Maki Kashimada
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Once I got it home I checked the reviews on Goodreads and YIKES! I almost put it back in the pile to return to the library immediately, but that Mishima Prize had its hooks in me, so somehow this ended up in my priority TBR for the month anyway.
Then I started reading, and I could see what a lot of the reviewers were saying. The writing is choppy, terse. There are no quotation marks. The protagonist is simply referred to as the woman. It is not always clear who is speaking, or what is speech, thought, observation, reflection...
And then on page 10, a single paragraph turned that all around. I was all in. (I will add the paragraph at the end.)
Listen. All of those things were purposeful stylistic choices, and maybe they work for you, maybe they don't. Most of the time they worked for me.
The woman is startled by a malfunctioning alarm in her apartment. She asks a neighbor to watch her son and gets on a plane to Nagasaki, obsessed with thoughts of the atomic bomb. Once there, she immediately falls into an affair with a young Russian-Japanese man at the same hotel, where she slowly begins unpacking a lifetime of suppressed trauma.
A meditation on selfhood, and trauma, and gender relations, and healing, and Christianity, and the different ways one can lose oneself.
The quote: "There are always bloodstains when you wrap someone's body with bandages. The same can be said for this woman. They aren't anything special. There isn't anything special about my bloodstains, about my loneliness, about my past, about the injuries and harm done to me by the men in my past. So if I were to write a novel, the protagonist would be a woman like that."… (mehr)