By Haruki Murakami
A brief, glossy novel of encounters set in Tokyo throughout the witching hours among nighttime and sunrise, and each bit as gripping as Haruki Murakami’s masterworks The Wind-Up fowl Chronicle and Kafka at the Shore.
At its middle are sisters—Eri, a manner version dozing her approach into oblivion, and Mari, a tender scholar quickly led from solitary examining at an nameless Denny’s towards humans whose lives are extensively alien to her personal: a jazz trombonist who claims they’ve met ahead of, a burly lady “love hotel” supervisor and her maid employees, and a chinese language prostitute savagely brutalized through a businessman. those “night people” are haunted via secrets and techniques and desires that draw them jointly extra powerfully than the differing conditions that will retain them aside, and it quickly turns into transparent that Eri’s slumber—mysteriously tied to the businessman affected by the mark of his crime—will both repair or annihilate her.
After darkish moves from captivating drama to metaphysical hypothesis, interweaving time and house in addition to reminiscence and standpoint right into a seamless exploration of human agency—the interaction among self-expression and empathy, among the ability of remark and the scope of compassion and love. Murakami’s trademark humor, mental perception, and seize of spirit and morality are the following distilled with a rare, harmonious mastery.
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Extra resources for After Dark
Example text
Besides the redhaired woman there is another employee in the room, a small woman who wears her hair up and is mopping the floor. Kaoru does a quick introduction. "This is Mari. The one who can speak Chinese. The 36 1 2 : 2 5 A . M . redhead here is Komugi. Yeah, I know it sounds like 'Wheat,' but it's the name her parents gave her, so what're ya gonna do? " "Glad to meet you," says Mari. "The other one over there is Korogi. Now, that's not her real name. ’ ” "Sorry about that," says Korogi in the soft tones of the Kansai region around Osaka.
The picture has not stabilised entirely, and so we can make out the person in the chair only as a vague silhouette with blurred outlines. The room has the chilling air of a place that has been long abandoned. The camera that seems to be conveying this image to the television cautiously approaches the chair. The build of the person in the chair seems to be that of a man. He is leaning forward slightly. He faces the camera and appears to be deep in thought. He wears dark clothing and leather shoes.
His hair is tinged with grey. No, it just may be that his black hair is splotched with the white dust. In any case, it has not been properly combed for a long time. Strangely, however, the man's appearance gives no impression of poor grooming, no sense of shabbiness. He is just tired—profoundly exhausted—after unavoidable circumstances have conspired to smear him, suit and all, with dust. We cannot see his face. For now, the TV camera captures only his back or parts of his body other than his face.