The Sorrow of War, Bao Ninh

The Sorrow of War (1990) is the fictional memoir of a young North Vietnamese man during and after the – from his point of view – American War. The author, Bào Ninh was actually born in 1952, but his protagonist Kien is 17 in 1965, so four years older, when the war starts and he goes straight from school to the North Vietnam Army. In the novel Kien is a famous novelist, 40 years old, writing The Destiny of Love, a story of the war which keeps getting mixed up with his own recollections of the war years, 1965-75, and the years since.

According to Wikipedia, in 1990 Bào Ninh published a roneoed version (who remembers Gestetners?) of this novel with the title The Destiny of Love after completing a creative writing course. “Soon afterwards Phan Thanh Hao translated it into English and took the manuscript to the British publishers Secker & Warburg. Geoffrey Mulligan, an editor there, commissioned Frank Palmos, an Australian journalist who had reported on the Vietnam War and written about it in his book Ridding the Devils (1990), to write an English version based on the raw translation.” This probably explains why The Sorrow of War sounds as though it were written in English by someone familiar with the war from the US point of view, as we are, rather than just translated.

I’m three years younger than Kien. I went up to university from my country high school in 1969 and was straight away involved in politics. Conscription had been introduced by the Liberal government to build up the army to help the Americans stop the supposed spread of Communism through South-East Asia. In 1971 I would have to register for ‘the ballot’, the lottery that chose 20 year olds to enlist, or face two years jail. As it happens I had no intention of killing the old men of the Liberal party’s enemies, or in helping them relive the glory days of World War II (in which of course very few of them had actually fought).

The first term of 1970 was spent in planning for the Moratorium on May 8. On the day, I marched down Swanston Street at the head of the Melb Uni contingent, bearing the pole for one end of our banner, to join up with the thousands already gathered in the Treasury Gardens. Then we marched out of the gardens and down Bourke Street to the GPO, 100,000 people shoulder to shoulder across the street. From where we were, outside Myers you could see marchers back up the hill all the way to Spring Street.

After the Moratorium was the Socialist Scholar’s conference in Sydney, then a fiery July 4 demo, the second Moratorium in September, which I attended in Brisbane having by then started truck driving, and an afternoon in the cells under the old Magistrates Court for ‘publishing a document’ to incite a breach of the National Service Act – ie. handing out pamphlets. By the end of 1971 I had been served a warrant regarding my failure to register and so moved to Queensland to live, to be out of the way. In December 1972 Labor was elected and the National Service laws were repealed. It was all over, for me anyway. For Kien it was never over.

These ‘war years’ of mine are only a fraction of the ten years Kien loses in the NVA, and then he must spend ten years more, reclaiming and losing again his first and only love Phuong, compulsively writing out the horrors he cannot forget, living with the spirits of the dead and, when this story starts, beginning the post-war years by collecting and bagging the bodies of the MIA’s in the Jungle of Screaming Souls, the battleground where he of all the 27th Battalion, was the only survivor.

Briefly, the novel is framed as a novel being written and then discarded, with the scattered pages recovered, out of order, and given to an editor. A standard writing school trope and hopefully now out of fashion again. But the result is a discontinuous narrative, with Kien fighting; Kien and Phuong graduating from high school, Kien too ‘honourable’ to follow up Phuong’s advances; rapes and battles and massacres; Phuong following Kien to the front; Kien and Phuong trying to live together, and failing, after Kien’s ten year absence.

If Erich Maria Remarque’s All Quiet on the Western Front remains the preeminent anti-war novel by a soldier on the losing side of WWI, then The Sorrow of War reminds us that winning is no great shakes either for the soldiers doing the actual fighting. But the real clue to reading this book is the ‘battle’ over the titles. It is clear Western readers at least are most interested in the war, but that the author is in fact more concerned with Kien’s failure to love and protect Phuong. The Sorrow of War is a love story that breaks your heart over and over and over again.

This is a stunning book. The only Vietnam War book I have read, or will read probably. I’m only sorry I was unable to get hold of a paper copy to give you some examples of Ninh’s writing

 

Bao Ninh, The Sorrow of War, originally self-published as The Destiny of Love in Vietnamese in 1990. English version, Frank Palmos, Secker & Warburg, London, 1993. Audio version, Trantor, 2015, read by James Langton (no mention in the audio credits of Palmos or any translator)

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Lisa at ANZLitLovers discussed The Sorrow of War a couple of years ago (here) and specifically the problem of English language counterfeit copies. This discussion takes a very interesting turn when Frank Palmos, now an Indonesia and Vietnam specialist at UWA (LinkedIn) joins in, at the time and again today (26/08/2017).

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Wind/Pinball, Haruki Murakami

Translated by Ted Goossen

That’s a pretty garish cover isn’t it, I think I prefer the audiobook, below. I listened to it at work, didn’t make any notes, then found the paper version in one of my three local libraries (Victoria Park, WA). Wind/Pinball (2015), containing Murakami’s first two published novels from 1979 and 1980, is a book in three parts. Murakami was born in 1949 so he wrote the novels when he was 30,31. They are not autobiographical – though I imagine he was writing about experiences and situations that were familiar – and are strictly realist, unlike 1Q84 and After Dark (review), the only others of his that I have read.

Introduction: The Birth of My Kitchen-Table Fiction

Murakami married while he was still at university and he and his wife opened a small jazz bar in the student district of Tokyo, before graduating, to avoid having to take office jobs in the City. After five years of working day and night to pay off loans, a baseball game inspired him, he says, to become a writer. He dashed off a novel late at night using a pen and ink (for the Japanese characters) and hated it.

Since I was born in Japan, the vocabulary and patterns of the Japanese language had filled the system that was me to bursting, like a barn crammed with livestock. When I sought to put my thoughts and feelings into words, those animals began to mill about and the system crashed.

His solution was to get a typewriter and to write in English, which “led me to discover that I could express my thoughts and feelings with a limited set of words and grammatical structures, as long as I combined them effectively and linked them together in a skillful manner.”

Then I sat down and “translated” the chapter or so that I had written in English into Japanese. Well “transplanted” might be more accurate, since it wasn’t a direct verbatim translation. In the process, inevitably, a new style of Japanese emerged. The style that would be mine.

The resulting novel, Hear the Wind Sing – almost a novella he says (it’s only 100pp) – was a success. He immediately wrote a sequel, Pinball, 1973, and these two, written on his kitchen table, with his next, and first full-length novel, Wild Sheep Chase, form the Trilogy of the Rat.

Hear the Wind Sing

An unnamed narrator and his rich friend, Rat, twenty-something young men, drink in J’s Bar (J, who is older and Chinese, is the bartender) somewhere on the coast, not Tokyo. Interestingly all the cultural references are Western – Hitler, JFK, Flaubert, Mozart, Brook Benton and so on.

The narrator wakes up naked, in bed with a naked young woman. They do not know each other. She interrogates him. He found her unconscious in the toilets in J’s bar, patched her up, brought her home. He didn’t sleep with her. She doesn’t believe him.

There are lots of short chapters. Scenes in the bar. Segments of a DJ on the radio, playing the Beach Boys. The narrator is fascinated by the (fictitious) author Derek Hartfield.

He goes into a record shop and the young woman is there behind the counter. He buys The Beach Boys, Beethoven and Glenn Gould.

The young woman finally works out for herself that nothing happened, gets his number from J’s Bar and phones him, they start going out.

Life goes on. He moves away, to Tokyo. The young woman has moved on. The Rat is writing novels. “California Girls still sits in the corner of my shelf”.

Pinball, 1973

The narrator is living with identical twin girls. They have adopted him, moved in without even a change of clothes, he doesn’t know their names, they tell him to choose, calls them 208 and 209, the numbers on their T-shirts. He is partner in a translation business, pays them pocket money for housekeeping and so on.

They tenderly laundered their sweatshirts once a week in the bath. Lying in bed reading the Critique of Pure Reason, I would glance up and see them kneeling side by side, naked on the tile floor, scrubbing away. Times like that made me feel as if I’d arrived at some faraway place…

Many times I came home after work to see the sweatshirts with the numbers 208 and 209 fluttering in my south-facing window. Occasionally, it brought tears to my eyes.

At college he had interviewed people about where they came from, become fascinated by Naoko who came from the country, a village with a bus stop, a few shops, and “there’s always a dog walking the platform from one end to the other. That kind of station”. No not fascinated by Naoko, by the dog. He has to see that dog.

The pinball machine sidles in later. He becomes expert, the record holder, on a rare three flipper machine, the ‘Spaceship’. When it’s taken away during renovations he has to track it down.

He and his business partner have an attractive receptionist who makes advances to him which he ignores. The Rat has a girlfriend who sold him a typewriter.  This time it is the Rat who moves away. The twins move away too, going home they say.

Melanie at Grab The Lapels insists I should always answer the question ‘did I like the book?’ I loved it! As far as I’m concerned, Murakami is up there with William Gibson, and in my book that’s high praise indeed.

 

Haruki Murakami, Wind/Pinball: two novels, Borzoi, New York, 2015. Originally published in Japanese in 1979 and 1980. Audio version, Random House Audio, read by Kirby Heyborne, 2015.

After Dark, Haruki Murakami

Translated by Jay Rubin

Haruki Murakami (1949 – ) is Japan’s “best-known novelist abroad”. I came to him late, borrowing an audio book version of 1Q84 from my local library one or two years ago. The opportunity to read this one came up when I saw our house in the Rue de la Tombe Issoire had a shelf of English language Murakami’s, selected this one as the shortest, and knocked it off in one night (that is, I read it, I didn’t take it with me). But I’ll have to make room in my posting schedule to fit it in.

After Dark (2004) is both short – 200pp – and unlike 1Q84, relatively straightforward, but still with elements that occupy the space between SF and magic realism. A young woman is sitting in a cafe, a Dennys, late at night, reading.

She is probably college freshman age, though an air of high school still clings to her. Hair black, short, and straight. Little make-up, no jewellery. Small, slender face. Black-rimmed glasses. Every now and then, an earnest wrinkle forms between her brows.

She’s pretty, but we learn that she doesn’t think so herself. A lanky, young man with long, tangled hair comes in and, after a minute, joins her at her table. It appears that he has met her before,  on a sort of date with her spectacularly good looking older sister. The name of the young woman is Mari, and her sister is Eri. It is only later that we discover the young man’s name, Takahashi.

Takahashi leaves. He’s a trombonist in a band having an all-night practice session in a near-by warehouse. Later, a big, athletic woman, Kaoru, comes in, a former wrestler now managing a love hotel. A Chinese prostitute has been beaten and abandoned. Takahashi who sometimes helps out at the love hotel, has told Kaoru that Mari speaks Chinese. Mari goes off with Kaoru.

Murakami’s voice alternates between narration and observation.

The room is dark, but our eyes gradually adjust to the darkness. A woman lies in bed asleep. A young, beautiful woman: Mari’s sister, Eri. Eri Asai. We know this without having been told so by anyone… We allow ourselves to become a single point of view, and we observe her for a time.

There is a television in the bedroom. The screen shows a seated man staring out into the room. Sometimes the screen flickers. Later in the book Eri’s bed is empty, the bedding undisturbed, but through the screen we see that, somewhere, she sleeps on. When she eventually wakes she seems unable to make her way back.

With Mari translating, Kaoru and her workmates patch up the Chinese woman. Mari feels they might have been friends if circumstances weren’t dragging them in radically different directions. The Chinese woman is picked up by her minder on a motorbike. Throughout the night the bike cruises past Mari and Takahashi. They don’t notice.

Mari talks to the women at the love hotel, to Takahashi who has cut short his rehearsal. Mari’s parents have concentrated all their attention on Eri and her modelling career, Mari is the ‘plain’, sporty one. She can’t go home, something is wrong with her sister, she, Eri won’t wake up. Takahashi has decided to give up music and concentrate on his studies to become a lawyer. We find that Eri has confided in Takahashi, who was in her year at school, but not in her circle. The night passes.

Allowing ourselves to become pure point of view, we hang in midair over the city. What we see now is a gigantic metropolis waking up. Commuter trains of many colours move in all directions, transporting people from place to place. Each of those under transport is a human being with a different face and mind, and at the same time each is a nameless part of the collective entity.

Mari finds a way to begin bridging the gap to Eri.  After Dark is a good read, and  just sufficiently weird to keep you intrigued.

In the rue de la Tombe Issoire we are sitting up late, watching new episodes of Big Bang Theory on British TV. Geology daughter says “if it’s written by a man, with that cover” then she doesn’t want to read it. She’s right, Murakami is telling us women’s stories, of being in the beauty industry, of being a sister, so now I am unsure. You will have to decide for yourself.

Staircase and skylight

Haruki Murakami, After Dark, first pub. 2004, this ed. translated by Jay Rubin, Harvill Secker, London, 2007

see also this comprehensive guide to reading Murakami in the blog Book Oblivion (here)

 

Snakes & Earrings, Hitomi Kanehara

translated by David James Karashima

Snakes & Earrings (2004), a novella which is Japanese and punk (and which “won the top Japanese literary award, the Akutagawa Prize in 2004”) is a bit outside my usual reading and more particularly, my reviewing. The only Japanese novel I can think of is Haruki Murakami’s 1Q84 (2009) which I really enjoyed, though William Gibson’s cyberpunk SF reflects a time, not so long ago but now largely forgotten, when it was thought that Japanese would be the dominant culture. Still, I came to adulthood reading William Burroughs and enjoyed Australia’s brief (and disputed) ‘grunge’ movement and wrote about it here in a post on Justine Ettler’s The River Ophelia (1995).

Perth’s Crow Books is in the Victoria Park cafe strip so ex-Mrs Legend and I picked up Snakes & Earrings, which I had on order following Kim’s recent review in Reading Matters, on our way to dinner last night (as I write) – we had ‘Asian tapas’, very, very good. Ex-Mrs Legend was taken by the introductory info:

Hitomi Kanehara is a twenty-one-year-old new writer who stopped attending school at the age of eleven. After she left home as a teenager, she sent her stories by email to her literary translator father who helped her edit them.

We’ve had some experience of unhappy teenagers, so this resonated. My first thought was that the important thing was that the father stayed in touch, x-ML was worried about how he dealt with the material he was receiving – alcohol, sex, self-mutilation, body modifications. We breathed a sigh of relief that those risks were all behind us now. Then we thought about the grandchildren. No, I thought about the grandchildren, x-ML is infinitely optimistic.

Snakes & Earrings is a very quick read, probably only about 30,000 words, which is why I knocked it off overnight. And yes, I enjoyed it, though I found the actual writing (or translation) a bit flat, without any of the literary flair of the works cited above. There are just three characters, Lui who is the first-person narrator, her boyfriend Ama, and Shiba who runs a tattoo/piercing shop. Lui and Ama are both ‘minors’, less than 20 years old, though neither knows that about the other until it comes up in a conversation about something else. Shiba is a little older, 24 or 25. Lui in particular, is entirely careless of her own safety and knows nothing about Ama, with whom she lives, except his first name, and even that is probably invented.

Lui and Ama don’t do drugs, they’re not mentioned, but they drink, and Lui drinks heavily and eats less and less as the story progresses, her weight dropping to 34kg. Interestingly Ama and Shiba see Lui as a ‘Barbie-girl’, a definition derived from her dyed blonde hair and the way she dresses, a definition she rejects. She sees them as ‘punks’, for their tattoos and piercings. When Lui accepts casual employment as a ‘companion girl’ – serving drinks to suits – she must wear a dark wig and remove her ear studs, to go with the traditional kimono.

The story, which begins with a discussion of Ama’s forked tongue, is really Lui’s little ‘odyssey’ to achieve this, and a spectacular tattoo, herself.

A few days later I went with Ama the snakeman to Desire – a kind of punk/alternative store in a side-street basement just off the shopping and entertainment district. The first thing I saw when I walked in was a close-up shot of a vagina with a pierced vulva, and the walls were lined with photos of pierced scrotums and tattoos too. Further inside, there was a range of standard body jewellery and various accessories on display. There was also a selection of whips and cock-cases. Basically, it was a store for perverts.

There is a lot of technical talk about piercings and how to enlarge them, and how tongue splitting begins with a small piercing which is gradually forced wider and then, finally, a cut is made from the piercing to the tip of the tongue. Lui gets her tongue pierced almost immediately.

Once we got back to [Ama’s] room he kissed me for what felt like an eternity. He ran his forked tongue along my tongue-stud and the pain that vibrated through my body felt good.

For Lui, Ama is a series of contradictions, a punk and a store clerk, an inconsiderate lover but a thoughtful boyfriend, weedy looking but sometimes seriously violent. He bashes to death a tough who deliberately bumps into Lui when they are walking home late at night. The next morning Lui sees a report of the bashing in the paper and dyes Ama’s bright red mohawk to alter his appearance, but without telling him why, or what she has read.

While Ama is at work Lui goes back to Desire to talk to Shiba about a tattoo. They decide on a dragon and a Kirin –

‘I want it to be about the same size as Ama’s and I want it to be just on my back. How much would it cost?’

He pretended to think about it, giving a theatrical pause, then said ‘Hmmm … how about  … one fuck,’ looking at me from the corner of his eye.

‘That’s all?’ I shot him a sideward glance, and saw him glaring at me, the sadist in him coming to the surface.

‘Take off your clothes,’ he ordered.

It goes on from there. There’s another death. Lui keeps working on her tongue.

 

Hitomi Kanehara, Snakes & Earrings, Vintage, London, 2005. translated by David James Karashima