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. (Aug. 20) Forecast: The thematic urgency of this collection should give readers an extra reason to pick it up; Murakami's track record will do the rest. Copyright 2002 Cahners Business Information.
Noted Japanese author Murakami (Sputnik Sweetheart) offers six short stories set around the time of the devastating 7.2-magnitude earthquake in Kobe, which killed thousands in January 1995. The stories are very loosely woven together by passing references made to the tragic event. Focusing on the relationships between people who are all broken by life, the stories include "UFO in Kushiro," in which a salesman comes home one day to find himself abandoned by his wife, who has left him a note and later asks for a divorce; "All God's Children Can Dance," which tells the story of Yoshiya, a man born out of wedlock to a religiously zealous woman (even being told by her that his birth was "divine") who later goes out in search of his father; and "Honey Pie," which describes the longstanding friendships of three college friends, a single man and a married couple, who grow older together wondering about the state of their relationships after the couple's divorce. However, in "Super-Frog Saves Tokyo," Murakami uses earthquakes as the central theme; here a giant talking frog shows up in a man's apartment and asks him for his assistance in saving Tokyo from a major earthquake. Murakami's writing examines the state of the human condition in a manner similar to that of National Book Award winner Ha Jin, but Murakami's stories often end abruptly, leaving readers to determine for themselves how the stories are to be resolved, if at all. Public and academic libraries with collections of Murakami's work will probably want to add this one. Shirley N. Quan, Orange Cty. P.L., Santa Ana, CA Copyright 2002 Cahners Business Information.
Surrealism, fantasy, and powerfully restrained emotion are the distinctive features of six spectacularly original and gripping linked stories: the latest from the internationally renowned Japanese author of Sputnik Sweetheart (2001), etc. They're ingenious dramatizations of the emotional aftershocks of the massive 1995 Kobe earthquake. Each presents a vividly realized central figure: Komuro, the complacent salesman of "ufo in kushiro," whose passive relationship with his even more passive wife is transformed, after she leaves him, into an awakened sensitivity to the dangers lurking in the everyday; Junko, a rootless young woman inexplicably drawn (in "landscape with flatiron") toward a suicidal artist obsessed with building bonfires; and underachiever Yoshiya (in "all god's children can dance"), whose baffled relationships with his abstracted mother, possibly nonexistent father, and God are set forth with crackling funereal wit. These are excellent pieces, but they're surpassed by the bittersweet "super-frog saves Tokyo," a Walter Mitty-like fantasy of empowerment enriched by delicious comic detail. Better still are "Thailand," the tale of a middle-aged woman doctor's realization, while vacationing in Bangkok, that the life she has neglected to live has formed long-dormant despairing energies into figurative (and, just possibly, literal) destructive forces; and "honey pie," in which Junpei, a withdrawn fiction writer, reshapes the tale of his own frustrations and failings into a bedtime story for the young daughter of the woman he loves-and draws from his own creation a strength he never knew he possessed. This latter is perhaps the least self-consciously "literary" story about a writer'slife that anybody has ever written. It really is a wonderment to see how Murakami develops bizarre, "impossible" premises into emotionally and thematically satisfying explorations of genuine human longing, extremity, epiphany, and growth. This writer goes from strength to strength. Magnificent.
From the Publisher
“Ushers the reader into a hallucinatory world where the real and surreal merge and overlap, where dreams and real-life nightmares are impossible to tell apart.” —Michiko Kakutani, The New York Times
“His characters are so persuasive, and the storytelling so spacious. . . . Murakami’s crisp, accomplished stories in After the Quake have great immediacy.” —The Seattle Times
“One of the great Japanese exports.” —Details
“Unexpectedly powerful. . . . Moving.” —The New York Times Book Review
“Both mysterious and somehow quite familiar.” –Alan Cheuse, San Francisco Chronicle
“In these stories . . . Murakami proves himself to be almost as fantastic–and as heroic–as his creations.” –Elle
“Trim, beautiful, diamond sharp, and profoundly layered in . . . mystical symbolism and daily absurdities. Murakami’s evocations of grace and possible redemption are startling, dangerous, and moving.” –O, The Oprah Magazine
“Haruki Murakami remains one of the most accessible Japanese writers for Western readers.” –LA Times
“Spare yet richly mysterious and emotionally prismatic, these unpredictable tales explore the subtle ways the earthquake affected those who live far from its epicenter yet who are nonetheless shaken to their very core. . . .Haunting.” –Booklist (starred review)
“Murakami has written a series of deeply evocative stories.” –Tulsa Today
“The stories here are well-crafted and lyrical . . . They are sometimes absurd, sometimes quite funny, but they all have real epiphanies and real moments of feeling.” –Rocky Mountain News
Read an Excerpt
UFO IN KUSHIROCopyright 2002 by Haruki Murakami
Five straight days she spent in front of the television, staring at crumbled banks and hospitals, whole blocks of stores in flames, severed rail lines and expressways. She never said a word. Sunk deep in the cushions of the sofa, her mouth clamped shut, she wouldn't answer when Komura spoke to her. She wouldn't shake her head or nod. Komura could not be sure the sound of his voice was even getting through to her.
Komura's wife came from way up north in Yamagata and, as far as he knew, she had no friends or relatives who could have been hurt in Kobe. Yet she stayed rooted in front of the television from morning to night. In his presence, at least, she ate nothing and drank nothing and never went to the toilet. Aside from an occasional flick of the remote control to change the channel, she hardly moved a muscle.
Komura would make his own toast and coffee, and head off to work. When he came home in the evening, he'd fix himself a snack with whatever he found in the refrigerator and eat alone. She'd still be glaring at the late news when he dropped off to sleep. A stone wall of silence surrounded her. Komura gave up trying to break through.
When he came home from work that Sunday, the sixth day, his wife had disappeared.
Komura was a salesman at one of the oldest hi-fi-equipment specialty stores in Tokyo's Akihabara "Electronics Town." He handled top-of-the-line stuff and earned a sizeable commission whenever he made a sale. Most of his clients were doctors, wealthy independent businessmen, and rich provincials. He had been doing this for eight years and had a decent income right from the start. The economy was healthy, real-estateprices were rising, and Japan was overflowing with money. People's wallets were bursting with ten thousand-yen bills, and everyone was dying to spend them. The most expensive items were the first to sell out.
Komura was tall and slim and a stylish dresser. He was good with people. In his bachelor days he had dated a lot of women. But after getting married, at twenty-six, he found that his desire for sexual adventures simplyand mysteriouslyvanished. He hadn't slept with any woman but his wife during the five years of their marriage. Not that the opportunity had never presented itselfbut he had lost all interest in fleeting affairs and one-night stands. He much preferred to come home early, have a relaxed meal with his wife, talk with her for a while on the sofa, then go to bed and make love. This was everything he wanted.
Komura's friends and colleagues were puzzled by his marriage. Alongside him with his clean, classic good looks, his wife could not have seemed more ordinary. She was short with thick arms, and she had a dull, even stolid appearance. And it wasn't just physical: there was nothing attractive about her personality either. She rarely spoke and always wore a sullen expression.
Still, though he did not quite understand why, Komura always felt his tension dissipate when he and his wife were together under one roof; it was the only time he could truly relax. He slept well with her, undisturbed by the strange dreams that had troubled him in the past. His erections were hard; his sex life was warm. He no longer had to worry about death or venereal disease or the vastness of the universe.
His wife, on the other hand, disliked Tokyo's crowds and longed for Yamagata. She missed her parents and her two elder sisters, and she would go home to see them whenever she felt the need. Her parents operated a successful inn, which kept them financially comfortable. Her father was crazy about his youngest daughter and happily paid her round-trip fares. Several times, Komura had come home from work to find his wife gone and a note on the kitchen table telling him that she was visiting her parents for a while. He never objected. He just waited for her to come back, and she always did, after a week or ten days, in a good mood.
But the letter his wife left for him when she vanished five days after the earthquake was different: I am never coming back, she had written, then went on to explain, simply but clearly, why she no longer wanted to live with him.
The problem is that you never give me anything, she wrote. Or, to put it more precisely, you have nothing inside you that you can give me. You are good and kind and handsome, but living with you is like living with a chunk of air. It's not entirely your fault, though. There are lots of women who will fall in love with you. But please don't call me. Just get rid of all the stuff I'm leaving behind.
In fact, she hadn't left much of anything behind. Her clothes, her shoes, her umbrella, her coffee mug, her hair dryer: all were gone. She must have packed them in boxes and shipped them out after he left for work that morning. The only things still in the house that could be called "her stuff" were the bike she used for shopping and a few books. The Beatles and Bill Evans CDs that Komura had been collecting since his bachelor days had also vanished.
The next day, he tried calling his wife's parents in Yamagata. His mother-in-law answered the phone and told him that his wife didn't want to talk to him. She sounded somewhat apologetic. She also told him that they would be sending him the necessary forms soon and that he should put his seal on them and send them back right away.
Komura answered that he might not be able to send them "right away." This was an important matter, and he wanted time to think it over.
"You can think it over all you want, but I know it won't change anything," his mother-in-law said.
She was probably right, Komura told himself. No matter how much he thought or waited, things would never be the same. He was sure of that.
Shortly after he had sent the papers back with his seal stamped on them, Komura asked for a week's paid leave. His boss had a general idea of what had been happening, and February was a slow time of the year, so he let Komura go without a fuss. He seemed on the verge of saying something to Komura, but finally said nothing.
Sasaki, a colleague of Komura's, came over to him at lunch and said, "I hear you're taking time off. Are you planning to do something?"
"I don't know," Komura said. "What should I do?"
Sasaki was a bachelor, three years younger than Komura. He had a delicate build and short hair, and he wore round, gold-rimmed glasses. A lot of people thought he talked too much and had a rather arrogant air, but he got along well enough with the easygoing Komura.
"What the hellas long as you're taking the time off, why not make a nice trip out of it?"
"Not a bad idea," Komura said.
Wiping his glasses with his handkerchief, Sasaki peered at Komura as if looking for some kind of clue.
"Have you ever been to Hokkaido?" he asked.
"Would you like to go?"
"Why do you ask?"
Sasaki narrowed his eyes and cleared his throat. "To tell you the truth, I've got a small package I'd like to send to Kushiro, and I'm hoping you'll take it there for me. You'd be doing me a big favor, and I'd be glad to pay for a round-trip ticket. I could cover your hotel in Kushiro, too."
"A small package?"
"Like this," Sasaki said, shaping a four-inch cube with his hands. "Nothing heavy."
"Something to do with work?"
Sasaki shook his head. "Not at all," he said. "Strictly personal. I just don't want it to get knocked around, which is why I can't mail it. I'd like you to deliver it by hand, if possible. I really ought to do it myself, but I haven't got time to fly all the way to Hokkaido."
"Is it something important?"
His closed lips curling slightly, Sasaki nodded. "It's nothing fragile, and there are no 'hazardous materials.' There's no need to worry about it. They're not going to stop you when they X-ray it at the airport. I promise I'm not going to get you in trouble. And it weighs practically nothing. All I'm asking is that you take it along the way you'd take anything else. The only reason I'm not mailing it is I just don't feel like mailing it."
Hokkaido in February would be freezing cold, Komura knew, but cold or hot it was all the same to him.
"So who do I give the package to?"
"My sister. My younger sister. She lives up there."
Komura decided to accept Sasaki's offer. He hadn't thought about how to spend his week off, and making plans now would have been too much trouble. Besides, he had no reason for not wanting to go to Hokkaido. Sasaki called the airline then and there, reserving a ticket to Kushiro. The flight would leave two days later, in the afternoon.
At work the next day, Sasaki handed Komura a box like the ones used for human ashes, only smaller, wrapped in manila paper. Judging from the feel, it was made of wood. As Sasaki had said, it weighed practically nothing. Broad strips of transparent tape went all around the package over the paper. Komura held it in his hands and studied it a few seconds. He gave it a little shake but he couldn't feel or hear anything moving inside.
"My sister will pick you up at the airport. And she'll be arranging a room for you," Sasaki said. "All you have to do is stand outside the gate with the package in your hands where she can see it. Don't worry, the airport's not very big."
Komura left home with the box in his suitcase, wrapped in a thick undershirt. The plane was far more crowded than he had expected. Why were all these people going from Tokyo to Kushiro in the middle of winter? he wondered.
The morning paper was full of earthquake reports. He read it from beginning to end on the plane. The number of dead was rising. Many areas were still without water or electricity, and countless people had lost their homes. Each article reported some new tragedy, but to Komura the details seemed oddly lacking in depth. All sounds reached him as far-off, monotonous echos. The only thing he could give any serious thought to was his wife as she retreated ever farther into the distance.
Mechanically he ran his eyes over the earthquake reports, stopped now and then to think about his wife, then went back to the paper. When he grew tired of this, he closed his eyes and napped. And when he woke, he thought about his wife again. Why had she followed the TV earthquake reports with such intensity, from morning to night, without eating or sleeping? What could she have seen in them?
Two young women wearing overcoats of similar design and color approached Komura at the airport. One was fair-skinned and maybe five feet six, with short hair. The area from her nose to her full upper lip was oddly extended in a way that made Komura think of shorthaired ungulates. Her companion was more like five feet one and would have been quite pretty if her nose hadn't been so small. Her long hair fell straight to her shoulders. Her ears were exposed, and there were two moles on her right earlobe which were emphasized by the earrings she wore. Both women looked to be in their mid-twenties. They took Komura to a café in the airport.
"I'm Keiko Sasaki," the taller woman said. "My brother told me how helpful you've been to him. This is my friend Shimao."
"Nice to meet you," Komura said.
"Hi," Shimao said.
"My brother tells me your wife recently passed away," Keiko Sasaki said with a respectful expression.
Komura waited a moment before answering, "No, she didn't die."
"I just talked to my brother the day before yesterday. I'm sure he said quite clearly that you'd lost your wife."
"I did. She divorced me. But as far as I know she's alive and well."
"That's odd. I couldn't possibly have misheard something so important." She gave him an injured look. Komura put a small amount of sugar in his coffee and gave it a gentle stir before taking a sip. The liquid was thin, with no taste to speak of, more sign than substance. What the hell am I doing here? he wondered.
"Well, I guess I did mishear it. I can't imagine how else to explain the mistake," Keiko Sasaki said, apparently satisfied now. She drew in a deep breath and chewed her lower lip. "Please forgive me. I was very rude."
"Don't worry about it. Either way, she's gone."
Shimao said nothing while Komura and Keiko spoke, but she smiled and kept her eyes on Komura. She seemed to like him. He could tell from her expression and her subtle body language. A brief silence fell over the three of them.
"Anyway, let me give you the important package I brought," Komura said. He unzipped his suitcase and pulled the box out of the folds of the thick ski undershirt he had wrapped it in. The thought struck him then: I was supposed to be holding this when I got off the plane. That's how they were going to recognize me. How did they know who I was?
Keiko Sasaki stretched her hands across the table, her expressionless eyes fixed on the package. After testing its weight, she did as Komura had done and gave it a few shakes by her ear. She flashed him a smile as if to signal that everything was fine, and slipped the box into her oversize shoulder bag.
"I have to make a call," she said. "Do you mind if I excuse myself for a moment?"
"Not at all," Komura said. "Feel free."
Keiko slung the bag over her shoulder and walked off toward a distant phone booth. Komura studied the way she walked. The upper half of her body was still, while everything from the hips down made large, smooth, mechanical movements. He had the strange impression that he was witnessing some moment from the past, shoved with random suddenness into the present.
"Have you been to Hokkaido before?" Shimao asked.
Komura shook his head.
"Yeah, I know. It's a long way to come."
Komura nodded, then turned to survey his surroundings. "Funny," he said, "sitting here like this, it doesn't feel as if I've come all that far."
"Because you flew. Those planes are too damn fast. Your mind can't keep up with your body."