appears as “A Forty-Year-Old Man,” with a different protagonist (Suguro) and a different context. Nevertheless, both stories share these elements: Numada (Suguro) had a pet bird to whom he used to tell his deepest secrets, things he could never confide to another human being. Numada (Suguro) also happened to have a chronic lung condition, which necessitated a risky operation during which his heart stopped on the operating table, leaving him momentarily dead. During his hospitalization, nobody remembered to care for his bird, which ended up dying during the operation. In both stories, the protagonist has the strong conviction that the bird died in his place, the Christian symbolism of which is unmistakable.

Once again, however, the alterations to the story serve to de-emphasize the soteriological theme of a vicarious death on behalf of a man who has sinned (“A Forty-Year-Old Man”) to the theme which predominates throughout Deep River, of the companionship of one who takes on our deepest burdens and demonstrates an unconditional love to the point of laying down one’s life for another. Confession is no longer the plea of a sinner who needs forgiveness but the plea of a lonely and alienated man who needs understanding.

In “A Forty-Year-Old Man,” Suguro bears the guilt of having betrayed his wife by sleeping with her cousin and subsequently taking her to an abortion clinic. This is the secret that he confesses to his myna bird, whom the narrator explicitly likens to a “priest seated in the confessional.”46 Endo skillfully uses blood imagery as expressions of Suguro’s guilt and as symbolic reminders of the atoning blood of Jesus. After his close call on the operating table, Suguro leaves the hospital with his wife, who seems to know about the affair, and who also apparently forgives her husband with the reassurance that “everything will be all right now.”47 Her forgiveness is symbolically reinforced by her statement that the bird died in his place, a phrase redolent with overtones of Jesus’ substitutionary death. This motif of confession draws on the traditional theology of the atonement and the relationship between confession of sin and forgiveness.

In Deep River, Numada’s story omits any reference to sin and guilt, transforming the practice of confession into a symbol of one’s need for self-disclosure to a non-judgmental being. Numada’s plight is not guilt but rather the intense loneliness he has experienced since childhood, a loneliness that has led him to the imaginative creation of an animal world in his books for children. The motif of a substitutionary death remains, the bird having apparently died in Numada’s place, but there seems to be no particular logic for this substitutionary death. Instead, the bird’s death seems simply to be an expression of unconditional love from a creature, even when it dies from neglect. The bird’s death also prefigures Otsu’s eventual death. In seeking to save the tourist Sanjo, who had violated the taboo against photographing the dead, from an angry mob, Otsu literally gives his life to save another man’s life.

This model of unconditional love, identified with Jesus, Otsu, Chamunda, the myna bird and throughout Endo’s oeuvre with a host of other unconventional exemplars of longsuffering love, reveals the heart of Endo’s theology. To the extent that Endo simply emphasizes the “suffering and brokenness of Christ,”48 he stands within an important strand of Japanese theology that Richard Mouw and Douglas Sweeney refer to as “Christus dolor theology.”49 However, as Mouw and Sweeney remind us, “to recognize that Jesus has suffered with us needs in no way to detract from the fact that in eternally significant ways he also suffered for us … bearing the full burden of our sin and guilt in ways that we could never do for ourselves.”50 That is the theological understanding of Jesus’ sufferings that the narrator of Deep River quietly abandons with the selective and theologically incomplete reading of Isaiah 53 and with the sacramental imagery emptied of soteriological significance. The cleansing of baptismal waters, the confessional self-disclosures, and even the Eucharistic overtones of eating human flesh come to signify therapeutic transformations of these characters, leading them from self-enclosed isolation into what Mitsuko calls the “river of humanity.”51

It is this pattern of subverting the orthodox meanings of the Christian texts and motifs in Deep River that defines the narrative as intertextual in the Kristevan sense, rather than as a more conventional rhetoric of allusion. By situating the characters’ transformative experiences in sacramental language and imagery, the narrative suggests that something of salvific significance has taken place, but the hidden interior polemic redefines those experiences in a therapeutic rather than theological idiom. There is a subversive element to this pattern of reading and appropriating sacred texts and images, of drawing from the rich spiritual capital of the Christian sacraments but then emptying them of their spiritual signification. While such textual and hermeneutical practices may well be defended as intellectually or even theologically necessary from the pluralist standpoint, one would be hard-pressed to describe this as a charitable form of reading the Christian tradition. Charitable reading practices, at least on some level, imply a hermeneutical adaptation of the Golden Rule (to read as one would wish to be read by others). One irony of the novel is that while the great river is a metaphor of hospitable welcome to all peoples and all spiritual practices, the novel itself does not seem to open up space for orthodox expressions of the Christian faith.

As a host text, Deep River consists of the stories of several individuals—Isobe, Numada, Kiguchi, Mitsuko, and Otsu—which are absorbed into a larger narrative about spiritual transformation. The narrative encourages a hospitable reading of their personal stories, their private struggles treated with generosity and respect and their human dignity affirmed. Likewise, the text welcomes multiple religious personae of this culturally and spiritually pluralistic setting—from the named deities Kali and Chamunda to the more archetypally generic “Asian mother” that the tour guide Enami passionately honors, from the generic and syncretistic “Onion” to the explicit textual presence of Jesus. As befits the titular symbol of the great river that embraces all of humanity, this narrative inclusivity reflects an expansive understanding of what it means to love one’s neighbor in an increasingly interconnected world.

In the classical world, hospitality was demanded by the gods and motivated to some extent by fear lest the stranger at one’s door turn out to be a deity in disguise. Jesus’ ethic of hospitality motivates, not by appealing to the fear of offending a deity but by elevating the moral status of “the least of these,” for He asserts that whatever acts of charity and kindness are offered to the most insignificant of humans are accepted as if they were performed directly for God (Matt. 25: 35-40).

In welcoming the suffering servant of Isaiah into the text, Deep River affirms this kingdom ethic of hospitable love for all people, no matter how insignificant or marginalized. Yet in its editorial concision of Isaiah 53, the textual host does not recognize the complete identity of the suffering servant: he is the man of sorrows, to be sure, despised and rejected by humanity, yet he also becomes the savior, the one by whose suffering humanity is healed, and he is exalted by the prophet as the “righteous one” who will “make many to be accounted righteous” (Isaiah 53:11, RSV). This is the incarnate God whose identity may easily be missed in the ambivalent texts of Deep River.

Cite this article
John T. Netland, “Rewriting the Death of Jesus: An Intertextual Reading of Shusaku Endo’s Deep River”, Christian Scholar’s Review, 46:1 , 65–78


FootnotesJulia Kristeva, “Word, Dialogue and Novel,” in The Kristeva Reader, ed. Toril Moi, trans. Seán Hand (New York: Columbia Univ. Press, 1986). 37.
John Hick, Problems of Religious Pluralism (New York: St. Martin’s Press, 1985), 34.
Kristeva, “Word, Dialogue and Novel,” 37.
Ibid., 43–44.
Ibid., 44.
Ibid., 47, 49.
Ibid., 50.
Kazumi Yamagata, “Mr. Shusaku Endo Talks About His Life and Works as a Catholic Writer,” The Chesterton Review 12 (1986): 495.
Shusaku Endo, Silence, trans. William Johnston (New York: Taplinger, 1966), 147.
Shusaku Endo, A Life of Jesus, trans. Richard A. Schuchert, S.J. (New York: Paulist Press, 1973), 1.
Mark Williams, “Crossing the Deep River: Endo Shusaku and the Problem of Religious Pluralism,” in Xavier’s Legacies: Catholicism in Modern Japanese Culture, ed. Kevin M. Doak (Vancouver: UBC Press, 2011), 116-117.
Quoted by John Hick in John Hick: An Autobiography (Oxford: One World, 2002), 286.
Hick, Problems of Religious Pluralism, 31-32.
Ibid., 29.
Shusaku Endo, Deep River, trans. Van C. Gessel (New York: New Directions, 1994), 44-45.
Ibid., 45.
Ibid., 64.
Ibid., 65.
Ibid., 64.
Ibid., 116.
Ibid., 123.
Ibid., 121.
Ibid., 175.
he Catechism of the Catholic Church, Part Two: The Celebration of the Christian Mystery, Section Two: The Seven Sacraments of the Church, §1211. Online Resource. The Vatican.va., 1993. http://www.vatican.va/archive/ENG0015/ __P3E.HTM.
Ibid., §1213.
Ibid., §1322.
7Ibid., §1424.
Hick, Problems of Religious Pluralism, 29.
Endo, Deep River, 196.
Lindsay Jones, Mircea Eliade, and Charles J. Adams, Encyclopedia of Religion (Detroit: Macmillan, 2005), 5:3274.
Endo, Deep River, 209.
Ibid., 210.
Ibid., 210–211.
Ibid., 211.
Shusaku Endo, “The Last Supper,” in The Final Martyrs, trans. Van C. Gessel (Tokyo: Charles E. Tuttle, 1993), 147-167.
Ibid., 164.
Endo, Deep River, 101.
Ibid., 200.
Endo, “The Last Supper,” 160.
Ibid., 165–166.
Ibid., 166.
Ibid., 166.
Endo, Deep River, 102.
Ibid., 103.
Ibid., 103.
Shusaku Endo, “A Forty-Year-Old Man,” in Stained Glass Elegies, trans. Van C. Gessel (New York: New Directions, 1984), 23.
Ibid., 27.
Richard J. Mouw and Douglas A. Sweeney, The Suffering and Victorious Christ: Toward a More Compassionate Christology (Grand Rapids, MI: Baker Academic, 2013), 2.
Ibid., 1.
Ibid., 95.
Endo, Deep River, 211.



John T. Netland
Union University
John T. Netland is Dean of the College of Arts & Sciences and Professor of English at Union University.

===

BOOKS / REVIEWS | ESSENTIAL READING FOR JAPANOPHILES
Deep River
BY IAIN MALONEY
SPECIAL TO THE JAPAN TIMES

Dec 13, 2014
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In “Deep River” a group of elderly Japanese tourists and a couple join a tour of holy Buddhist sites in India. Motivated by different forms of grief and guilt, each is searching for healing. The narrative involves four main characters: Isobe, recently widowed, Kiguchi, a war veteran haunted by memories of Burma, Numada, a writer recovering from a serious illness, and Mitsuko, a cynical nurse searching for a heretical priest she knew in her youth.

Deep River, by Shusaku Endo, Translated by Van C. Gessel.
New Directions, Fiction.
The novel is a Dostoevskian study of the acceptance and forgiveness of sins, handled with a Graham Greene insouciance. Through religious devotion, ritual cleansing or submission to punishment, each character’s spiritual crisis is played out against a backdrop of culture clashes and group tensions. As with all of Endo’s books, it is deeply spiritual and unashamedly Christian, though he stops short of suggesting that Christianity may be a salve to the existential malaise he sees at the heart of modern Japanese life.

For a book that deals with such lofty ideas, Endo’s subtle touch and jagged humor make the journey easy going. The young Japanese couple’s whining about the dirtiness and poor service in India — a playfully used stereotype — provides welcome comic relief.

This short novel is both deep and fast-flowing, a moving examination of regret and acceptance, and a black comedy of manners encapsulating the shifting sands and strata of modern Japanese society.







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Posted by Sejin at March 31, 2023
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