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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“Let’s talk,” she said, “as long as we’re here.”

“Fine,” Komura said.

“Hmm, what should we talk about?”

“In the car, you and Keiko said something about a bear, remember? You said it was a great story.”

“Oh yeah,” she said, nodding. “The bear story.”

“You want to tell it to me?”

“Sure, why not?”

Shimao got a fresh beer from the minibar and filled both their glasses.

“It’s a little raunchy,” she said. “You don’t mind?”

Komura shook his head.

“I mean, some men don’t like hearing a woman tell certain kinds of stories.”

“I’m not like that.”

“It’s something that actually happened to me, so it’s a little embarrassing.”

“I’d like to hear it if you’re OK with it.”

“I’m OK, if you’re OK.”

“I’m OK,” Komura said.

“Three years ago—back around the time I entered junior college—I was dating this guy. He was a year older than me, a college student. He was the first guy I had sex with. One day the two of us were out hiking—in the mountains way up north.”

She took a sip of beer.

“It was fall, and the hills were full of bears. That’s the time of year when the bears are getting ready to hibernate, so they’re out looking for food and they’re really dangerous. Sometimes they attack people. They did an awful job on one hiker just three days before we went out. So somebody gave us a bell to carry—about the same size as a wind-bell. You’re supposed to shake it when you walk so the bears know there are people around and won’t come out. Bears don’t attack people on purpose. I mean, they’re pretty much vegetarians. They don’t have to attack people. What happens is they suddenly bump into people in their territory and they get surprised or angry and they attack out of reflex. So if you walk along ringing your bell, they’ll avoid you. Get it?”

“I get it.”

“So that’s what we were doing, walking along and ringing the bell. We got to this place where there was nobody else around, and all of a sudden he said he wanted to… do it. I kind of liked the idea, too, so I said OK and we went into this bushy place off the trail where nobody could see us, and we spread out a piece of plastic. But I was afraid of the bears. I mean, think how awful it would be to have some bear attack you from behind and kill you when you’re having sex! I would never want to die that way. Would you?”

Komura agreed that he would not want to die that way.

“So there we were, shaking the bell with one hand and having sex. Kept it up from start to finish. Ding-a-ling! Ding-a-ling! ”

“Which one of you shook the bell?”

“We took turns. We’d trade off when our hands got tired. It was so weird, shaking this bell the whole time we were doing it! I think about it sometimes even now, when I’m having sex, and I start laughing.”

Komura gave a little laugh, too.

Shimao clapped her hands. “Oh, that’s wonderful,” she said. “You can laugh after all!”

“Of course I can laugh,” Komura said, but come to think of it, this was the first time he had laughed in quite a while. When was the last time?

“Do you mind if I take a bath, too?” Shimao asked.

“Fine,” he said.

While she was bathing, Komura watched a variety show emceed by some comedian with a loud voice. He didn’t find it the least bit funny, but he couldn’t tell whether that was the show’s fault or his own. He drank a beer and opened a pack of nuts from the minibar. Shimao stayed in the bath for a very long time. Finally, she came out wearing nothing but a towel and sat on the edge of the bed. Dropping the towel, she slid in between the sheets like a cat and lay there looking straight at Komura.

“When was the last time you did it with your wife?” she asked.

“At the end of December, I think.”

“And nothing since?”

“Nothing.”

“Not with anybody?”

Komura closed his eyes and shook his head.

“You know what I think,” Shimao said. “You need to lighten up and learn to enjoy life a little more. I mean, think about it: tomorrow there could be an earthquake; you could be kidnapped by aliens; you could be eaten by a bear. Nobody knows what’s going to happen.”

“Nobody knows what’s going to happen,” Komura echoed.

Ding-a-ling, ” Shimao said.

After several failed attempts to have sex with Shimao, Komura gave up. This had never happened to him before.

“You must have been thinking about your wife,” Shimao said.

“Yup,” Komura said, but in fact what he had been thinking about was the earthquake. Images of it had come to him one after another, as if in a slide show, flashing on the screen and fading away. Highways, flames, smoke, piles of rubble, cracks in streets. He couldn’t break the chain of silent images.

Shimao pressed her ear against his naked chest.

“These things happen,” she said.

“Uh-huh.”

“You shouldn’t let it bother you.”

“I’ll try not to,” Komura said.

“Men always let it bother them, though.”

Komura said nothing.

Shimao played with his nipple.

“You said your wife left a note, didn’t you?”

“I did.”

“What did it say?”

“That living with me was like living with a chunk of air.”

“A chunk of air?” Shimao tilted her head back to look up at Komura. “What does that mean?”

“That there’s nothing inside me, I guess.”

“Is it true?”

“Could be,” Komura said. “I’m not sure, though. I may have nothing inside me, but what would something be?”

“Yeah, really, come to think of it. What would something be? My mother was crazy about salmon skin. She always used to wish there were a kind of salmon made of nothing but skin. So there may be some cases when it’s better to have nothing inside. Don’t you think?”

Komura tried to imagine what a salmon made of nothing but skin would be like. But even supposing there were such a thing, wouldn’t the skin itself be the something inside? Komura took a deep breath, raising and then lowering Shimao’s head on his chest.

“I’ll tell you this, though,” Shimao said, “I don’t know whether you’ve got nothing or something inside you, but I think you’re terrific. I’ll bet the world is full of women who would understand you and fall in love with you.”

“It said that, too.”

“What? Your wife’s note?”

“Uh-huh.”

“No kidding,” Shimao said, lowering her head to Komura’s chest again. He felt her earring against his skin like a secret object.

“Come to think of it,” Komura said, “what’s the something inside that box I brought up here?”

“Is it bothering you?”

“It wasn’t bothering me before. But now, I don’t know, it’s starting to.”

“Since when?”

“Just now.”

“All of a sudden?”

“Yeah, once I started thinking about it, all of a sudden.”

“I wonder why it’s started to bother you now, all of a sudden?”

Komura glared at the ceiling for a minute to think. “I wonder.”

They listened to the moaning of the wind. The wind: it came from someplace unknown to Komura, and it blew past to someplace unknown to him.

“I’ll tell you why,” Shimao said in a low voice. “It’s because that box contains the something that was inside you. You didn’t know that when you carried it here and gave it to Keiko with your own hands. Now, you’ll never get it back.”

Komura lifted himself from the mattress and looked down at the woman. Tiny nose, moles on the earlobe. In the room’s deep silence, his heart beat with a loud, dry sound. His bones cracked as he leaned forward. For one split second, Komura realized that he was on the verge of committing an act of overwhelming violence.

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