As Will points out, in America, Ryu is the “other Murakami,” but he’s quite popular in Japan, and a good number of his dark, strange books have made their way into English.
In case you don’t remember him, Will was an intern for Open Letter last year and has written a number of reviews on Japanese fiction.
Here’s the opening of his piece on Popular Hits of the Showa Era:
Ryu Murakami is sometimes referred to as the “other” Murakami, the yang to the more internationally popular Haruki Murakami’s yin. But in Japan, the so-called “other” Murakami is just a strong a force in the contemporary literary scene. Ryu Murakami has won almost all the big literary prizes in Japan, including the Akutagawa, the Yomiuri, and the Tanizaki Junichiro twice, and with numerous film adaptations of his work, including the critically acclaimed, cult film Audition, Ryu is one of Japan’s most popular and recognizable names in literature today.
In Popular Hits of the Showa Era, his latest to be translated into English, Murakami takes the idea of the “battle of the sexes” to its darkest and most absurd extremes. The novel follows the misadventures of two rival camps: a group of wayward, twenty-something year-old males who have almost nothing in common with each other except their severe lack of social skills and a semi-regular party they throw, in which they all dress up in costumes and record themselves singing karaoke to old pop songs on a deserted beach; and the “Midori Society,” a group of oba-sans, or middle-aged women, who have just as little in common with each other as their male counterparts besides their shared name Midori and the failures of their romantic relationships. When one of the men sexually assaults and then murders one of the Midoris, a twisted and ludicrous inter-generational gender war begins, which over the course of this slight novel rapidly escalates until its absurd and shocking conclusion.
Click here to read the full piece.
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .
It’s a rare and wonderful book that begins and ends with violence and humor. At the start of Etgar Keret’s The Seven Good Years, Keret is in a hospital waiting for the birth of his first child while nurses, in. . .
Last year, Han Kang’s The Vegetarian was an unexpected critical hit. Now, it’s just been published in the U.S. and has already received a great deal of positive critical attention. The Vegetarian was a bold book to attempt as an. . .
It’s been almost a year since the publication of Nowhere to Be Found by Bae Suah, but despite being included on the 2015 PEN Translation award longlist, and some pretty vocal support from key indie presses, the book has. . .
Jorge Eduardo Benavides’ novel La paz de los vencidos (The Peace of the Defeated) takes the form of a diary written by a nameless Peruvian thirty-something intellectual slumming it in Santa Cruz de Tenerife in Spain’s Canary Islands. Recently relocated. . .
Anyone with any interest at all in contemporary Moroccan writing must start with Souffles. A cultural and political journal, Souffles (the French word for “breaths”) was founded in 1966 by Abdellatif Laâbi and Mostafa Nissabouri. Run by a group of. . .
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .