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The first, Hard-boiled Wonderland and the End of the World, was not nearly as hard-boiled as the title suggests and not nearly as cyberpunk as the book blurbs led me to believe. The other was After the Quake, a short story collection I consumed in Japanese ryokans and on train rides between Osaka, Kyoto, and Hiroshima.
It too left me cool. It was After the Quake that led me to understand why Murakami is so often compared to Raymond Carver. Quiet conversations around beach campfires and characters wandering city parks recalling painful memories are the norm in After the Quake. The book is brilliant in its foundation: Give the victims of the Tokyo subway sarin attacks an opportunity to tell their stories of that crazed rush-hour morning.
Murakami the novelist takes his hand off the rudder and lets those victimized assume control of the conversation, and the results are gripping. Murakami may be the best writer imaginable to shape these stories and present them internationally.
Murakami speaks the language, he was educated in the same educational system, he was raised on the same cultural and media diet. Murakami knows the unwritten norms of Japan, yet he is as amazed as any gaijin about the interviewees daily schedules, perceptions, and reactions to the attacks. Books about foreign lands tend to enjoy a boost from the exoticism of it all: The exoticism in Underground is different.
It was from a woman whose husband had lost his job because of the Tokyo gas attack. A subway commuter, he had been unfortunate enough to be on his way to work in one of the cars in which the sarin gas was released.
He passed out and was taken to hospital [sic]. At first, he was tolerated, but as time went on his boss and colleagues began to make snide remarks.
Unable to bear the icy atmosphere any longer, feeling almost forced out, he resigned. If anything, it was barely audible, a grumble under the breath.
If the perception of Japan is one of efficient and cohesive group dynamics, how did this family wind up in this situation? As a native Japanese speaker, he detected the grumble from language nuances I suspect an outsider might not have noticed. This barely audible grumble was the impetus for Murakami to interview the victims of the Tokyo subway attacks, and so Underground is as much a way for Murakami to understand his own country as it is to explain it to those outside of Japan, us gaijin.
How successful that enterprise has been, I do not know, but I am not optimistic. Working There was one other element of the preface that captured my attention.
I would like to make clear that I borrowed useful ideas toward the composition of this book from the works of Studs Terkel and Bob Greene.
Studs Terkel interviewed more than one hundred people of all walks.Journalist Jon Krakauer is looking to fulfill a childhood ambition by finally climbing Mount Everest.
After being assigned to write a brief piece about the mountain for Outside magazine, Krakauer manages to convince his bosses to fund a . Jon Krakauer is a preeminent writer of narrative non-fiction. His numerous bestsellers include Missoula, Where Men Win Glory, Under the Banner of Heaven, Into the Wild, and Into Thin Air.
He is editor of the Modern Library Exploration series. A summary of Chapter 1 in Jon Krakauer's Into Thin Air. Learn exactly what happened in this chapter, scene, or section of Into Thin Air and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans.
Coming Into Terms With Sherpas in Thin Air by Jon Krakauer. A Description of the Real-Life Experiences of the Author in His Journey to Mount Everest in "Into Thin Air" by Jon Krauaker.
words. 2 pages. The Characters of Interest in Into Thin Air, a Novel by Jon Krakauer A Summary of the Plot of Into Thin Air by Jon Kraukauer. 1, a summary of the plot of into thin air by jon kraukauer..
About the author. Into Thin Air (), Krakauer's third book, investigates the commercialization of the world's highest mountain, Everest. It reached #1 on the New York Times bestseller list .