This is the twelfth Reading the World 2008 title we’re covering. (Almost half-way!) Write-ups of the other titles can be found here. And information about the Reading the World program—a special collaboration between publishers and independent booksellers to promote literature in translation throughout the month of June—is available at the official RTW website. There’s also a podcast discussing RTW available from World Books.
According to Contemporary Japanese Writers, Vol. 1:
Yoko Ogawa is one of the stars of Japanese literature who is anticipated to be “the next Haruki Murakami.” Of her works, over ten have been translated into French. In France, she is as popular as her predecessors Junichiro Tanizaki, Yasunari Kawabata, and Yukio Mishima.
The Diving Pool is her first title to be published in English, and came out from Picador earlier this year. (I reviewed it a few months back.) This is a collection of three novellas, including “Dormitory,” which was my favorite for its creepy, ambiguous quality. (Even the flap copy description for this story is great: “A woman nostalgically visits her old college dormitory on the outskirts of Tokyo, a boarding house run by a mysterious triple amputee with one leg.”)
Stephen Snyder is one of the best Japanese translators working today, and he did a marvelous job with this book. I know that before leaving Picador, Amber Quereshi signed on a few of Ogawa’s titles, all of which Snyder will be translating.
The next one—The Housekeeper and the Professor—is due out in October, which is written up in Contemporary Japanese Writers:
Hakase no aishita sushiki (The Gift of Numbers) marked a transformation within Ogawa. It is a tale about the kind and affectionate relationship between a math professor—whose memory lasts only eighty minutes as a result of injuries he sustained in a car accident—and his housekeeper and her child. A beautifully written masterpiece, it attracted an overwhelming number of readers in Japan. The warmth with which the author runs her eyes over these characters, and the delicacy with which she portrays them, succeeded in making Ogawa’s world into something more expansive and enchanting.
The title of hers that sounds most interesting to me though is Hotel Iris:
Fans were split on the sensual, sadomasochistic world inhabited by an old man and a girl in Hotel Iris. It also proved controversial when it was translated into French; even the well-respected newspaper Le Monde criticized it as being merely erotic. In the story, the girl feels sorry for the old man’s deteriorating body bound for death, and motivated by a certain sense of masochism, she gives herself to him.
Our latest review is a not entirely positive piece on Yoko Ogawa’s The Diving Pool.
I have to admit right upfront that I was disappointed by this book. I had such high hopes based on all the people involved, the fact that it’s a 2008 Reading the World title, the pretty cover (which Picador is plastering everywhere these days), the blurb from Kenzaburo Oe, etc. In the end though, this just simply isn’t my sort of book. (Although I do want to applaud the spectacular job Stephen Snyder did in translating this.)
According to the flap copy, Yoko Ogawa is the author of over twenty works of fiction and nonfiction, which makes me curious as to why Picador decided to introduce her with this collection of three novellas. And “novellas” is a bit of a stretch . . . each piece is pretty short—around 50 very white-space heavy pages long—and all three read more like short stories than novellas.
Not that there’s a distinct difference between a long short story and a novella, although to me a novella is more complicated thematically, structurally, etc. This is a real broad generalization, I know, but one of the things that bugged me about this book is the singular focus of the plot and characterization.
A good example of this can be found in the title story, which is about a young woman whose parents run an orphanage, and a young man she has feelings who is a diver. The story itself is very constrained and well-crafted with a sinister touch (more on that in a minute), but the constant references to diving get a bit tired. Sure, there’s a subtext to all of their conversations about diving, but when they meet up late at night and “share a moment,” this starts to get a bit ridiculous:
“For some reason, when I’m washing my suits and the house is still, I can think about diving.”
“I go over the dives in my head—the approach, the timing of the bounce, the entrance.” His hands went on with their work as he talked. “If you picture a perfect dive over and over in your head, then when you get up on the board you feel as though you can actually do it.” [. . .]
“You love to dive, don’t you?” I couldn’t think of anything else to say.
“I do,” he said. Two words, but they echoed inside me. If I could have just those two words all to myself, I felt I would be at peace.
Uh, OK. And this by itself might be fine, but this is probably the fifth diving conversation in thirty pages . . . And then, two pages later, they share a memory of diving into the snow that blew in through cracks in the roof and filled the hallway. . .
This same thing happens in “Pregnancy Diary,” in which the main character’s sister is characterized almost exclusively by her relationship to food throughout her pregnancy.
All three of these stories are told by overlooked characters: a girl with parents growing up in an orphanage, a woman whose pregnant sister and husband come to live with her, a woman whose husband is paving the way for their relocation to Sweden. And all three stories have a sinister undertone, generally involving the idea of the main character poisoning someone. (The final line of “Pregnancy Diary” encapsulates this demented undercurrent: “I set off toward the nursery to meet my sister’s ruined child.”)
This controlled creepiness is the best aspect of the book, and really comes to the forefront in “Dormitory,” the last novella, and by far the best. Much more ambiguous and disturbing than the previous two, it points to a more sophisticated, intriguing style of writing that may well be evident in Ogawa’s other books.
And it’s completely possible that her other works aren’t quite so representative of what’s boring about contemporary realistic writing. Contemporary Japanese Writers Vol. 1—produced by the J-Lit folks and featuring tons of Japanese writers—has a nice overview that includes a bit on Hotel Iris a “sensual, sadomasochistic” novel about a decrepit old man and a young girl that sounds in keeping with what I liked about “Dormitory.”
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .