By Haruki Murakami
A brief, glossy novel of encounters set in Tokyo throughout the witching hours among dead night and sunrise, and each bit as gripping as Haruki Murakami’s masterworks The Wind-Up poultry Chronicle and Kafka at the Shore.
At its heart are sisters—Eri, a manner version napping her approach into oblivion, and Mari, a tender scholar quickly led from solitary analyzing at an nameless Denny’s towards humans whose lives are noticeably alien to her personal: a jazz trombonist who claims they’ve met sooner than, a burly woman “love hotel” supervisor and her maid employees, and a chinese language prostitute savagely brutalized through a businessman. those “night people” are haunted by way of secrets and techniques and desires that draw them jointly extra powerfully than the differing conditions that will continue them aside, and it quickly turns into transparent that Eri’s slumber—mysteriously tied to the businessman tormented 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 viewpoint right into a seamless exploration of human agency—the interaction among self-expression and empathy, among the facility of remark and the scope of compassion and love. Murakami’s trademark humor, mental perception, and take hold of of spirit and morality are right here distilled with a rare, harmonious mastery.
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Extra info for After Dark
The man on the screen wears a dark brown business suit. The suit may well have been an impressive article of clothing in its day, but now it is clearly worn out. Patches of something like white dust cling to the sleeves and back. The man wears black, round-toed shoes which are also smudged with dust. He seems to have arrived at this room after passing through a place with deep piles of dust. He wears a standard dress shirt and plain black woollen tie, both of which share that look of 49 A F T E R D A R K fatigue.
We cannot tell by looking at him whether he has decided for himself that he will not move or he has been placed into some kind of situation that does not permit him to move. His hands rest on his knees. The time is unclear. We cannot even tell if it is night or day. In the light of the banked fluorescent lamps, however, the room is as bright as a summer afternoon. Eventually the camera circles round to the front and shows his face, but this does not help us to identify him. 50 1 2 : 3 7 A . M .
They are professional photographs of her posing as a model, photos that might have appeared in magazines. There is a small bookcase, but it contains only a handful of books, mostly college textbooks. And a pile of large-size fashion magazines. It would be hard to conclude that she is a voracious reader. Our point of view, as an imaginary camera, picks up and lingers over things like this in the room. We are invisible, anonymous intruders. We look. We listen. We note odours. But we are not physically present in the place, and we leave behind no traces.