The Strange Library, Haruki Murakami

I know I came to Murakami late, but now I’m coming to know him I enjoy his work, a blend of literature, grunge, and SF bordering on (dreaded!) magic realism. Murakami’s first three works make up the Trilogy of the Rat. I reviewed the first two, Wind/Pinball (here) some time ago and gave teacher son the third, A Wild Sheep Chase (1989) this Christmas, expecting him to have it finished on Boxing Day as usual. Inconsiderately, he took it with him to Morocco from whence he wrote –

I thought you despised magical realism. I liked most of it. The psychic girlfriend, and the historic davinci-code of a mystery, and the banality of everyday life- I expected him to stop by Nighthawks, or find a flatmate dead with a falafel on any given page. The symbolic sheep was exposed in a way that made it a genuine wonder. Not sure about meeting the Rat, though. I felt cheated when even the almost explicable mystical became brazenly magical.

Not all of this makes sense so, in the library for audiobooks this week, I thought to borrow a copy for myself but there wasn’t one and I borrowed The Strange Library (2005) instead. The Strange Library is a strange and beautiful book, seemingly a novella for children/YAs. I think I would read it to Mr 8 and Ms 7, my younger grandkids, and yet I enjoyed it well enough myself. It’s in that rarefied territory occupied by Lewis Carroll, The Magic Pudding and Old Possum’s Book of Practical Cats, and there are the most wonderful illustrations throughout taken “from old books in the London Library”.

The protagonist, a schoolboy, enters his local library and is ushered downstairs to a strange basement area he never knew existed nor thought the local council could afford.

A little old man asks him “the manner of books that he seeks” and the boy is flustered into answering ‘tax collection in the Ottoman Empire’ which has just popped into his head. The old man ducks through a heavy steel door and returns with three terribly old books, The Ottoman Tax System, The Diary of an Ottoman Tax Collector and Tax Revolts and Their Suppression in the Ottoman-Turkish Empire. I might have to explain to the grandkids what an ottoman is (when it’s not being a couch).

The boy is fearful of being late home to his mother, who has been in a state of nerves since he was attacked by a big black dog with green eyes and a jewel-encrusted collar, and anyway she may, she will forget to feed his pet starling, but the old man is insistent the books must be read on site and straight away.

Are you planning to read this for yourself, then Spoiler Alert. The boy is led away through a maze of corridors, to a prison cell. A warder clad only in a sheepskin attaches a ball and chain to his ankle and warns him that when he is finished reading the old man will remove the top of his head and eat his knowledge-rich brains.

Despite this, The Diary of an Ottoman Tax Collector comes alive as he reads it.

The old man came to check on me that evening. He was delighted to find me lost in my book. Seeing how happy he was made me feel a little happier. No matter what the situation may be, I still take pleasure in witnessing the joy of others.

A pretty girl brings him meals. The sheep man bakes him doughnuts. In the darkness of the night of a new moon they escape together only to find their last exit barred by the old man. And the big black hound.

The starling, or it might be the girl, comes to their rescue. The boy goes home where his mother seems not to have noticed that he has been gone.

To be honest, I was worried before writing this review that I might have missed the point, so I have since been making my way through the reviews I could find on the net. This from the Independent:

It is an odd and beautiful thing – a thing more than a book, whose design doesn’t just adorn but penetrates the story, melting into it with its dainty, surreal and haunting images that almost, at times, seem to finish Murakami’s sentences.

It had me enthralled, a pretty artefact that was a story of childhood, death and reading, drawn in both words and pictures, like a fairytale, yet there was nothing childish about it. (Arifa Akbar, 27 Nov. 2014. here)

So I guess I got it right.

 

Haruki Murakami, The Strange Library, Harville Secker, London, 2008. First pub. in Japanese, 2005. Translated by Ted Goossen.

 

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All the Lives We Never Lived, Anuradha Roy

All the Lives We Never Lived (2018) is an Indian novel narrated by an old man recalling his boyhood in the 1930s, when his mother, frustrated by the restrictions of traditional Indian marriage, ran off to Bali. The old man is called Myshkin, the name given him by his grandfather, after the epileptic prince in Dostoevsky’s The Idiot.

His mother ran off with the Russian-born German artist, Walter Spies – ran off with an ‘Englishman’ according to the townsfolk to whom all white men were ‘English’, or with her ‘German lover’ in many reviews, including the New York Times, though Roy is quite clear that Spies was gay.

Walter Spies (1895-1942) is a real person in this work of fiction, who lived and worked in Bali in the Dutch East Indies (Indonesia), was arrested in 1938 during a crackdown on homosexuals, and again when war broke out in Europe with the Dutch and the Germans on opposite sides, and who died in 1942 when the ship transporting detainees (ironically) to India was sunk by the Japanese. The community of Europeans to which Myshkin’s mother, Gayatri accompanies Spies was also ‘real’, and included Margaret Mead, “the musician Colin McPhee and his wife, anthropologist Jane Belo, the Swiss artist Theo Meier and the Austrian novelist Vicki Baum.” (wiki)

As an artistic sixteen year old, Gayatri had been taken to Bali by her father and had there met Spies on a raft in a lake and he had taken them up ..

Over the next few weeks, he took Gayatri, her father and their friends to dance performances, concerts, to beaches, to painting schools … Different here, yet familiar. How strange that most of the people around her thought the whole of the Ramayana had taken place in Java and had no connection with India at all!

The story is told from three perspectives, Myshkin as an old man, a retired landscape gardener; Myshkin growing up; and Gayatri, ostensibly from stories she told Myshkin, and later and less satisfactorily, from a cache of letters whose existence Myshkin had been unaware of of. Although told by Myshkin, this is Gayatri’s story – of her rebellion against the carefully constrained freedoms allowed by her ‘tolerant’ husband.

On their return to India Gayatri’s father dies and her mother marries her off as quickly as possible.

What happened next was represented by my father as romance, and he loved retelling it, each time with new flourishes. My mother listened poker-faced, doodling with her fingers on her sari.

He was 33, a teacher, an Anglo-Indian from the north. She was 17, a well-off Bengali Hindu from Delhi, but flighty, artistic, fatherless. They married, moved in with his father in his combined junk shop/doctor’s surgery in a country town in the foothills of the Himalayas.

Spies, and I could not find this in his bio’s, visits India with a friend Beryl de Zoete, in 1937, seeks out Gayatri, and stays on, boarding nearby, befriending the whole family, taking Gayatri on excursions. One day Gayatri begs Myshkin to be home from school on time, but he is held up, and by the time he gets home the three are gone. Sailed to Bali. Myshkin and his mother write, letters arrive intermittently, but war intervenes and contact is lost.

The father is distraught, shamed, becomes even more involved in the anti-British Independence movement, spending some years in jail. Eventually he finds a single mother to marry and bully and over very many years Myshkin and his step-sister become friends. In the latter part of the novel, from her letters to a friend in India, we learn that Gayatri has become a respected artist in Bali, but has fallen into poverty with the war and Spies’ arrests – she was living separately from, but near him.

I have done some research. A little. And as far as I can see, this is a fiction based around a real community of Europeans on Bali. Reviewers in prestigious magazines can’t take the risk of making mistakes, but I can (or do) and have chosen not to read them too closely, so it is still possible that Gayatri is based on a famous Indian of whom I am unaware.

Now. Anuradha Roy. “One of India’s greatest living novelists” it says on the cover. I bought this thinking it was by Arundhati Roy, surprised that she should have a new novel to release so soon after The Ministry of Utmost Happiness, and it was some time before I discovered my mistake. Having read this, I prefer Arundhati whose writing is much grittier. Anuradha Roy, on the basis of All the Lives We Never Lived is solidly middle-class, less political.

Anuradha Roy (1967- ) has written four novels including this one, and they have all won or been shortlisted for various prizes. I’m not sure that’s enough to make her “one of the greatest living” etc., but neither is it to be sneezed at. All the Lives We Never Lived is a good maybe not excellent book, but worth reading, and despite the sometimes less than convincing old man narrator, an interesting, feminist account of Indian life, the difficulties of traditional marriage, and the end of the British Raj.

 

Anuradha Roy, All the Lives We Never Lived, MacLehose Press, London, 2018

 

The Ministry of Utmost Happiness, Arundhati Roy

The Ministry of Utmost Happiness (2017) is just the 56 year old Arundhati Roy’s second novel. Her first was the phenomenally successful The God of Small Things (1997) which I read years and years ago and of which I remember very little, and that probably wrongly – a train ride, a woman marries an untouchable, an uncle molests a child – but nevertheless I bought this one as soon as it came out last year and have been determined to read it ever since.

With only odd hours for reading, mostly standing out in the weather waiting for my truck to load or unload (tankers don’t require much physical intervention) I initially found that I was not remembering much more of the second than I did of the first, but around the 200pp mark it began to come together and I think now that I might have a handle on it, though a proper analysis would require multiple readings and reams of notes.

The Ministry of Utmost Happiness is an intimate novel inside a great sprawling novel, a novel of India, not the India of our casual acquaintance, of tourism, and brief stories in the business and foreign news pages, but the unseen India of the poor, the homeless, of gradations of skin colour, of untouchables, muslims, trans-sexuals; a novel with not 1.2 billion characters but nearly, all the oppressed of India and Kashmir ground down by a monolithic and indifferent upper class and their violently out of control military and para-military forces.

The ‘outside’ novel contains the story of Anjum, a woman born with a man’s parts, a hijra, who leaves her muslim family to live in a refuge for other hijras and then in mid-life leaves the refuge to construct another, which grows into the Jannat Guest House, little cabins built of scraps over graves in a disused cemetery. During this journey she acquires one daughter, Zainab who prefers to be brought up by another hirja, Saeeda, and then later a second, Miss Jebeen the Second, and a kaleidoscope of friends and acquaintances from all the minority language groups in the sub-continent living on the streets and in the slums of Delhi.

The ‘inside’ novel is a love story, the story of S. Tilottama (Tilo) a young woman from Kerala in the south who is loved by three men whom she meets when they take part in a play as students. Arundhati Roy’s wikipedia entry says that she

“was born in Shillong, Meghalaya, India [in 1961], to Mary Roy, a Malayali Syrian Christian women’s rights activist from Kerala and Rajib Roy, a Bengali Hindu tea plantation manager from Calcutta. When she was two, her parents divorced and she returned to Kerala with her mother and brother. For a time, the family lived with Roy’s maternal grandfather in Ooty, Tamil Nadu. When she was five, the family moved back to Kerala, where her mother started a school.

“Roy attended school at Corpus Christi, Kottayam, followed by the Lawrence School, Lovedale, in Nilgiris, Tamil Nadu. She then studied architecture at the School of Planning and Architecture, Delhi.

This is also more or less Tilo’s back story. The three men are Biplab Dasgupta who becomes a senior public servant in the Intelligence Bureau, and who sometimes gets to tell his own story; Nagaraj Hariharan, a journalist and for a long time, Tilo’s husband; and Musa (Commander Gulrez) a freedom fighter in Kashmir and always Tilo’s lover.

The story is told in fragments, some from the present, some from the past. Quite early on we see Commander Gulrez’ mutilated body displayed as a trophy by Major Amrik Singh, of the Indian occupation forces in Kashmir, but we also see reports of the murder suicide of Amrik Singh and his wife in America. We meet Miss Jebeen the Second before we meet Miss Jebeen; and we don’t meet the real mother of Miss Jebeen the Second until right at the end when she writes posthumously of her life as Maoist insurgent fighting to protect the tribes in the Bastar forest whose land was/is wanted by mining companies.

At one time Tilo must have an abortion and wakes in a government hospital to find a sick child in bed with her –

There was more than one patient in every bed. There were patients on the floor. most of the visitors and family members who were crowded around them looked just as ill. Harried doctors and nurses picked their way through the chaos. It was like a wartime ward. Except that in Delhi there was no war other than the usual one – the war of the rich against the poor.

The power of this novel is in its depictions of poverty in Delhi; of the petty and not so petty tyrannies suffered by the many minorities; of the consequences of the rise of Hindu nationalism for members of the 21 other nations who weren’t Hindu; Of the consequences of capitalism for people without capital, without recourse to justice – do you remember the Union Carbide disaster?; of the many individual acts of resistance, typefied by Dr Azad Bharatiya and his ten year fast; of the horrific violence in Kashmir; of the many, many individuals whom we get to meet and love as they pass through the Jannat Guest House; but above all the power of this novel is in the language, in all the Hindu, Urdu, Punjabi, Kashmiri, Malayalam (and English) that washes over us.

Tilo ends up one of Anjum’s many friends, a Ustaniji, a teacher of children, in the Jannat Guest House in the abandoned cemetry. More than that I will not tell you, cannot without spoiling this marvellous story of love and war which unfolds unpredictably in all directions at once.

Jis Kashmir ko Khoon se sencha! Woh Kashmir hamara hai!

The Kashmir we have irrigated with our blood! That Kashmir is ours!

 

Arundhati Roy, The Ministry of Utmost Happiness, Hamish Hamilton (Penguin), 2017. 445pp

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).

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