Showing posts with label Haruki Murakami. Show all posts
Showing posts with label Haruki Murakami. Show all posts

Underground: The Tokyo Gas Attack and the Japanese Psyche

~written by Haruki Murakami
~translated by Alfred Birnbaum and Philip Gabriel

Underground: The Tokyo Gas Attack and the Japanese Psyche by Haruki Murakami is actually the English translation of two of Murakami's books, Underground and The Place That Was Promised, which was serialized under the title Post-Underground. Underground, initially published in Japan in 1997, collects interviews Murakami held with victims of the 1995 sarin gas attack in Tokyo while The Place That Was Promised, released in 1998, collects interviews with members and ex-members of Aum Shinrikyo, the religious group responsible for the attack. The English translation of the two books by Alfred Birnbaum and Philip Gabriel was first published in 2000. The English edition doesn't explicitly state so, but I believe that it is an abridgement. The first book in particular, Underground, seems to be a shortened version of original Japanese edition.

On Monday, March 20, 1995--a day falling between two holidays--select members of Aum Shinrikyo coordinated and executed a release of sarin gas, a highly toxic chemical weapon designed for military use, in various locations throughout the Tokyo subway system. Many people, including novelist Haruki Murakami, were frustrated and unhappy with the media's coverage of the attack and related events. The media tended to focus on Aum and the more sensational aspects of the incident, often trampling or completely ignoring the personal experiences of the victims. Partially in response to this, Murakami decided to pursue and conduct interviews and collect individuals' stories. Of the thousands of people immediately affected by the sarin gas attack, Murakami and his assistants were only able to positively identify around one hundred forty people. Still carrying emotional, psychological, and physical scars, even fewer were willing to be interviewed. In the end, only sixty people agreed to allow their interviews to be published.

Thirty-four of these interviews are included in the first part of the book, "Underground." Murakami proceeds train by train, collecting similar stories together to create a more cohesive whole that allows the same events to be viewed from multiple perspectives. Each section of "Underground" begins with an overview of the Aum members who released the sarin gas in that particular location and a description of their actions. Before each individual interview, Murakami provides a brief introduction and personal commentary about that person. This allows their stories to not only be put in to the context of the events of March 20th, but into the context of their own personal histories and lives. These are not faceless individuals; they are real people who have lived through a terrible and traumatic episode, but this is not the only thing that defines them.

In "The Place That Was Promised," Murakami interviews eight members of Aum Shinrikyo. Some of the interviewees were still members at the time while others had left or were excommunicated from the organization. None were directly involved with the sarin gas attack on the Tokyo underground. Neither did any of them condone the actions of their fellow members. It does help to already have some basic knowledge of Aum and its beliefs to fully understand these interviews. But even if you don't, what is revealed through their stories is that they are normal people, just like anyone else, who turned to religion out of frustration with the society around them. Murakami does tend to be more argumentative while interviewing the Aum members. Before reading Underground, I knew very little about the Tokyo sarin gas attack. While the event is unquestionably tragic, Murakami handles the interviews with respect and is careful not to exploit the stories that have been entrusted to him. Underground is an compelling oral history.



1Q84

~written by Haruki Murakami
~translated by Jay Rubin and Philip Gabriel

Despite my deep interest in Japanese literature, I have somewhat surprisingly never read any of Haruki Murakami's works until his most recent novel 1Q84. 1Q84 was originally published in Japan in three volumes, the first two in 2009 and the final volume in 2010. Already an international bestseller and nominated for a Man Asian Literary Prize, the publication of the single volume English-language edition was probably one of the most anticipated releases in the United States for 2011. I find it very strange, although I'm sure there are very good reasons for it, but two different translators worked on 1Q84: Jay Rubin translated the first two books and Philip Gabriel translated the third. 1Q84 was the November 2011 selection for the Japanese Literature Book Group which is why I finally got around to reading something by the world-renowned Murakami.

Tokyo, 1984. Aomame is a popular fitness and martial arts instructor at the gym where she works. She's also an occasional assassin, able to send a man to the other side quickly and silently while making the death appear to be natural. But Aomame begins to suspect something isn't quite right with her world when after her latest job she realizes that she seems to be missing memories. Elsewhere in the city, Tengo, a math teacher at a cram school and an aspiring author, has been somewhat reluctantly roped into ghostwriting a short novel called Air Chrysalis for a new writers competition. He doesn't expect anything good to come from the scheme, but he still feels compelled to rewrite the story. But even Tengo couldn't anticipate just how much trouble his acquiescence will cause for all those involved in the subterfuge.

For most of the novel, 1Q84 is told in chapters alternating between Aomame and Tengo's perspectives. At first their stories seem completely unrelated but as the novel progresses the deep connection between the two is slowly revealed. However, I simply didn't feel the inescapable draw that is supposed to exist between Tango and Aomame and that is supposed to be one of the driving forces behind 1Q84. Nevertheless, I did like the general structure of the novel and the use of repeated keywords, phrases, and cultural references that tie everything closer and closer together. I loved how what the characters initially believe to be fictional elements steadily encroach upon their realities. The change in the translator for the third book is noticeable but fortunately isn't too jarring. The style might be slightly different, but it was a decent breaking point since a third perspective is also introduced in the final volume.

Air Chrysalis is described as a work that fascinates and delights just as much as it confuse and perplexes. In may ways, those words could just as easily be applied to 1Q84. The novel is wondrously peculiar. Even so, I found parts of 1Q84 to be extremely frustrating. For one, I'm not entirely convinced it needed to be as long as it was. While I appreciated the incorporation of musical and literary touchstones, Murakami has a habit of going off on tangents that aren't always obviously justified. Characters frequently rehash plot points that have already been well established without bringing anything new to the story. Conversations tended to be incredibly cryptic or esoteric. And as the novel approaches its end, time becomes less linear, disorienting, and out of sync. While this had the potential to be effective, it didn't quite work for me. I am glad I read 1Q84, there were parts of it I really enjoyed, but I do get the feeling it's probably not the best place to start reading Murakami.