Shūsaku Endō’s Silence: A 10 Minute Book Talk

Shūsaku Endō’s Silence is the story of, Sebastião Rodrigues, a Jesuit missionary who goes to 17th century Japan to be a priest to an oppressed church and to find his mentor, Fr Ferreira, who is reputed to have apostatized. Fr Rodrigues finds that he becomes one of the Kakure Kirishitan, one of the “Hidden Christians” to be persecuted in the 1630 and 1640s. The story of Fr Rodrigues is told through a number of epistolary perspectives, including historical notes, diaries, shipping logs, and letters that Fr Rodrigues can never be sure will reach his superiors in the west.

As I am teaching an upcoming Japanese Religion and Culture course, I could use Endō’s Silence to discuss a definitive point in Japan’s history, when it repelled Western attempts to colonize, limited its trade, and successfully crushed the spread of Christianity. This age, the Edo period from the early 17th century to the Meiji restoration of Western relations following the American civil war in the 1860s, has defined Japan’s history and identity. Silence works as historical fiction in the period of persecution, which was peculiarly effective.

However, Silence isn’t about history—even the history of Roman Catholicism in Japan. It is a story about what it means to be faithful. And this is what draws me to the novel. Fr Rodrigues’ narrative is not so much his historical moment but the struggle within himself of what it means to be faithful Christ’s face—an image he loves—when the result is great suffering for himself and others.

Fr Rodrigues is always thoughtful and questioning, but solid and compassionate. He is set against Kichijiro, an ingratiating and intemperate Japanese convert who apostatized numerous times. While it looks at first like Kichijiro is merely the priest’s means to connect to Japan and a foil for Fr Rodrigues’ own struggles in faith, the link between the two men becomes more intricate and complex as the story goes on.

Ultimately, the question the book asks is captured in this quotation from the end of the novel: “This country of Japan is not suited to the teaching of Christianity. Christianity simply cannot put down roots here.” In one way, this is historically untrue. There are more than a million Christians in Japan, most concentrated where the persecution was greatest (in Nagasaki). But, though I never read Silence when I lived there, it was something I wondered about Japan. A third or more of Koreans are Christian, perhaps 10% of China or a little less. But only about 1% of Japan is Christian, and there are no signs of a radical shift. More than that, in my experience, the Japanese looked at Christianity as foreign, other. And for many, to become a Christian is to betray something Japanese in themselves.

That Shūsaku Endō makes a gaijin, a foreigner, the protagonist of Silence is intriguing. This device, with the native Kichijiro as the counter-voice, is quite brilliant. “Betrayal” is the heart of Silence—not just about betraying the image of Christ that Christians must stomp upon to avoid persecution, but about betraying others and God’s betrayal of us in silence. The twist in perspective in Silence is an effective way for Endō to work out his own Catholic faith as a Japanese person.

While I think this is a profound story of faith and betrayal by a uniquely situated author, I struggled to really love this book as a story. I have only read it once, and I suspect it is better as a reread. And perhaps I was too focused on the theological aspects, but I had trouble connecting to the characters and have never understood the epistolary structure. I also don’t know how this book sits in the Japanese realist tradition, which (like Snow Country by Yasunari Kawabata) is in conversation with three traditions: nature, court tales like Genji, and the contrasts of movement and stillness we see haiku poetry. The contrast, the juxtaposition is there, and it is nature that provides the contrast to Fr Rodrigues’ own silence.

Artistically, I don’t know how to read this book, personally, I struggled to get into it as a novel—when it comes to Japanese fiction, all I want to do is read Haruki Murakami: if Shūsaku Endō is the Grahame Greene of Japan, then Murakami is Japan’s Kafka. But as a work of theological fiction, it really is an effective work. I have not come to a resolution in my mind about Christian faith and Japan, but it certainly is a provocative book.

About Brenton Dickieson

“A Pilgrim in Narnia” is a blog project in reading and talking about the work of C.S. Lewis, J.R.R. Tolkien, and the worlds they touched. As a "Faith, Fantasy, and Fiction" blog, we cover topics like children’s literature, apologetics and philosophy, myths and mythology, fantasy, theology, cultural critique, art and writing. This blog includes my thoughts as I read through Lewis and Tolkien and reflect on my own life and culture. In this sense, I am a Pilgrim in Narnia--or Middle Earth, or Fairyland. I am often peeking inside of wardrobes, looking for magic bricks in urban alleys, or rooting through yard sale boxes for old rings. If something here captures your imagination, leave a comment, “like” a post, share with your friends, or sign up to receive Narnian Pilgrim posts in your email box. Brenton Dickieson is a father, husband, friend, university lecturer, and freelance writer from Prince Edward Island, Canada. You can follow him on Twitter, @BrentonDana.
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11 Responses to Shūsaku Endō’s Silence: A 10 Minute Book Talk

  1. Allyson says:

    Thank you for your thoughts on “Silence.” It has haunted me ever since I read it 4 years ago. Makoto Fujimura’s book “Silence & Beauty” was sort of a Cliff’s Notes to help me understand Endo (and coincidently where I learned about the Japanese love for Anne of Green Gables). We had a great conversation in book club about “Silence.” To this day, I wonder what I would do if put in the same situation.


    • Thanks Allyson! Yes, Fujimura has taught at Regent College, where I graduated and do some teaching. So I ordered a lecture series of his and look forward to it.
      I am hoping my class will be like a book club on this text, and that they’ll teach me many things!


  2. David Llewellyn Dodds says:

    Belated thanks for this! The subject matter draws me (though I have not dug into it historically in detail, yet), but something or other (I don’t remember what-all) made me doubt if I should read this novel. You give a nicely nuanced reflective response, here – which intrigues… Also intriguing (in Allyson’s comment, too) is the Japanese interaction with western (historical) fiction – and the broader matters of historical and ‘documentary’ fiction as possible independent phenomena in different cultures and languages.(I’ve enjoyed Bertus Aafjes’s historical-fictional interactions in Dutch with the ‘matter’ related to Ōoka Tadasuke, but have not read up on him further, yet, either.)


    • Thanks David, it won’t be for everyone. I am looking forward to teaching it in 3 weeks. I’ll see how far we get into it and what the students teach me.


      • David Llewellyn Dodds says:

        I do love that about teaching – the ‘hierarchic-republican’ aspect (as Charles Williams puts it) where you/we learn from the students, whatever our longer experience and immediate teaching-prep (which is indeed also a nice thing about book clubs, and ‘study groups’).


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