Peter Greenaway on Sei Shōnagon

“Sei Shonagon feels modern, almost a proto-feminist in such a paternalistic age that women at court stayed, for the most part, silent and still and available indoors all their lives. She said much, and she said two electrifying things from the still darkness of her domestic prisons. She said them of course very much in her own way, but she said there were two things in life that were absolutely essential, and life would be unbearable without them: the sensuous body and literature. My crude summation would be sex and text. Both have the X factor. She said them with longing and her longing stayed with me.”

“It is a loose book, impressionistic, hardly coherent as a continuous narrative. It is full of descriptions of court life, and the retelling of court gossip and descriptions of fashionable shrines and how to get there by the most elegant means. It is a piece of writing replete with those typical Japanese wistful and melancholic evocations of ephemerality. It was written a thousand years ago almost exactly to the year the film was made, and it was written by a woman. To be literate a thousand years ago in the West was pretty uncommon; to be literate and a woman, very unlikely; to be literate, female, and quite brilliant, a well-nigh Western impossibility.”