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 couldn’t tell you this before,”Takatsuki said, “but I’m sure Sayoko was more attracted to you than she was to me.” He was pretty drunk, but there was a far more serious gleam in his eye than usual.

“That’s crazy,” Junpei said with a smile.

“Like hell it is. I know what I’m talking about. You know how to put pretty words on a page, but you don’t know shit about a woman’s feelings. A drowned corpse does better than you. You had no idea how she felt about you, but I figured, what the hell, I was in love with her, and I couldn’t find anybody better, so I had to have her. I still think she’s the greatest woman in the world. And I still think it was my right to have her.”

“Nobody’s saying it wasn’t,” Junpei said.

Takatsuki nodded. “But you still don’t get it. Not really. ’Cause you’re so damned stupid. That’s OK, though. I don’t care if you’re stupid. You’re not such a bad guy. I mean, look, you’re the guy that gave my daughter her name.

“Yeah, OK, OK,” Junpei said, “but I still don’t get it when it comes to anything important.”

“Exactly. When it comes to anything halfway important, you just don’t get it. It’s amazing to me that you can put a piece of fiction together.”

“Yeah, well, that’s a whole different thing.”

“Anyhow, now there’s four of us,” Takatsuki said with a kind of sigh. “I wonder, though. Four of us. Four. Can that number be right?”

2

Junpei learned just before Sala’s second birthday that Takatsuki and Sayoko were on the verge of breaking up. Sayoko seemed somewhat apologetic when she divulged the news to him. Takatsuki had had a lover since the time of Sayoko’s pregnancy, she said, and he hardly ever came home anymore. It was someone he knew from work.

Junpei could not grasp what he was hearing, no matter how many details Sayoko was able to give him. Why did Takatsuki have to find himself another woman? He had declared Sayoko to be the greatest woman in the world the night Sala was born, and those words had come from deep in his gut. Besides, he was crazy about Sala. Why, in spite of that, did he have to abandon his family?

“I mean, I’m over at your house all the time, eating dinner with you guys, right? But I never sensed a thing. You were happiness itself—the perfect family.”

“It’s true,” Sayoko said with a gentle smile. “We weren’t lying to you or putting on an act. But quite separately from that, he got himself a girlfriend, and we can never go back to what we had. So we decided to split up. Don’t let it bother you too much. I’m sure things will work out better now, in a lot of different ways.”

“In a lot of different ways,” she had said. The world is full of incomprehensible words, thought Junpei.

Sayoko and Takatsuki were divorced some months later. They concluded agreements on several specific issues without the slightest hang-up: no recriminations, no disputed claims. Takatsuki went to live with his girlfriend; he came to visit Sala once a week, and they all agreed that Junpei would try to be present at those times. “It would make things easier for both of us,” Sayoko told Junpei. Easier? Junpei felt as if he had grown much older all of a sudden, though he had just turned thirty-three.

Sala called Takatsuki “Papa” and Junpei “Jun.” The four of them were an odd pseudo-family. Whenever they got together, Takatsuki would be his usual talkative self, and Sayoko’s behavior was perfectly natural, as though nothing had happened. If anything, she seemed even more natural than before in Junpei’s eyes. Sala had no idea her parents were divorced. Junpei played his assigned role perfectly without the slightest objection. The three joked around as always and talked about the old days. The only thing that Junpei understood about all this was that it was something the three of them needed.

“Hey, Junpei, tell me,” Takatsuki said one January night when the two of them were walking home, breath white in the chill air. “Do you have somebody you’re planning to marry?”

“Not at the moment,” Junpei said.

“No girlfriend?”

“Nope, guess not.”

“Why don’t you and Sayoko get together?”

Junpei squinted at Takatsuki as if at some too-bright object. “Why?” he asked.

“ ‘Why’?! Whaddya mean ‘why’? It’s so obvious! If nothing else, you’re the only man I’d want to be a father to Sala.”

“Is that the only reason you think I ought to marry Sayoko?”

Takatsuki sighed and draped his thick arm around Junpei’s shoulders.

“What’s the matter? Don’t you like the idea of marrying Sayoko? Or is it the thought of stepping in after me?”

“That’s not the problem. I just wonder if you can make, like, some kind of deal. It’s a question of decency.

“This is no deal,” Takatsuki said. “And it’s got nothing to do with decency. You love Sayoko, right? You love Sala, too, right? That’s the most important thing. I know you’ve got your own special hang-ups. Fine. I grant you that. But to me, it looks like you’re trying to pull off your shorts without taking off your pants.”

Junpei said nothing, and Takatsuki fell into an unusually long silence. Shoulder to shoulder, they walked down the road to the station, heaving white breath into the night.

“In any case,” Junpei said, “you’re an absolute idiot.”

“I have to give you credit,” Takatsuki said. “You’re right on the mark. I don’t deny it. I’m ruining my own life. But I’m telling you, Junpei, I couldn’t help it. There was no way I could put a stop to it. I don’t know any better than you do why it had to happen. There’s no way to justify it, either. It just happened. And if not here and now, something like it would have happened sooner or later.”

Junpei felt he had heard this speech before. “Do you remember what you said to me the night Sala was born? That Sayoko was the greatest woman in the world, that you could never find anyone to take her place.”

“And it’s still true. Nothing has changed where that’s concerned. But that very fact can sometimes make things go bad.”

“I don’t know what you mean by that,” Junpei said.

“And you never will,” Takatsuki said with a shake of the head. He always had the last word.

Two years went by. Sayoko never went back to teaching. Junpei got an editor friend of his to send her a piece to translate, and she carried the job off with a certain flair. She had a gift for languages, and she knew how to write. Her work was fast, careful, and efficient, and the editor was impressed enough to bring her a new piece the following month that involved substantial literary translation. The pay was not very good, but it added to what Takatsuki was sending and helped Sayoko and Sala to live comfortably.

They all went on meeting at least once a week, as they always had. Whenever urgent business kept Takatsuki away, Sayoko, Junpei, and Sala would eat together. The table was quiet without Takatsuki, and the conversation turned to oddly mundane matters. A stranger would have assumed that the three of them were just a typical family.

Junpei went on writing a steady stream of stories, bringing out his fourth collection, Silent Moon, when he turned thirty-five. It received one of the prizes reserved for established writers, and the title story was made into a movie. Junpei also produced a few volumes of music criticism, wrote a book on ornamental gardening, and translated a collection of John Updike’s short stories. All were well received. He had developed his own personal style which enabled him to transform the most deeply reverberating sounds and the subtle gradations of light and color into concise, convincing prose. Securing his position as a writer little by little, he had developed a steady readership, and a fairly stable income.

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