With 120 books unread on my shelves, I promised myself to not buy any
more books from my local secondhand bookstore until I could put a good dent in
my to-read collection. When I was exchanging some books for credit, I stupidly
looked at the “New Arrivals” shelf and my eyes launched from their sockets when
The Best Japanese Science Fiction Stories met the glassy film of my cornea.
I bought it without grudge to my promise—this was a rarity, a must-have! So in
my shelf it went… and then out it came when I couldn’t bridle my eagerness to
flip through its pages before year’s end.
Rear cover synopsis:
“Most Americans would describe Japanese science fiction with one word:
Godzilla. However, true fans of the genre know that for decades, Japan has been
turning out some of the most innovative stories ever published. Unfortunately, those
that make it into English are often difficult to find. The Best Japanese
Science Fiction Stories, brings together the most outstanding short stories
of this body of literature.”
Some of these stories are difficult to synopsize in eight lines (in my
lined notebook I use for short stories). Sometimes I have to cram so much into
those eight lines that the crux of the story becomes lost, or sometimes I have
to fill in the space with adjectives and lists. I was met with both quandaries
when synopsizing these thirteen short stories. Atop of this, some of the
material is so allegorical that I can’t decide whether to synopsize the story
OR the allegory, or both. Perhaps is common of Japanese science fiction or
simply a whim of the editors and consulting editors (Grania Davis and Judith
Merril).
There’s some great food for thought in these pages, be it because of
the layered allegories, the horrific implications, or thoughtful presentations. The low-rankings of some of the stories are reflective of my inability to penetrate the meaning of the story, perhaps because each are laden with a certain Japanese-ness which will forever escape me.
Note: The years cited are the earliest dates I could find for the original copyright
or publication of each story, which is usually earlier than the translation
dates.
------------
The Flood: Kobo Abe (1989, shortstory) – 4/5
Translated by Lane Dunlop
“Humankind if threatened by a new disease—liquefaction" (21)
A philosopher witnesses a construction worker slowly dissolve into an
ambulatory puddle of water. Soon, other middle-class workers also begin to form
their own puddles and even unite to form large mobile masses within lakes,
cups, or clouds. After a few deaths from thimblefuls of water, the fear of
water is widespread, so Noah builds his ark, loads his animals, and provokes
the rising flood to take his ship and his life. 7 pages
Cardboard Box: Ryo Hanmura (1974, shortstory) – 5/5
Translated by David Lewis
“Contemplated in allegory is the fate of ordinary working people"
(28)
Boxes in a factory become self-aware when their bottoms are taped shut.
At the prospect of being filled, they are overjoyed. Once filled with
tangerines and brimming with rapture, the boxes meet a “a box for pencil boxes”
in the loading truck who spins a story of abuse and abandonment which all boxes
must face. The protagonist box, however, desires to be filled until no space
remains, yet witnesses the death of his cuboid comrades. 12 pages
Tansu: Ryo Hanmura (1983, shortstory) – 2/5
Translated by Shimizu
Hitomi, Joel Dames, Stephen David, and Grania Davis
”A strange story concerning an old wooden chest" (40)
An elder mother recounts a tale of a fisherman named Ichisuke who was
married and had eight children. One day the youngest boy dragged in a “tansu”
wooden chest and sat upon it at night. The father was terse with the boy but he
persists on sleeping atop the chest. Later, the man’s parents, his wife, and
all eight children were sitting perched on a number of “tansu”. Unable to cope,
the man sets sail and eventually sails back. 7 pages
Bokko-chan: Shinichi Hoshi (1963, shortstory) – 4/5
Translated by Noriyoshi Saito
“The story of a B-girl who didn’t have a heart of gold" (47)
An ingenious bartender created a robot complete in female form whose
charms could woo his patrons. Though lacking in conversational depth, the men
in town grew fonder and fonder of the unknowingly robotic lass behind the
bartender’s counter. Given drinks which were then drained and served again, the
little charming robotess made him good money, but also broke one young man’s
heart to the point of contemplating murder. 5 pages
Hey-y, Come on Ou-t!: Shinichi Hoshi (1971, shortstory) – 4/5
Translated by Stanleigh Jones
“The discovery of a deep hole has extraordinary impact on life in a
small town" (52)
A small village struck by a storm discovers a landslide which swallowed
a shrine and replaced it with a deep hole. Word spread and reporters and
scientists alike come to the scene to investigate the seemingly bottomless
void. The town hands over the rights to one man who opens the pit up to anyone
wanting to dispose of anything: nuclear waste, evidence, diaries, garbage, etc.
Meanwhile, the cities and towns flourish. 6 pages
The Road to the Sea: Takashi Ishikawa (1981, shortstory) – 5/5
Translated by Judith Merril and Tetsu Yano
“A boy searches for the sea he’s never seen" (58)
Having seen the sea in picture-books alone, a boy sets off to see the
sea with his own two eyes. On the way, the boy meets an old man at the end of
town who locates the sea in the sky alone. Unperturbed by his ill logic, the
boy continues on foot over mountains and plains to chase his imagination,
filled with whales, sharks, mermaids, octopi, kelp, coral, and pirates. 4 pages
The Empty Field: Morio Kita (1973, shortstory) – 2/5
Translated by Kinya Tsuruta and Judith Merril
“A crowd gathers to witness a momentous event" (62)
Atop a vacant hill wait a group of youth ready to receive messages from
a UFO. Though only rumored, their expectations on this barren crest are
electric, yet an old man, a reporter for a magazine or television, remembers
the bounty that the hill once held. Amid the locusts and gnats, the rumors are
real yet only the memory of the past echoing forward through time feels real.
12 pages
The Savage Mouth: Sakyo Komatsu (1969, shortstory) – 5/5
Translated by Judith Merril
“A horrific tale by Japan’s
leading SF writer" (74)
Sickened by the absurdity of life, one man prepares to turn his own
world inside-out. Stocked with pans, knives, slicers, burners, an over, sauces,
vegetables, and relishes, the man sets up the last and most important piece of
equipment which he has procuring for three months. Supine on the table with his
legs stretched, the machine cuts and cauterizes, slices and dices. Order up. 11
pages
Take Your Choice: Sakyo Komatsu (1967, shortstory) – 5/5
Translated by Shiro Tamura and Grania Davis
“The ultimate escape: a one-way ticket to the future" (85)
Roaming alleyways in search of a shop which promises one-way time
travel, a man hopes that his 2.5 million credit payment will be worth his
choice of three possible futures: an ultra-modern technological society through
door one’s scene, an ecological Eden
for society in door two, and a nuclear holocaust in door three. Knowing the
seen future is twenty years away, the man chooses door three, as so many others
have chosen. 19 pages
Triceratops: Tensei Kono (1982, shortstory) – 3/5
Translated by David Lewis
“A funny thing happened on the way home—a dinosaur crossed our path"
(104)
A father and his son bike in the hills surrounding their home’s
subdivision when they witness a shadowy giant cross their path. His wife
discredits their exaggeration of the rhino-shaped intruder as no news report
had surfaced, yet again the oddity manifests itself in their garden only to
disappear through a stone wall. Later, other dinosaurs appear transparent in
the daylight to the duo, who also witness a carnivore/herbivore confrontation.
17 pages
Fnifmum: Taku Mayumura (1989, shortstory) – 5/5
Translated by Katsumi Shindo and Grania Davis
“A surreal love story that spans centuries" (121)
His body spanning a length of time, Fnifmum bores of using his “sensory
organ” to see the same sights in the same eras along his temporal growth. For
want of company, he looks to his tail, earliest in time, to communicate with
Honycominah, but the time of their first meeting is too far back. Instead, he
looks forward, ahead in his latest growth, to see two human escapees. 9 pages
Standing Woman: Yasutaka Tsutsui (1974, shortstory) – 4/5
Translated by David Lewis
“A future society uses a frightening method to provide urban
greenery" (130)
Exceeding a metropolis, a megalopolis faces even greater problems of
both crime and green space. A postman and mail clerk complain of their wages
only to get their feet planted into the ground to become a manpillar and, one
day, a mantree. The same treatment goes to embittered housewives and students
who line the streets, while dogpillars anc catpillars occupy gardens to be fed
and loved or forgotten and to become a bonepillar. 14 pages
The Legend of the Paper Spaceship: Tetsu Yano (1978, novelette) – 4/5
Translated by Gene Van Troyer and Tokomo Oshiro
“A poignant tale from the dean of Japanese SF writers" (144)
An isolated mountain village in Japan is home to Osen, a woman
swathed in rumor and mystery—said to be the remaining heir to a family fortune
and sole survivor to a family massacre. The reality is that she’s the town
harlot and flies around a paper airplane while naked. When she births a son,
her songs may represent corrupted versions of historical lullabies and point as
interstellar finger at her true origin. 31 pages
Kobe Abe is amazing. His novel Woman in the Dunes is a disturbed classic. I recommend not only the novel but the movie adaptations of his works (he wrote the screenplays for the films) -- Hiroshi Teshigahara's Woman in the Dunes (1964) and the science fictional art-house trip, The Face of Another (1966) -- one of the more gorgeous experiences ever, and downright disturbing as well -- of course, you have to be in a Japanese cinema mood. I haven't watched Abe's third Teshigahara collaboration, Pitfall (1962) yet....
ReplyDeleteKobe Abe also wrote a body of science fiction novels -- Inter Ice Age 4 (1959) about genetically modified gilled children who must now live in water, or The Ark Sakura (1984) about a recluse who attempts to sell tickets to his mine shaft ark in preparation for the apocalypse....
(great review, as always....)
Hey! I just stumbled across your blog, and I love it! Keep up the good work!
ReplyDeleteThanks for stopping by and taking an interest! I appreciate the feedback and the encouragement :D
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