Харуки Мураками - Killing Commendatore

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Killing Commendatore: краткое содержание, описание и аннотация

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The epic new novel from the internationally acclaimed and best-selling author of 1Q84
In Killing Commendatore, a thirty-something portrait painter in Tokyo is abandoned by his wife and finds himself holed up in the mountain home of a famous artist, Tomohiko Amada. When he discovers a previously unseen painting in the attic, he unintentionally opens a circle of mysterious circumstances. To close it, he must complete a journey that involves a mysterious ringing bell, a two-foot-high physical manifestation of an Idea, a dapper businessman who lives across the valley, a precocious thirteen-year-old girl, a Nazi assassination attempt during World War II in Vienna, a pit in the woods behind the artist’s home, and an underworld haunted by Double Metaphors.
A tour de force of love and loneliness, war and art—as well as a loving homage to The Great Gatsby—Killing Commendatore is a stunning work of imagination from one of our greatest writers.

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What sort of omelet could that have been? One that sprouted wings and flew from Tokyo to Osaka in under two hours?

When I had polished off the omelet, he took my plate to the sink. At last my stomach felt comfortable. Menshiki sat down across the table from me.

“Can we talk a little?” he asked me.

“Certainly,” I said.

“Aren’t you tired?”

“Maybe so. But we have lots to talk about.”

Menshiki nodded. “It appears that several blanks need filling in.”

If they can be filled in, I thought.

“Actually, I stopped by Sunday afternoon,” Menshiki said. “I’d called many times but you never picked up, so I was a little worried. I got here around one.”

I nodded. I had been somewhere else around then.

“I rang the bell and Tomohiko Amada’s son came to the door. Masahiko, is that right?”

“Yes, Masahiko Amada. An old friend. He owns this house, and he’s got a key so he can get in when I’m not here.”

“He was—how should I put this—very worried about you. He said the two of you were visiting his father’s room in the nursing home last Saturday when all of a sudden, you disappeared.”

I nodded, but didn’t say anything.

“He said you vanished into thin air while he was out of the room making a phone call. The nursing home is in Izu Kogen, so the nearest station is too far to reach on foot. But there were no signs that anyone had called a taxi. And the receptionist and the security guard hadn’t seen you leave, either. Masahiko called your home later, but no one answered. He was so alarmed that he drove all the way here to check. He was concerned about your safety. Worried something bad had happened to you.”

I sighed. “I’ll try to explain things to Masahiko. His father’s in bad shape, and I only added to his worries. How is his father, by the way? Did he say anything?”

“It seems he’s been in a coma. Hasn’t regained consciousness at all. His son has taken a room near the home. He was on his way back to Tokyo when he stopped by here.”

“I should call him right away,” I said, shaking my head.

“That’s true,” Menshiki said, placing his hands on the table. “But first I think you need to come up with a coherent story about where you’ve been and what you’ve been doing the past few days. Including an explanation of how you disappeared from the nursing home. No one’s going to buy it if you tell them you just woke up and found yourself back here.”

“You’re right,” I said. “But how about you? Can you buy my story?”

Menshiki thought for a moment. His brow was puckered, as if he was having trouble deciding what to say. “I’ve always been a man who thought along rational lines,” he said at last. “That’s how I was trained. To be honest, though, I can’t be logical where the pit behind the shrine is concerned. Anything could happen there and it wouldn’t feel strange in the least. Spending an hour inside the pit brought that home all the more. That place is more than just a hole in the ground. But I doubt anyone who hasn’t experienced it could understand.”

I couldn’t find the right words to respond, so I stayed silent.

“I think you should take the position ‘I don’t remember anything’ and then stick with it,” Menshiki said. “I don’t know how many people will believe you, but from what I can see, that’s your only option.”

I nodded. Yes, that could well be my only option.

“There are some things that can’t be explained in this life,” Menshiki went on, “and some others that probably shouldn’t be explained. Especially when putting them into words ignores what is most crucial.”

“You’ve experienced that, correct?”

“Of course,” Menshiki said with a small smile. “More than once.”

I drained what was left in my teacup.

“So Mariye wasn’t hurt at all?” I asked.

“She was muddy and scratched up, but had no serious injuries. Not much more than a skinned knee. Just like you.”

Just like me? “Where was she these past few days?”

Menshiki looked perplexed. “I’m pretty much in the dark about that, too. What I do know is that she returned home a short while ago. Dirty and banged up. That’s all I was told. Shoko was in such a state she couldn’t explain much over the phone. You should probably ask her yourself when things have settled down. Or, if possible, ask Mariye directly.”

I nodded. “You’re right. I’ll do that.”

“Don’t you think you should get some sleep?” Menshiki asked.

No sooner had these words left his mouth than sleepiness hit me. I had slept deeply while I was in the pit (at least I think I had), but now I could barely keep my eyes open.

“Yes, you’re right. I think I’ll go lie down,” I said, looking at the backs of his clasped hands, perfectly aligned on the table.

“Have a good sleep. That’s what you need right now. Is there anything else I can do for you?”

I shook my head. “No, I can’t think of anything. But thanks.”

“Then I’ll take off. Please don’t hesitate to call me for whatever reason. I should be at home for the next little while.” He slowly rose to his feet. “Thank goodness Mariye got home safely. And that I was able to help you out of a tough spot. To tell the truth, I haven’t had much sleep these days either. So I think I’ll go home and rest.”

With that he left. As always, I heard the solid thunk of his car door slamming shut, and the engine starting up. I waited until the car was out of earshot before heading for bed. When my head hit the pillow, I remembered the old bell (I had left it and the flashlight in the pit!) for a split second. Then I descended into a deep sleep.

57

SOMETHING I HAVE TO DO EVENTUALLY

Iawoke at two fifteen. Again surrounded by total darkness. For a split second, I was under the illusion that I was still in the pit, but I realized my mistake right away. There was a clear difference between the darkness here and there. Above ground, there was always a vestige of light, even on the blackest night. Not like underground, where no light could enter. It may have been two fifteen, but the sun was still in the sky, albeit on the other side of the planet. That was the size of it.

I turned on the light, went to the bathroom, and drank glass after glass of cold water. The house was hushed. Too hushed, in fact. I listened carefully, but could hear nothing. No breeze. No insect voices, since it was winter. No night birds. No bell. Come to think of it, I had first heard the bell ringing at precisely this time of night. The time when events outside the normal are most likely to occur.

I was no longer sleepy. I was wide awake. Draping a sweater over my pajamas, I headed for the studio. I hadn’t set foot in there since returning home. And I was concerned about the paintings I had left. Especially Killing Commendatore . Menshiki had said that Masahiko had visited the house in my absence. If he had gone into the studio, he might have stumbled upon it. He would have known right away that it was his father’s work. Fortunately, however, I had covered it. I’d worried about leaving it exposed, so I had taken it down from the wall and wrapped a sheet around it to hide it from inquisitive eyes. If the sheet hadn’t been removed, Masahiko ought not to have seen it.

I walked in and flipped on the wall switch. The studio was dead quiet as well. Needless to say, no one was there. Not the Commendatore, not Tomohiko Amada. I was all alone.

Killing Commendatore was where I had left it on the floor, the sheet still in place. It didn’t seem that anyone had touched it. I couldn’t be sure, of course. But nothing suggested otherwise. I unwrapped the painting. It looked the same as always. There was the Commendatore. And Don Giovanni, who had run him through with his sword. And the shocked servant, Leporello. And the beautiful Donna Anna, covering her mouth in astonishment. And in the lower left-hand corner of the painting, poking his head through the square opening, the creepy-looking Long Face.

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