Product Description

The economy was booming. People had more money than they knew what to do with. And then, the earthquake struck. Komura's wife follows the TV reports from morning to night, without eating or sleeping. The same images appear again and again: flames, smoke, buildings turned to rubble, their inhabitants dead, cracks in the streets, derailments, crashes, collapsed expressways, crushed subways, fires everywhere. Pure hell. Suddenly, a city seems a fragile thing. And life too. Tomorrow anything could happen. For the characters in Murakami's latest short story collection, the Kobe earthquake is an echo from a past they buried long ago. Satsuki has spent 30 years hating one man: a lover who destroyed her chances of having children, and who now lives in Kobe. Did her desire for revenge cause the earthquake? Junpei's estranged parents also live in Kobe. Should he contact them? Miyake left his family in Kobe to make midnight bonfires on a beach hundreds of miles away. Four-year-old Sala has nightmares that the Eathquake man is trying to stuff her inside a little box. Katagiri returns home to find a giant frog in his apartment on a mission to save Tokyo from a massive worm burrowing under the Tokyo Security Trust Bank. "When he gets angry, he causes earthquakes" says Frog. "And right now he is very, very angry."

Product Details

• Amazon Sales Rank: #12986 in Books
• Published on: 2003-03-06
• Original language: Japanese
• Binding: Paperback
• 144 pages

Review
"Murakami's storytelling inspires intimacy. It's the particular kind of intimacy that can evolve between a reader and a book, unspoken and unexpected, familiar, satisfying, strange" JANE MENDELSOHN, Village Voice "Western critics searching for parallels have variously likened him to Raymond Carver, Raymond Chandler, Arthur C. Clarke, Don DeLillo, Philip K. Dick, Bret Easton Ellis and Thomas Pynchon - a roster so ill assorted as to suggest that Murakami may in fact be an original" JAMIE JAMES, New York Times

About the Author
HARUKI MURAKAMI was born in Kyoto in 1949. His works include A Wild Sheep Chase; The Elephant Vanishes; Hard-boiled Wonderland and the End of the World; Norwegian Wood; Dance Dance Dance; South of the Border, West of the Sun; The Wind-up Bird Chronicle; Sputnik Sweetheart, and Underground: The Tokyo Gas Attack and the Japanese Psyche.

Customer Reviews

"What you see with your eyes is not necessarily real."
In a simple, unpretentious, and totally accessible style, Murakami tells six tales, each with a message about life and death and love and loss. Simple, straightforward stories, haunting and hypnotic in tone, belie a complexity of themes and thought-provoking observations about the importance of creating your own identity, building relationships, sharing, and avoiding the emptiness of the bogeyman's box, "ready for everybody...[and] waiting with the lid open."

All the main characters are single or separated, and all feel isolated and empty, naïve in matters of love and life. In "UFO in Kashiro," an abandoned husband agrees to help a friend by delivering a box to Hokkaido, only to discover that the box "contains the something that was inside you. You'll never get it back." In "Landscape in Flatiron," a 40-ish artist and a young girl meet and build a bonfire. "The fire itself has to be free," he remarks, while the young girl comments on the emptiness of her life, and they make plans for the rest of the evening. In "All God's Children Can Dance," a young man pursues the man he believes to be his father to an abandoned baseball field, "chasing the tail of the darkness inside [him]." "Thailand" features a doctor in her 40's who is told that she must get rid of the stone inside her and that "living and dying are, in a sense, of equal value."

In the last two stories, "Superfrog Saves Tokyo," and "Honey Pie," Murakami begins to offer more hope and direction to his characters. Superfrog, a 6' tall frog who needs a plodding banker to help him fight the Worm and save Tokyo from an earthquake, due to strike soon, teaches that "the ultimate value of our lives is decided not by how we win but by how we lose." And in "Honey Pie," which brings all these themes together, a young man has an opportunity to find happiness with the only woman he's ever loved and her young daughter, and determines that he will "never let anyone...try to put them into that crazy box, not even if the sky should fall or the earth crack open with a roar."

Despite the fact that Murakami states his themes overtly, the stories themselves are enigmatic and the action within them unpredictable, and the reader will ponder his meanings and his images long after the stories are finished. Wonderful descriptions, small details which reflect the characters' class and educational level, sympathetic and well drawn characters, and a sense that the world is absurd and illogical make this short collection unforgettable. Mary Whipple

Kobe Aftershocks.
Each of the short stories in the excellent "After the Quake" is linked to the terrible earthquake that shook Kobe in 1995. Although none are actually set in Kobe, the epicentre of the devastation, allusions to the disaster flit briefly into the radar of each story before quickly dipping out of sight again. Though the characters in these haunting stories are far removed from the scene of the earthquake tragedy, the earthquake nonetheless reverberates in subtle ways deep into their troubled lives. If you enjoy these unconventional short stories, often containing elements both of realism and surrealism, and often with no neatly wrapped-up endings, then you may wish to try another Murakami short story collection, "The Elephant Vanishes."

Stories that echo.
It has been a couple of weeks since I finished this slim book of stories by Murakami. I had read “Norwegian Wood” and “South of the Border, West of the Sun” and loved both.

Now, characters and incidents keep coming to mind for no apparent reason, and they seem so familiar that I try and dig back in my memory to find out where they come from…and it turns out they’re from “After the Quake”. There are so many characters and moments that have stayed with me after having read these stories, though I didn’t necessarily expect them to. For so short a book, Murakami certainly manages impact.

The Kobe earthquake as the common character to the stories works very well. It provides a sense of community that the individual stories don’t radiate, with their fractured relationships, drifters and people uncertain of their place. The earthquake presents a common timeframe, which unifies the other characters for the reader, in a way we feel couldn’t happen in their reality.

I noted with interest that Murakami has translated Raymond Carver’s work into English. This made me smile, as his stories to me resemble Carver’s in many ways. They are quite unsensational in their telling, concerned with the detail, the characters, as much as by events. But just as I felt comfortable in this world, Murakami packs a punch with “Super Frog Saves Tokyo” – certainly surreal! But even then, sensationalism doesn’t get in the way, and you find yourself half believing, if you read the story literally, that a giant frog saving Tokyo from an earthquake isn’t so strange!

I note the recommendation in another review here that a second reading ensures these stories have their full impact, and I can well believe it. They have left their impression on me, and part-remembered incidents, but not their whole. I look forward to re-reading them.

The stories are simply engaging, absorbing, and as beautiful as I have come to expect from Murakami.