Tuesday, January 16, 2018

Territory of Light - The Body



The chapters of Territory of Light continues with December's being entitled The Body, which bears an ominous connotation, although as the narrator navigates around the festive period and New Years steps are being put into motion of the separation between her and her husband Fujino. The narrator has instigated official proceedings at mediation although at this first meeting Fujino fails to turn up, according to the clerks it's common for husbands to put in a no show and she finds herself leaving the meeting on her own. Eventually meeting up with Fujino in a coffee shop initial disagreements and mistrust arise again and things deteriorate again into stalemate, the relationship with Sugiyama evidently more than merely platonic, accusations abound.

Amidst the logistics of arrangements over the festive period, the relationship with her mother is put briefly under the microscope and also of her reaction to her daughter's separation. After this the narrator and her daughter visit a Chinese restaurant and at a shared table her daughter's mood swings into a temper and they leave. Throughout the book the broader sociological implications of the separation are explored and at the same time the struggles of being a single mother are portrayed, in The Body, her daughter has a toilet accident in the street that has to be dealt with, and the chapter ends rather enigmatically with a drunken man staggering into their path and collapsing, after being asked by her daughter to make him better, the pair find themselves massaging his back until he revives and staggers on. The incident feels that it's going to resurface in future chapters perhaps, while the narrator returns to another mediation session, will Fujino put in an appearance?.


Territory of Light at Penguin Classics       

Tuesday, January 9, 2018

Popular Hits of the Showa Era by Murakami Ryu



Originally published in 1994, Popular Hits of the Showa Era was published in a translation by Ralph McCarthy by Pushkin Press in 2013. The novel displays many of the hallmarks of Murakami's writing, there are scenes of wrenching violence and explorations of psyches that usually remain in the shadows. The novel opens introducing a group of maladjusted young men whom have little in connection apart from perhaps a shared disconnection with society, the men party and a reoccurring motif appears in the form of a beautiful woman who appears in a window opposite theirs who through various points in the story is usually spied on in a state of undress. The action of the novel comes into motion when one of the group, Sugioka, murders a woman in what seems to be a random and impulsive act of violence, the victim was Yanagimoto Midori, a woman who was a generation or so older than Sugioka.

This murder introduces us to the two groups which become the rival gangs of the novel, which at various points are referred to as the Midori Society and the Nobue/Ishihara gang. We are introduced to their idiosyncrasies and peer into the generational gap or crack between the two. The Midori Society, who all share the same name with the initial victim are made up ostentatiously of Oba-sans, karaoke buddies, women of a certain age, the group includes a divorcee and others appear to be facing various stages of mid life crisis, but display fantastic abilities and organisational skill when it comes to avenging the murder. The Nobue/Ishihara group is made up of essentially a group of young men who appear to be slightly off kilter, maybe best described as misfits. The novel essentially follows the groups as they progress in taking revenge for the initial murder, taking a member out of each group one at a time, or towards the end of the book that number increases, as does the extremities of the violence and methods used in efforts to exterminate the members of the opposing group.

In places the novel displays a dark humour and there's an equally dark satire going on with these observations of the generational gap taken to maximum extremes of violence, Murakami is uncanny at bringing these hidden pathological psychologies on to centre stage and putting his foot on the accelerator, depicting perhaps the unspoken vengeful impulses of society. With the novel's title in mind the characters of the book reference a number of songs throughout, it could quite easily come with an accompanying cd and perhaps before setting out on a reading of this novel it might help to put on a few tracks by Frank Nagai or Sachiko Nishida to serve as a contextual backdrop.


Popular Hits of the Showa Era at Pushkin Press

             



Sunday, January 7, 2018

readings in 2017



So as 2018 staggers into the headlights it's an apt time to note back on what else read in 2017, probably two books that stuck in the mind most were the Barbara Comyns and the Roland Buti, but also Ralf Rothmann and Shirley Jackson bowled me over.

Thanks for reading, all the best to you.


Umberto Eco - Numero Zero
Antoine Leiris - You Will Not Have My Hate
Pierre Reverdy - Haunted House
Primo Levi - The Wrench
Elizabeth Strout - My Name is Lucy Barton
Mohsin Hamid - Exit West
Ivan Klima - My First Loves
Ali Smith - Autumn
Leonora Carrington - Down Below
Barbara Comyns - Who Was Changed and Who Was Dead
Cormac McCarthy - Outer Dark
Ralf Rothmann - To Die In Spring
Ernst Haffner - Blood Brothers
Andres Barba - Such Small Hands
Edouard Louis - The End of Eddy
Shirley Jackson - We Have Always Lived in the Castle
Guy Goffette - Forever Nude
V H Leslie - Bodies of Water
Ryu Murakami - Piercing
Sjon - Moonstone
Han Kang - The White Book
David Foenkinos - Charlotte
Roland Buti - Year of the Drought



Thursday, January 4, 2018

Territory of Light - Red Lights


Red Lights is November's chapter of Territory of Light by Yuko Tsushima, translated by Geraldine Harcourt and is published in April by Penguin Classics. Much like the previous chapters Red Lights feels a very self contained narrative, each of the chapters have the feeling of being a short story within themselves, although there remains small pointers to the larger story unfolding, that of the narrator in the process of separating from and divorcing her husband. Red Lights sees the appearance of another new character, Sugiyama, who for a time was privately tutored by her husband, Fujino, Sugiyama is one amongst a select few who the narrator had given a change of address card to, the relationship on the whole feels platonically innocent although they fall asleep listening to each other's heartbeats, Sugiyama also displays having a rapport with the narrator's daughter.

A repeating aspect arising in Red Lights is of the narrator's struggle balancing work/childcare and home life, often finding herself either late for work or taking her daughter to daycare, her daughter becomes to be a topic of concern when the carers thwart an attempt by her to severe a younger attendee's ear off with a pair of scissors, has her daughter's behaviour disintegrated since their separation? is it a symptom of it?, the narrator wonders. Similar also to previous chapters there is an element of dreamscapes featuring in the narrative, Red Lights opens with another, of the narrator finding herself in search of a missing person, and of being in a vehicle, the details remain vague, it's clarity out of reach, feeling both provocative and premonitory.

Throughout the chapters there has sometimes appeared small connections that exist between them, characters appearing briefly and the reader's never too certain which of these might turn out to be a permanent fixture and what the outcome of their influence might be, Kawachi from the previous chapter appears again toward the end of Red Lights, the narrator sees him with his child and wife which causes an episode of self scrutiny in her.

What is an interesting riddle to most of these chapters is their titles, with Red Lights the reader is tempted to think that the reveal or point of explanation was going to come at the beginning amidst the dreamscape, Red Lights feels like it might emerge there, although Tsushima leaves it to the final page to unlock the mystery of it's title again in a moving poetical, perhaps metaphorically way when enroute to work the narrator's train experiences hitting a female suicide and there is the stain of red berries fallen from a tree, which again is a moving allegory. The narrator becomes embroiled contemplating the suicide's motives and feelings, this desire to understand feels similar to that of her desire of searching for the missing person amongst her dream at the opening of the story, in a mirrored culmination, and the reader finishes the story in awe again at Tsushima's prose.
 

Territory of Light at Penguin Classics

      

Thursday, December 28, 2017

Ms Ice Sandwich by Mieko Kawakami





















It seems that this year my reading has predominately been made up of a ricocheting between the chapters of Territory of Light and of the novellas being put out by Pushkin Press, this is no bad thing although next year will see me catch up with a few books from the past that I feel I need to catch up with, keeping up with new titles I've neglected on a number of translations from yesteryear. In the last of the novellas of 2017 Ms Ice Sandwich by the Akutagawa Prize winning Mieko Kawakami is translated by Louise Heal Kawai, although only 92 pages the book has a compelling and absorbing narrative, and although some titles are appearing now due forthcoming in 2018 the name Kazushige Abe is a little hard to erase from the wish list. Being so brief it's difficult to give a synopsis of the book in it's entirety without giving all away, so I'll try not to. Essentially the book is about unrequited love and in parts it's a coming of age tale. To begin with the narrative, related by a youngish high school boy?, tells of his fascination with a lady who works at a sandwich stall, another main character of the book is Tutti a female school mate who the narrator has a slightly fragmented relationship with, there's the feeling that she is more interested in him than he is with she, it's slightly difficult to ascertain due to degrees of disinterest the narrator has for anything other than Ms ice sandwich, although on an evening when he visits Tutti to watch a DVD of the movie Heat he becomes more fascinated by Tutti and her father watching the film than the movie itself.

The narrative on the whole has the sense of a slightly dysfunctional kawaii-ness about it, although this bursts in the scene when he breaks down in front of his grandmother who is weak and near death herself at this point and raw emotion prevails over pretense, the novella is endearing in a number of scenes where realizations dawn on the narrator about the absoluteness of loosing occur. Kawakami's prose bears an inventive originality to it, especially the Al Pacino moments - Tutti thinks that Al Pacino means goodbye in a foreign language, and in a number of scenes when they part Tutii and the narrator exchange Al Pacino's, as well as this there's the novel and entertaining way in which Tutti and fellow class mate Doo-wop acquire their names. Aside from his fascination/obsession with Ms ice sandwich there's things going on with the relationship he has with his mother and grandmother, and as well as convincingly portraying adolescent naivety we are given the portrait of a world seen before a number of realizations have occurred. Throughout the narrative the progress is broken with a number of digressions, one being the elusive forgotten story of the dogs with eyes which in a way syncs with a dream sequence incorporating Ms Ice Sandwich, and another the enigma of the source of her facial irregularities..Very much enjoyed this novella and translation and hope for more.


Ms Ice Sandwich at Pushkin Press

             

Tuesday, December 12, 2017

Territory of Light - The Dunes




The chapter for October in Territory of Light is rather enigmatically entitled The Dunes, the book in full is appearing in April 2018 published by Penguin Classics, in a translation by Geraldine Harcourt. An aspect of the narrative that has appeared so far is one laced with a certain sense of solitude as we follow our narrator who has recently separated from her husband and finds herself facing the machinations of divorce. Another aspect that is never too distant from the narrative is of her surmounting the logistics of both parenting and of being employed, these two are a common thread throughout the chapters. The Dunes continues on with the scenario that arose in the previous chapter of her daughter throwing things onto an adjacent roof of an apartment below theirs on the fourth floor, the elderly occupants complain and a blue mesh is put up around the narrator's windows, along with this the elderly couple raise the suspicion that she herself is also guilty of throwing the items as well, which in subtly contributes to a sense of victimisation that the narrator consciously/unconsciously senses is tied to her predicament.

Perhaps The Dunes departs slightly with the sense that the character is enclosed in solitude with the appearance of Kawachi, a married man who is linked to the parent/teacher group of the daycare centre her daughter attends, this arises after a drunken night at her colleagues apartment and culminates the following morning with his early disappearance and her daughter's lateness for daycare and of her phoning in sick at work, as with the previous chapters there's a sense of seismic shifts occurring in the narrator as we observe her endeavouring to make new spaces within herself to accommodate these new perspectives, which begins to be developed further in November's chapter which is entitled Red Lights.

The Dunes displays again Tsushima's character caught between the lucidness of harsh realities and the more abstracted moments as the dials change, which is one of the central questioning perspectives of her writing, a direction change in circumstance and the pivot points of society begin to have moved by degrees. The Dunes ends in a dreamscape of children's voices heard across a sanded landscape, of distress or portentous?, we'll have to see.
    

Territory of Light at Penguin Classics

    

    




Saturday, November 25, 2017

Sweet Bean Paste by Durian Sukegawa



Amongst the burgeoning number of international titles put out by One World comes Sweet Bean Paste by Durian Sukegawa translated by Alison Watts, the novel has also garnered attention due to it being adapted in a film version directed by Naomi Kawase. Related in simple prose the story is an engaging and moving human drama that throws together two characters who at first appear to have little in common, one being Sentaro who works at Doraharu where he makes dorayaki, the second being Tokue, an elderly woman who applies to work for him who at first is refused but then after Sentaro samples her delicious dorayaki is taken on. As she begins to teach Sentaro the secrets of how to cook dorayaki her way the past of each character begins to be explained. Sentaro is working at Doraharu paying off debts and has spent time in prison. Tokue carries the enigma of her misshapen hands which begins to arouse the suspicions of some of the customers, one of them Wakana whose character begins to feature more centrally in the second half of the book.

The plot sees the popularity of Doraharu rise and fall, it's future precariously balanced as the two work away to make the perfect dorayaki and make a success of the business which is always under the scrutinous eye of the owner's wife who stops by to check the books, things come to a head when pressure is brought on for Tokue to quit, after her departure it becomes apparent that she was suffering from Hansen's disease and that Tokue was living in a hospice for sufferer's of the disease. Sentaro comes to realize the stigma that has dogged Tokue's life through misguided comprehensions, pointlessly being confined way beyond the possible risk of contagion has long past. Through this coming together Sentaro begins to face up to the things in his own past and Tokue develops a renewed perspective of her life, after eventually quitting Doraharu the pair stay in contact, Sentaro and Wakana visit Tokue at the hospice where more of her past is related. Sweet Bean Paste is both a moving and provoking book with a number of lines of enquiry, both reassuring and elegiac with a broad sense of humanity.                  


Sweet Bean Paste at One World 



Thursday, November 16, 2017

books for the reading diary - 2018


As we enter the last months of 2017 it's time to look forward to some books due for 2018, obviously big news that a newly translated novel from Mishima will garner a lot of attention, rumours are abound that there maybe another from him appearing later in the year too. Another I'm much looking forward to reading is Go by Kazuki Kaneshiro due in March, a book that was/is massive in Japan. Looking at the list for 2017 it looks like it needs a few updates and no doubt, hopefully as we go on this one too will see more additions.



January


The Bear and the Paving Stone - Toshiyuki Horie trans. Geraint Howells - Pushkin Press
In Black and White : A Novel - Jun'Ichiro Tanizaki - trans. Phyllis I. Lyons - CUP

February

Of Dogs and Walls - Yuko Tsushima - Penguin Books
Three Japanese Short Stories - Uno/Nagai/Akutagawa - Penguin Classics
The Red and White Ghost:Selected Essays and Stories - Kita Morio trans. Masako Inamoto - CEAS
Seventeen - Hideo Yokoyama - trans. Louise Heal Kawai - Quercus

March

The End of the Moment We Had - Toshiki Okada trans. Samuel Malissa - Pushkin Press
The Beast Player - Nahoko Uehashi trans. Cathy Hirano - Pushkin Press
Hideyoshi and Rikyu - Nogami Yaeko - trans. Mariko Nishi LaFleur - UHP
Go - Kazuki Kaneshiro trans. Takami Nieda - Amazon Crossing

April

Territory of Light - Yuko Tsushima trans. Geraldine Harcourt - Penguin Classics
Sisyphean - Dempow Torishima trans. Daniel Huddleston - Haikasoru
Lion Cross Point - Masatsugu Ono - trans. Angus Turnvill - catranslation

May

Cult X - Fuminori Nakamura trans. Kalau Almony - Soho Press
One Hundred Poets, One Poem Each - trans. Peter MacMillan - Penguin Classics
Slum Wolf - Tadao Tsuge - trans. Ryan Holmberg - nyrb
Hybrid Child - Mariko Ohara - trans. Jodie Beck - Minnesota University Press

June

The Memory Police - Yoko Ogawa trans? - Harvill Secker
Convenience Store Woman - Sayaka Murata - trans. Ginny Tapley Takemori - Grove Press
The Thousand Year Beach - Tobi Hirotaka trans. Matt Treyvaud - Haikasoru
The Penguin Book of Japanese Short Stories - edited/trans. Jay Rubin - Penguin Classics

July

Frolic of the Beasts - Yukio Mishima trans.? - Vintage International

August

Citizens of Tokyo - Oriza Hirata - edited by M. Cody Poulton - Seagull Books

September

Newcomer - Keigo Higashino trans. Alexander O. Smith - Minotaur Books
The Samurai - Shusaku Endo trans. Van C. Gessel - W.W Norton & Co
Killing Commendatore - Haruki Murakami - trans? - Harvill Secker/Knopf


Thursday, November 9, 2017

Territory of Light - The Magic Words


September's chapter of Territory of Light is entitled The Magic Words, perhaps the briefest installment so far to the book which is published in full in April 2018. An aspect that is prominent in the chapter is of the introspectiveness of the narrator as she cross examines her feelings about finding herself a mother, this cross examination is provoked when her daughter has a bout of nocturnal crying and a period of bed wetting, reading her feelings, any mother, (and no doubt any father), who has experienced parental fatigue will associate with the narrator's thoughts and self doubts. The narrator's endurance is pushed to the limits which see's her resorting to drink in an attempt to get a full night's sleep, her feelings for her daughter spin through a whole 360 degrees, from dangerous resentment back to love again, for a moment she observes the similarities between her daughter and her husband Fujino.

Throughout the book there's been a sense of the narrator making attempts to get on top of her thoughts and feelings and rein things under control, in The Magic Words the borders between work and motherhood blur when she has to leave abruptly to return home as her daughter is unexpectedly picked up from school by Fujino, which brings an underlying struggle throughout the book to the fore, the vexed problem of custody of their daughter, something that hangs over the book that will probably remain unsolved by it's end. The Magic Words is a chapter again that stands on it's own, feeling self contained, a little piece from the previous chapter continues on into this, the goldfish from the August festival dies, which feels like a symbolic addition to some of the themes that hover in this chapter.

Although brief The Magic Words continues to keep balance between both being able to disturb and reassure, perhaps there's something of a mantra at the heart of this chapter which is the phrase 'Itaino, itaino tondeke' which is told to Japanese children at hurtful moments which roughly translates as pain, pain go away, and we wonder as the narrator tells it to her daughter the phrase carries a certain reverberation, is she saying it solely to her daughter, or herself?, or perhaps to us, the moment echoes.


Territory of Light at Penguin Classics

  
    


Thursday, October 5, 2017

Slow Boat by Hideo Furukawa




As mention of another batch of titles in Pushkin's Japanese novellas begins to appear on the horizon time remains to catch up with another of the initial books, Hideo Furukawa's Slow Boat, translated by David Boyd. In the books Linear Notes Furukawa explains that the story is essentially a remix, or a cover version of the Murakami Haruki story, there are displays of the usual Murakami motifs, the jazz track - On a Slow Boat to China by Sonny Rollins, the boku narrator, and also the inclusion of multiple narrative voices. The story has the feel of a Bildungsroman, in places it also resembles  Murakami Ryu's 69. Aside from being sent to a summer camp for wayward kids at the story's opening, a lot of the story plays out in Tokyo's Suginami Ward, and as Furukawa's narrator circumnavigates the possible peripheries of the city, (who knows where they begin and end?), and it's potential escape routes the narrative moves amongst an anonymous hotel room, descriptions of the details of furnishings and contents, Furukawa's narrative questions visual spaces alongside emotional progress and the two merge convincingly. These hotel scenes and the Sonny Rollins track gain greater clarity and poignancy in the closing scenes, the book is made up of rather than chapters but boats, Boat 1, Boat 2, etc.

Despite it's brevity the pace of the prose is pitch perfect, for a while we skip between episodes of recounting past girlfriends and additional narrative interludes, or chronicles, provided by Kaku Nohara, glimpsing into the events of lost years, 1994, Y2K giving the main narrative a broader context and perspective, the two overlap, a memorable scene of the narrator loosing it on a packed commuter train after being given an ultimatum from a departing girlfriend in pursuit of her destiny, that is one of many here, the name of his restaurant being decided after a misreading is another. At the end of the book you're left contemplating differences, Furukawa's prose here is faster paced, feels more edgier, more in your face, although remaining a homage with a lot of respect and originality.


Slow Boat at Pushkin Press