Tananaugh Espinoza was a student in my “World Literature & Translation” class this past spring. She graduated in May with a degree in Japanese and a certificate in literary translation.
Manazuru was a book that I used in the class, and which enabled to have a fascinating Skype session with super-translator Michael Emmerich. It’s a strange novel—to say the least—one that jumps between reality and memories within a sentence, and which features ghosts, etc. Michael did an amazing job translating this, capturing the oddness of the prose and punctuation in a way that’s poetic, dreamlike, and fun to read.
Anyway, here’s the opening of Tana’s review:
Hiromi Kawakami’s Manazuru is the carefully crafted story of Kei, and her lingering attachment to the husband who disappeared 12 years earlier. She travels to the titular seaside town, Manazuru, on a whim, feeling somehow that it is connected to her husband, Rei. Beset by a ghostly companion who seems to know something of his disappearance, troubled by the distance she feels toward her daughter, Momo, and her married lover, Seiji, Kei continues on a vague quest for answers and solidity. Although it is intensely personal and internal, Manazuru avoids becoming bogged down with introspection, just as Kei herself avoids it, by escaping into sequences of memory and of fantasy. These sequences, and the way they blend seamlessly in with present reality, are the crux of this novel’s appeal. Everything is rendered in strangely precise, matter-of-fact detail – whether memory, fantasy, or not – all of it blended into a single, tangible experience:
“In one corner of the quiet living room lay a few blocks, round and square, that Momo had been playing with that evening. The blocks were red, looked like things growing from the floor, and though I knew they meant nothing, they seemed to me like an ill omen. Rei. I called again. Glancing at the clock, I saw that it was nine, and while every other time I had called him my voice, aimed into emptiness, simply vanished into emptiness, that evening I seemed to hear a voice in reply. Kei. I heard Rei’s voice, weakly, from the living-room ceiling.”
The tangibility of the red blocks, the reliability of the clock and its keeping of time, and the solidity of the memory lend their reality to the voice in the living room ceiling, despite the fact that it is the voice of a man who has completely disappeared. In moments like these the reader can fully appreciate the presence of Rei in Kei’s mind, and the way her life revolves still around him. She endlessly circles around him, like a leaf caught in the eddy around a rock. More
Click here to read the entire review.
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
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