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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The teacher ridiculed her view. “Death is really what he wanted? That’s a new one for me! And strange! Quite ‘original,’ I’d have to say.” He read her conclusion aloud before the class, and everybody laughed.

But Junko knew. All of them were wrong. Otherwise, how could the ending of the story be so quiet and beautiful?

“Uh, Mr. Miyake,” Keisuke ventured, “don’t you think the fire has gone out?”

“Don’t worry, it’s caught. It’s just getting ready to flare up. See how it’s smoking? You know what they say: ‘Where there’s smoke, there’s fire.’ ”

“Well, you know what else they say: ‘Where there’s blood, there’s a hard-on.’ ”

“Is that all you ever talk about?”

“No, but how can you be so sure it hasn’t gone out?”

“I just know. It’s going to flare up.”

“How did you come to master such an art, Mr. Miyake?”

“I wouldn’t call it an ‘art.’ I learned it when I was a Boy Scout. When you’re a Scout, like it or not, you learn everything there is to know about building a fire.”

“I see,” said Keisuke. “A Boy Scout, huh?”

“That’s not the whole story, of course. I have a kind of talent, too. I don’t mean to brag, but when it comes to making a bonfire I have a special talent that most folks just don’t have.”

“It must give you a lot of pleasure, but I don’t suppose this talent of yours makes you lots of money.”

“True. None at all,” Miyake said with a smile.

As he had predicted, a few small flames began to flicker at the center of the pile, accompanied by a faint crackling sound. Junko let out a long-held breath. Now there was nothing to worry about. They would have their bonfire. Facing the newborn flames, the three began to stretch out their hands. For the next few minutes there was nothing more to be done but to watch in silence as, little by little, the flames gained in strength. Those people of fifty thousand years ago must have felt like this when they held their hands out to the flames, thought Junko.

“I understand you’re from Kobe, Mr. Miyake,” Keisuke said in a cheery voice as if the thought had suddenly popped into his head. “Did you have relatives or something in the Kansai earthquake last month?”

“I’m not sure,” said Miyake. “I don’t have any ties with Kobe anymore. Not for years.”

“Years? Well, you sure haven’t lost your Kansai accent.”

“No? I can’t tell, myself.”

“I do declare, you must be joking,” said Keisuke in exaggerated Kansai tones.

“Cut the shit, Keisuke. The last thing I want to hear is some Ibaragi asshole trying to talk to me in a phony Kansai accent. You eastern farm boys’d be better off tearing around on your motorcycles during the slack season.”

“Whoa, I sure rubbed you the wrong way! You look like a nice quiet guy, but you’ve got one hell of a mouth. And this place is Ibaraki, not ‘Ibaragi.’ All you Kansai types are ready to put us eastern ‘farm boys’ down at the drop of a hat. I give up,” Keisuke said. “But seriously, though, did anybody get hurt? You must have had somebody you know in Kobe. Have you seen the news on TV?”

“Let’s change the subject,” Miyake said. “Whiskey?”

“You bet.”

“Jun?”

“Just a little,” Junko said.

Miyake pulled a thin metal flask from the pocket of his leather jacket and handed it to Keisuke, who twisted off the cap and poured some whiskey into his mouth without touching his lips to the rim. He glugged it down and sucked in a sharp breath.

“That is great !” he said. “This has got to be a twenty-one-year-old single malt! Super stuff ! Aged in oak. You can hear the roar of the sea and the breath of Scottish angels.”

“Give me a break, Keisuke. It’s the cheapest Suntory you can buy.”

Next it was Junko’s turn. She took the flask from Keisuke, poured a little into the cap, and tried a few tiny sips. She grimaced, but chased after that special warm feeling as the liquid moved down from her throat to her stomach. The core of her body grew a touch warmer. Next, Miyake took one quiet swallow, and Keisuke followed him with another gulp. As the flask moved from hand to hand, the bonfire grew in size and strength—not all at once, but in slow, gradual stages. That was the great thing about Miyake’s bonfires. The spread of the flames was soft and gentle, like an expert caress, with nothing rough or hurried about it—their only purpose was to warm people’s hearts.

Junko never said much in the presence of the fire. She hardly moved. The flames accepted all things in silence, drank them in, understood, and forgave. A family, a real family, was probably like this, she thought.

Junko came to this town in May of her third year in high school. With her father’s seal and passbook, she had taken three hundred thousand yen from the bank, stuffed all the clothes she could into a Boston bag, and run away from home. She transferred from one train to the next at random until she had come all the way from Tokorozawa to this little seaside spot in Ibaraki Prefecture, a town she had never even heard of. At the realtor’s across from the station she found a one-room apartment, and the following week took a job at a convenience store on the coast highway. To her mother she wrote: Don’t worry about me, and please don’t look for me, I’m doing fine.

She was sick to death of school and couldn’t stand the sight of her father. She had gotten on well with him when she was little. On weekends and holidays the two of them had gone everywhere together. She felt proud and strong to walk down the street holding his hand. But when her periods started near the end of elementary school, and her pubic hair began to grow, and her chest began to swell, he started to look at her in a strange new way. After she passed five-foot-six in the third year of junior high, he hardly spoke to her at all.

Plus, her grades were nothing to boast about. Near the top of her class when she entered middle school, by graduation time it would have been easier to count her place from the bottom, and she barely made it into high school. Which is not to say that she was stupid: she just couldn’t concentrate. She could never finish anything she started. Whenever she tried to concentrate, her head would ache deep inside. It hurt her to breathe, and the rhythm of her heart became irregular. Attending school was absolute torture.

Not long after she settled in this new town, she met Keisuke. He was two years older, and a great surfer. He was tall, dyed his hair brown, and had beautiful straight teeth. He had settled in Ibaraki for its good surf, and formed a rock band with some friends. He was registered at a second-rate private college, but hardly ever went to campus and had zero prospects of graduating. His parents ran an old respected sweetshop in the city of Mito, and he could have carried on the family business as a last resort, but he had no intention of settling down as a sweetshop owner. All he wanted was to ride around with his friends in his Datsun truck, surf, and play the guitar in their amateur band— an easygoing lifestyle that anyone could see was not going to last forever.

Junko got friendly with Miyake after she moved in with Keisuke. Miyake seemed to be in his mid-forties—a small, slim guy with glasses, a long narrow face, and short hair. He was clean-shaven, but he had such a heavy beard that by sundown each day his face was covered in shadows. He liked to wear a faded dungaree shirt or aloha shirt, which he never tucked into his baggy old chinos, and on his feet he wore white, worn-out sneakers. In winter, he would put on a creased leather jacket and sometimes a baseball cap. Junko had never seen him in any other kind of outfit. Everything he wore, though, was spotlessly clean.

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