David Peace - Tokyo Year Zero

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It's August 1946—one year after the Japanese surrender — and women are turning up dead all over Tokyo. Detective Minami of the Tokyo Metropolitan Police — irreverent, angry, despairing — goes on the hunt for a killer known as the Japanese Bluebeard — a decorated former Imperial soldier who raped and murdered at least ten women amidst the turmoil of post-war Tokyo. As he undertakes the case, Minami is haunted by his own memories of atrocities that he can no longer explain or forgive. Unblinking in its vision of a nation in a chaotic, hellish period in its history,
is a darkly lyrical and stunningly original crime novel.

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‘That was my question too,’ laughs Fujita –

I unbutton my trousers. I take them off –

‘There are rats down there,’ says the caretaker. ‘And that water’s poisonous. A bite or a cut and you’ll be…’

I say, ‘But she’s not going to walk out of there, is she?’

Fujita starts to unbutton his shirt now, cursing –

‘Just another corpse,’ he says –

‘You two as well,’ I say to the two uniforms from Shinagawa. ‘One of you inside, one of you holding these doors open…’

I tie my dirty handkerchief tight around my face –

I put my boots back on. I pick up the torch –

Now one, two, three steps down I go –

Fujita behind me, still cursing –

‘Nishi back in the office…’

I can feel the floor of the shelter beneath the water, the water up to my knees. I can hear the mosquitoes and I can sense the rats –

The water up to my waist, I wade towards the wardrobe –

My boots slip beneath the water, my legs stumble –

My knee bangs into the corner of a table –

I pray for a bruise, a bruise not a cut –

I reach the far side of the shelter –

I reach the wardrobe doors –

She is in here. In here

I glimpse her as I pull at the doors, but the doors are stuck, submerged furniture trapping her within, closing the doors –

Detective Fujita holds the torch as the uniformed officer and I clear the chairs and the tables away, piece by piece –

Piece by piece until the doors swing open –

The doors swing open and, she is here

The body bloated in places, punctured in others –

Pieces of flesh here, but only bones there –

Her hair hangs down across her skull –

Teeth parted as though to speak –

To whisper, I am here

Now the uniform holds the torch as Fujita and I take the body between us, cold here , as we carry and then hoist it out of the black water, warm there , up the dank steps, hard here , out –

Out into the air, soft there , out into the sun –

Panting and sweating like dogs

Fujita, the uniform and I flat on our backs in the dirt, the badly decomposed and naked body of a young woman between us –

Bloated, punctured, flesh and bones, hair and teeth

I use my jacket to wipe myself, to dry myself –

I smoke a Chrysanthemum cigarette –

Now I turn to the two men sat in the shade, the caretaker and the boiler-man, and I say, ‘You told these officers that you think this might be the body of a Miyazaki Mitsuko…’

Flesh and bones, hair and teeth

The caretaker nods his head.

‘Why did you say that?’ I ask him. ‘Why do you think that?’

‘Well, it was always a bit strange,’ he says. ‘The way she left and never came back. Never went home and never back here…’

‘But thousands of people have gone missing,’ says Fujita. ‘Who knows how many people have been killed in the raids?’

‘Yes,’ says the caretaker. ‘But she left after the first raids on this place and she never arrived back in Nagasaki…’

‘Who says so?’ I ask him. ‘Her parents?’

‘They might have been lying,’ says Fujita. ‘To keep their daughter from coming back to Tokyo…’

The caretaker shrugs. The caretaker says, ‘Well, if she did get back to Nagasaki, she’s as good as dead anyway…’

I finish my cigarette. I nod at the body in the dirt and I ask, ‘Is there any way you could identify this as her?’

The caretaker looks at the remains of the corpse on the ground. He looks away again. He shakes his head –

‘Not like that,’ he says. ‘All I remember is that she had a watch with her name engraved on its back. It was a present from her father when she moved to Tokyo. Very proud of it, she was…’

Fujita puts his handkerchief back over his mouth –

He crouches down again. He shakes his head –

There’s no watch on the wrist of this corpse –

I nod back towards the air-raid shelter and say to Detective Fujita, ‘It might still be down there somewhere…’

‘Yes,’ he says. ‘And it might not be.’

‘How about you?’ I ask the boiler-man. ‘Did you know her?’

The boiler-man shakes his head. He says, ‘Before my time.’

‘He only started here this June,’ says the caretaker. ‘And Miyazaki was last seen around here at the end of May.’

I ask, ‘Can you remember the exact dates?’

He tilts his head to one side. He closes his eyes. He screws them up tight. Then he opens his eyes again and shakes his head –

‘I’m sorry,’ he says. ‘But I lose track of the time…’

I can hear an engine now. I can hear a jeep

I turn round as the vehicle approaches –

It is a military police vehicle –

It is the Kempeitai.

The jeep stops and two Kempei officers get out of the front, both wearing side-arms and swords. They are accompanied by two older men sporting the armbands of the Neighbourhood Association –

I want to applaud them. The Kempeitai. I want to cheer –

No one wants a case. Not today. Not now

This body was found on military property; this is their dominion, this is their body, this is their case.

Detective Fujita and I step forward. Fujita and I bow deeply –

These two Kempei officers look very much like Fujita and I; the older man is in his late forties, the other in his late thirties

Detective Fujita and I introduce ourselves to the men –

I am looking in a mirror. I am looking at myself

We apologize for being on military property –

But they are soldiers, we’re just police

There are briefer reciprocal bows –

This is their city, their year

The younger officer introduces the older man as Captain Muto and himself as Corporal Katayama –

I am looking in a mirror

I bow again and now I make my report to the two Kempei officers, the two men from the Neighbourhood Association still standing close enough to hear what I am telling them –

The times and dates. Places and names

I finish my report and I bow again –

They glance at their watches.

Now Captain Muto, the older of the two Kempei officers, walks over to the corpse stretched out in the dust. He stands and he stares at the body for a while before turning back to Fujita and me –

‘We will need an ambulance from the Keiō University Hospital to transport this body to the hospital. We will need Dr. Nakadate of Keiō to perform the autopsy on the body…’

Detective Fujita and I both nod –

This is their body, their case

But Captain Muto turns to the two uniforms now and says, ‘You two men return to Shinagawa and request that the Keiō University Hospital send an ambulance immediately and that Dr. Nakadate is made available to perform the autopsy.’

Uchida and Murota, the two uniforms, both nod, salute and then bow deeply to the Kempei man –

Fujita and I both curse –

No escape now

Now Captain Muto gestures at the caretaker and then the boiler-man and asks us, ‘Which of these men work here?’ ‘They both do,’ I reply.

Captain Muto points to the boiler-man and shouts, ‘Boiler-man, you go get a blanket or something similar and as many old newspapers as you can find. And do it quickly as well!’

The boiler-man runs off inside the building.

The older Kempei officer glances at his watch again and now he asks the caretaker, ‘Do you have a radio here?’

‘Yes,’ he nods. ‘In our cabin.’

‘There is to be an Imperial broadcast shortly and every citizen of Japan has been ordered to listen to this broadcast. Go now and check that your radio is tuned correctly and in full working order.’

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