Hōjōki: Visions of a Torn World

Recluse literature, also known as “thatched hut literature,” is a Japanese literary movement that was most prominent in the late Heian period and early Kamakura period (the late 1100s and early 1200s, respectively). These works technically fall under a number of genres, such as classical waka poetry or zuihitsu essays, which are fragmented writings about the author’s observations and surroundings. Yoshishige no Yasutane’s Chiteiki, written in 981, is considered one of the first works of recluse literature, and it is a major source of inspiration for “Hōjōki.” Like “Hōjōki,” Chiteiki focuses on a modest dwelling and explores themes of impermanence and reclusion while criticizing the secular world, particularly in relation to the aristocracy.

Japanese recluses typically withdrew from society to focus on Buddhist practices, and their writings reflect the influence of Buddhism on their daily life, emphasizing the importance of detachment (mujō) and the fulfillment found in nature and solitude. In some cases, the decision to isolate came from dissatisfaction with societal norms; Chōmei criticizes the attachment to homes that will inevitably be destroyed, and he points out the stress that accompanies both poverty and wealth. In contrast, his hut is easily transportable, and he no longer worries about his appearance as no one is around to judge him.

In other cases, reasons for reclusion are never given. Saigyō Hōshi, a poet and monk, was another famous recluse who lived from 1118 to 1190. Despite living a fairly privileged life in court, he renounced society in his early 20s, and his poetry focuses on Buddhism and the natural world. Saigyō’s poems are known for their sense of melancholy and suffering.

Recluse literature did not originate in, nor is it exclusive to, Japan. Famous Japanese recluses like Chōmei and Saigyō drew inspiration from Chinese Taoists like Laozi, the recluse who wrote the Tao Te Ching. Western transcendentalist works also bear similarities to recluse literature; Henry David Thoreau and Ralph Waldo Emerson both produced works that focused on self-reliance and connected religion to nature. Thoreau’s Walden documents his experiences living in a cabin near a pond, though these works lack the elements of East Asian Buddhism that are prominent with authors like Chōmei.

Notably, recluses did not live in complete isolation. Chōmei mentions interacting with a boy who lives near his hut, and Saigyō is known to have returned to the city on occasion. Their works were also featured in imperial poetry collections, indicating that they maintained some contact with greater society.