Haruki Murakami - after the quake

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after the quake: краткое содержание, описание и аннотация

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The six stories in Haruki Murakami’s mesmerizing collection are set at the time of the catastrophic 1995 Kobe earthquake, when Japan became brutally aware of the fragility of its daily existence. But the upheavals that afflict Murakami’s characters are even deeper and more mysterious, emanating from a place where the human meets the inhuman.
An electronics salesman who has been abruptly deserted by his wife agrees to deliver an enigmatic package—and is rewarded with a glimpse of his true nature. A man who has been raised to view himself as the son of God pursues a stranger who may or may not be his human father. A mild-mannered collection agent receives a visit from a giant talking frog who enlists his help in saving Tokyo from destruction. As haunting as dreams, as potent as oracles, the stories in
are further proof that Murakami is one of the most visionary writers at work today.
Haruki Murakami, a writer both mystical and hip, is the West’s favorite Japanese novelist. Perhaps unsurprisingly, Murakami lived abroad until 1995. That year, two disasters struck Japan: the lethal earthquake in Kobe and the deadly poison gas attacks in the Tokyo subway. Spurred by these tragic events, Murakami returned home. The stories in
are set in the months that fell between the earthquake and the subway attack, presenting a world marked by despair, hope, and a kind of human instinct for transformation. A teenage girl and a middle-aged man share a hobby of making beach bonfires; a businesswoman travels to Thailand and, quietly, confronts her own death; three friends act out a modern-day Tokyo version of
. There’s a surreal element running through the collection in the form of unlikely frogs turning up in unlikely places. News of the earthquake hums throughout. The book opens with the dull buzz of disaster-watching: “Five straight days she spent in front of the television, staring at the crumbled banks and hospitals, whole blocks of stores in flames, severed rail lines and expressways.” With language that’s never self-consciously lyrical or show-offy, Murakami constructs stories as tight and beautiful as poems. There’s no turning back for his people; there’s only before and after the quake.
—Claire Dederer
These six stories, all loosely connected to the disastrous 1995 earthquake in Kobe, are Murakami (The Wind-Up Bird Chronicle; Norwegian Wood) at his best. The writer, who returned to live in Japan after the Kobe earthquake, measures his country’s suffering and finds reassurance in the inevitability that love will surmount tragedy, mustering his casually elegant prose and keen sense of the absurd in the service of healing. In “Honey Pie,” Junpei, a gentle, caring man, loses his would-be sweetheart, Sayoko, when his aggressive best friend, Takatsuki, marries her. They have a child, Sala. He remains close friends with them and becomes even closer after they divorce, but still cannot bring himself to declare his love for Sayoko. Sala is traumatized by the quake and Junpei concocts a wonderful allegorical tale to ease her hurt and give himself the courage to reveal his love for Sayoko. In “UFO in Kushiro” the horrors of the quake inspire a woman to leave her perfectly respectable and loving husband, Komura, because “you have nothing inside you that you can give me.” Komura then has a surreal experience that more or less confirms his wife’s assessment. The theme of nothingness is revisited in the powerful “Thailand,” in which a female doctor who is on vacation in Thailand and very bitter after a divorce, encounters a mysterious old woman who tells her “There is a stone inside your body…. You must get rid of the stone. Otherwise, after you die and are cremated, only the stone will remain.” The remaining stories are of equal quality, the characters fully developed and memorable. Murakami has created a series of small masterpieces.
Copyright 2002 Cahners Business Information, Inc. Amazon.com Review
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“I must apologize, Mr. Katagiri, for having barged in while you were out,” Frog said. “I knew it would be a shock for you to find me here. But I had no choice. How about a cup of tea? I thought you would be coming home soon, so I boiled some water.”

Katagiri still had his briefcase jammed under his arm. Somebody’s playing a joke on me, he thought. Somebody’s rigged himself up in this huge frog costume just to have fun with me. But he knew, as he watched Frog pour boiling water into the teapot, humming all the while, that these had to be the limbs and movements of a real frog. Frog set a cup of green tea in front of Katagiri, and poured another one for himself.

Sipping his tea, Frog asked, “Calming down?”

But still Katagiri could not speak.

“I know I should have made an appointment to visit you, Mr. Katagiri. I am fully aware of the proprieties. Anyone would be shocked to find a big frog waiting for him at home. But an urgent matter brings me here. Please forgive me.”

“Urgent matter?” Katagiri managed to produce words at last.

“Yes, indeed,” Frog said. “Why else would I take the liberty of barging into a person’s home? Such discourtesy is not my customary style.”

“Does this ‘matter’ have something to do with me?”

“Yes and no,” said Frog with a tilt of the head. “No and yes.”

I’ve got to get a grip on myself, thought Katagiri. “Do you mind if I smoke?”

“Not at all, not at all,” Frog said with a smile. “It’s your home. You don’t have to ask my permission. Smoke and drink as much as you like. I myself am not a smoker, but I can hardly impose my distaste for tobacco on others in their own homes.”

Katagiri pulled a pack of cigarettes from his coat pocket and struck a match. He saw his hand trembling as he lit up. Seated opposite him, Frog seemed to be studying his every movement.

“You don’t happen to be connected with some kind of gang by any chance?” Katagiri found the courage to ask.

“Ha ha ha ha ha ha! What a wonderful sense of humor you have, Mr. Katagiri!” he said, slapping his webbed hand against his thigh. “There may be a shortage of skilled labor, but what gang is going to hire a frog to do their dirty work? They’d be made a laughingstock.”

“Well, if you’re here to negotiate a repayment, you’re wasting your time. I have no authority to make such decisions. Only my superiors can do that. I just follow orders. I can’t do a thing for you.”

“Please, Mr. Katagiri,” Frog said, raising one webbed finger. “I have not come here on such petty business. I am fully aware that you are assistant chief of the Lending Division of the Shinjuku branch of the Tokyo Security Trust Bank. But my visit has nothing to do with the repayment of loans. I have come here to save Tokyo from destruction.”

Katagiri scanned the room for a hidden TV camera in case he was being made the butt of some huge, terrible joke. But there was no camera. It was a small apartment. There was no place for anyone to hide.

“No,” Frog said, “we are the only ones here. I know you are thinking that I must be mad, or that you are having some kind of dream, but I am not crazy and you are not dreaming. This is absolutely, positively serious.”

“To tell you the truth, Mr. Frog—”

“Please,” Frog said, raising one finger again. “Call me ‘Frog.’ ”

“To tell you the truth, Frog,” Katagiri said, “I can’t quite understand what is going on here. It’s not that I don’t trust you, but I don’t seem to be able to grasp the situation exactly. Do you mind if I ask you a question or two?”

“Not at all, not at all,” Frog said. “Mutual understanding is of critical importance. There are those who say that ‘understanding’ is merely the sum total of our misunderstandings, and while I do find this view interesting in its own way, I am afraid that we have no time to spare on pleasant digressions. The best thing would be for us to achieve mutual understanding via the shortest possible route. Therefore, by all means, ask as many questions as you wish.”

“Now, you are a real frog, am I right?”

“Yes, of course, as you can see. A real frog is exactly what I am. A product neither of metaphor nor allusion nor deconstruction nor sampling nor any other such complex process, I am a genuine frog. Shall I croak for you?”

Frog tilted back his head and flexed the muscles of his huge throat. Ribit! Ri-i-i-bit! Ribit-ribit-ribit! Ribit! Ribit! Ri-i-i-bit! His gigantic croaks rattled the pictures hanging on the walls.

“Fine, I see, I see!” Katagiri said, worried about the thin walls of the cheap apartment house in which he lived. “That’s great. You are, without question, a real frog.”

“One might also say that I am the sum total of all frogs. Nonetheless, this does nothing to change the fact that I am a frog. Anyone claiming that I am not a frog would be a dirty liar. I would smash such a person to bits!”

Katagiri nodded. Hoping to calm himself, he picked up his cup and swallowed a mouthful of tea. “You said before that you have come here to save Tokyo from destruction?”

“That is what I said.”

“What kind of destruction?”

“Earthquake,” Frog said with the utmost gravity.

Mouth dropping open, Katagiri looked at Frog. And Frog, saying nothing, looked at Katagiri. They went on staring at each other like this for some time. Next it was Frog’s turn to open his mouth.

“A very, very big earthquake. It is set to strike Tokyo at eight-thirty a.m. on February 18. Three days from now. A much bigger earthquake than the one that struck Kobe last month. The number of dead from such a quake would probably exceed a hundred and fifty thousand—mostly from accidents involving the commuter system: derailments, falling vehicles, crashes, the collapse of elevated expressways and rail lines, the crushing of subways, the explosion of tanker trucks. Buildings will be transformed into piles of rubble, their inhabitants crushed to death. Fires everywhere, the road system in a state of collapse, ambulances and fire trucks useless, people just lying there, dying. A hundred and fifty thousand of them! Pure hell. People will be made to realize what a fragile condition the intensive collectivity known as ‘city’ really is.” Frog said this with a gentle shake of the head. “The epicenter will be close to the Shinjuku ward office.”

“Close to the Shinjuku ward office?”

“To be precise, it will hit directly beneath the Shinjuku branch of the Tokyo Security Trust Bank.”

A heavy silence followed.

“And you,” Katagiri said, “are planning to stop this earthquake?”

“Exactly,” Frog said, nodding. “That is exactly what I propose to do. You and I will go underground beneath the Shinjuku branch of the Tokyo Security Trust Bank to do mortal combat with Worm.”

As a member of the Trust Bank Lending Division, Katagiri had fought his way through many a battle. He had weathered sixteen years of daily combat since the day he graduated from the university and joined the bank’s staff. He was, in a word, a collection officer—a post that carried little popularity. Everyone in his division preferred to make loans, especially at the time of the bubble. They had so much money in those days that almost any likely piece of collateral—be it land or stock—was enough to convince loan officers to give away whatever they were asked for, the bigger the loan the better their reputations in the company. Some loans, though, never made it back to the bank: they got “stuck to the bottom of the pan.” It was Katagiri’s job to take care of those. And when the bubble burst, the work piled on. First stock prices fell, and then land values, and collateral lost all significance. “Get out there,” his boss commanded him, “and squeeze whatever you can out of them.”

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