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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Shimao looked hard at Komura. “I’ll bet you loved her, didn’t you?”

Komura dodged the question. “You’re a friend of Keiko Sasaki’s?”

“Right. We do stuff together.”

“What kind of stuff?”

Instead of answering him, Shimao asked, “Are you hungry?”

“I wonder,” Komura said. “I feel kind of hungry and kind of not.”

“Let’s go and eat something warm, the three of us. It’ll help you relax.”

Shimao drove a small four-wheel-drive Subaru. It had to have way over a hundred thousand miles on it, judging from how battered it was. The rear bumper had a huge dent in it. Keiko Sasaki sat next to Shimao, and Komura had the cramped rear seat to himself. There was nothing particularly wrong with Shimao’s driving, but the noise in back was terrible, and the suspension was nearly shot. The automatic transmission slammed into gear whenever it downshifted, and the heater blew hot and cold. Shutting his eyes, Komura felt as if he had been imprisoned in a washing machine.

No snow had been allowed to gather on the streets in Kushiro, but dirty, icy mounds stood at random intervals on both sides of the road. Dense clouds hung low and, although it was not yet sunset, everything was dark and desolate. The wind tore through the city in sharp squeals. There were no pedestrians. Even the traffic lights looked frozen.

“This is one part of Hokkaido that doesn’t get much snow,” Keiko Sasaki explained in a loud voice, glancing back at Komura. “We’re on the coast and the wind is strong, so whatever piles up gets blown away. It’s cold, though, freezing cold. Sometimes it feels like it’s taking your ears off.”

“You hear about drunks who freeze to death sleeping on the street,” Shimao said.

“Do you get bears around here?” Komura asked.

Keiko giggled and turned to Shimao. “Bears, he says.”

Shimao gave the same kind of giggle.

“I don’t know much about Hokkaido,” Komura said by way of explanation.

“I know a good story about bears,” Keiko said. “Right, Shimao?”

“A great story!” Shimao said.

But their talk broke off at that point, and neither of them told the bear story. Komura didn’t ask to hear it. Soon they reached their destination, a big noodle shop on the highway. They parked in the lot and went inside. Komura had a beer and a hot bowl of ramen noodles. The place was dirty and empty, and the chairs and tables were rickety, but the ramen was excellent, and when he had finished eating, Komura did, in fact, feel a little more relaxed.

“Tell me, Mr. Komura,” Keiko Sasaki said, “do you have something you want to do in Hokkaido? My brother tells me you’re going to spend a week here.”

Komura thought about it for a moment, but couldn’t come up with anything he wanted to do.

“How about a hot spring? Would you like a nice, long soak in a tub? I know a little country place not far from here.”

“Not a bad idea,” Komura said.

“I’m sure you’d like it. It’s really nice. No bears or anything.”

The two women looked at each other and laughed again.

“Do you mind if I ask you about your wife?” Keiko said.

“I don’t mind.”

“When did she leave?”

“Hmm… five days after the earthquake, so that’s more than two weeks ago now.”

“Did it have something to do with the earthquake?”

Komura shook his head. “Probably not. I don’t think so.”

“Still, I wonder if things like that aren’t connected somehow,” Shimao said with a tilt of the head.

“Yeah,” Keiko said. “It’s just that you can’t see how.”

“Right,” Shimao said. “Stuff like that happens all the time.”

“Stuff like what?” Komura asked.

“Like, say, what happened with somebody I know,” Keiko said.

“You mean Mr. Saeki?” Shimao asked.

“Exactly,” Keiko said. “There’s this guy—Saeki. He lives in Kushiro. He’s about forty. A hairstylist. His wife saw a UFO last year, in the autumn. She was driving on the edge of town all by herself in the middle of the night and she saw a huge UFO land in a field. Whoosh! Like in Close Encounters. A week later, she left home. They weren’t having any domestic problems or anything. She just disappeared and never came back.”

“Into thin air,” Shimao said.

“And it was because of the UFO?” Komura asked.

“I don’t know why,” Keiko said. “She just walked out. No note or anything. She had two kids in elementary school, too. The whole week before she left, all she’d do was tell people about the UFO. You couldn’t get her to stop. She’d go on and on about how big and beautiful it was.”

She paused to let the story sink in.

“My wife left a note,” Komura said. “And we don’t have any kids.”

“So your situation’s a little better than Saeki’s,” Keiko said.

“Yeah. Kids make a big difference,” Shimao said, nodding.

“Shimao’s father left home when she was seven,” Keiko explained with a frown. “Ran off with his wife’s younger sister.”

“All of a sudden. One day,” Shimao said, smiling.

A silence settled over the group.

“Maybe Mr. Saeki’s wife didn’t run away but was captured by aliens from the UFO,” Komura said to smooth things over.

“It’s possible,” Shimao said with a somber expression. “You hear stories like that all the time.”

“You mean like you’re-walking-along-the-street-and-a-bear-eats-you kind of thing?” Keiko asked. The two women laughed again.

The three of them left the noodle shop and went to a nearby love hotel. It was on the edge of town, on a street where love hotels alternated with gravestone dealers. The hotel Shimao had chosen was an odd building, constructed to look like a European castle. A triangular red flag flew on its highest tower.

Keiko got the key at the front desk, and the three of them took the elevator to the room. The windows were tiny, compared with the absurdly big bed. Komura hung his down jacket on a hanger and went into the toilet. During the few minutes he was in there, the two women managed to run a bath, dim the lights, check the heat, turn on the television, examine the delivery menus from local restaurants, test the light switches at the head of the bed, and check the contents of the minibar.

“The owners are friends of mine,” Keiko said. “I had them get their biggest room ready. It is a love hotel, but don’t let that bother you. You’re not bothered, are you?”

“Not at all,” Komura said.

“I thought this would make a lot more sense than sticking you in a cramped little room in some cheap business hotel by the station.”

“You may be right,” Komura said.

“Why don’t you take a bath? I filled the tub.”

Komura did as he was told. The tub was huge. He felt uneasy soaking in it alone. The couples who came to this hotel probably took baths together.

When he emerged from the bathroom, Komura was surprised to find that Keiko Sasaki had left. Shimao was still there, drinking beer and watching TV.

“Keiko went home,” Shimao said. “She wanted me to apologize and tell you that she’ll be back tomorrow morning. Do you mind if I stay here a little while and have a beer?”

“Fine,” Komura said.

“You’re sure it’s no problem? Like, you want to be alone or you can’t relax if somebody else is around or something?”

Komura insisted it was no problem. Drinking a beer and drying his hair with a towel, he watched TV with Shimao. It was a news special on the Kobe earthquake. The usual images appeared again and again: tilted buildings, buckled streets, old women weeping, confusion and aimless anger. When a commercial came on, Shimao used the remote to switch off the TV.

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