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My favourite passage from 1Q84, full of serious thought: The fluorescent light on the ceiling shone down on Ushikawa’s body. The heat was turned off, and a win
by thanatos519 5y ago
My favourite passage from 1Q84, full of serious thought:
The fluorescent light on the ceiling shone down on Ushikawa’s body. The heat was turned off, and a window was open, so the room was as freezing as an icehouse. Several conference tables had been shoved together in the center of the room, and on top of them, Ushikawa lay faceup. He had on winter long johns, and an old blanket was thrown on top of him. Under the blanket, his stomach was swollen, like an anthill in a field. A small piece of cloth covered his questioning, opened eyes—eyes that no one had been able to close. His lips were slightly parted, lips from which no breath or words would ever slip out again. The crown of his head was flatter, and more enigmatic-looking, than it had been while he was alive. Thick, black, frizzy hair—reminiscent of pubic hair—shabbily surrounded that crown.
Buzzcut had on a navy-blue down jacket, while Ponytail was wearing a brown suede rancher’s coat with a fur-trimmed collar. Both were slightly ill-fitting, as if they had hurriedly grabbed them from a limited supply of clothing that happened to be on hand. They were indoors, but their breath was white in the cold. The three of them were the sole occupants of the room. Buzzcut, Ponytail, and Ushikawa. There were three aluminum-sash windows on one wall, near the ceiling, and one of them was wide open to help keep the temperature down. Other than the tables with the body, there was no other furniture. It was an entirely bland, no-nonsense room. Placed there, even a corpse—even Ushikawa’s—looked like a colorless, utilitarian object.
No one was talking. The room was utterly devoid of sound. Buzzcut had a lot to ponder, and Ponytail never spoke anyway. Buzzcut was lost in thought, pacing back and forth in front of the table that held Ushikawa’s body. Except for the moment when he reached the wall and had to turn around, his pace never slackened. His leather shoes were totally silent as they trod upon the cheap, light yellow-green carpeting. As usual, Ponytail staked out a spot near the door and stood there, motionless, legs slightly apart, back straight, staring off at an invisible point in space. He didn’t seem tired or cold, not at all. The only evidence that he was still among the living was an occasional rapid burst of blinks, and the measured white breath that left his mouth.
Earlier that day, a number of people had gathered in that freezing room to discuss the situation. One of Sakigake’s high-ranking members had been on a trip and it had taken a day to get everyone together. The meeting was secret, and they spoke in hushed tones so no one outside could hear. All this time, Ushikawa’s corpse had lain there on the table, like a sample at an industrial machinery convention. Rigor mortis had set in on the corpse, and it would be another three days before that broke and the body was pliable again. Everyone shot the occasional quick glance at the body as they discussed several practical matters.
While they were discussing things there was no sense—even when the talk turned to the deceased—that they were paying respects to him or feeling regret for his passing. The stiff, stocky corpse simply reminded them of certain lessons, and reconfirmed a few reflections on life. Nothing more. Once time has passed, it can’t be taken back. If death brings about any resolution, it’s one that only applies to the deceased. Those sorts of lessons, those sorts of reflections.
What should they do with Ushikawa’s body? They knew the answer before they began. Ushikawa had died of unnatural causes, and if he were discovered, the police would launch an all-out investigation that would inevitably uncover his connection with Sakigake. They couldn’t risk that. As soon as the rigor mortis was gone, they would secretly transport the corpse to the industrial-sized incinerator on the grounds of their compound and dispose of it. Soon it would become nothing but black smoke and white ash. The smoke would be absorbed into the sky, the ash would be spread on the fields as fertilizer for the vegetables. They had performed the same operation a number of times, under Buzzcut’s supervision. Leader’s body had been too big, so they had “handled” it by using a chain saw to cut it into pieces. There was no need to do so this time, for Ushikawa was nowhere near as big. Buzzcut was grateful for that. He didn’t like any operations that got too gory. Whether it was dealing with the living or the dead, he preferred not to see any blood.
- TheOtherHobbes 5y agoThat reads more like Elmore Leonard than Dostoevsky. And not just because of the subject matter.
- truth_ 5y agoI have read 1Q84, and yours is the only response so far that mentions this book. It was a fascinating book. While "Colorless Tsukuru Tazaki" is more anime-like, I found "Hard Boiled Wonderland" very full of (unpronounced) deep and profound thoughts. I found "Sputnik Sweetheart" to be the most original work of art by him. I am yet to read "Kafka on the Shore", "Wind Up Bird Chronicle", and some of the others.
- thanatos519 5y ago"Hard Boiled Wonderland" was the first book of his that I read. It's one of those rare books that while reading it, I find its bizarre concepts leaking into my concept of reality. Other books that have done that for me include Julian Jaynes' "The Origin of Consciousness in the Breakdown of the Bicameral Mind" (Conversations continued in my head with the distinct voices of the people I had been speaking to!) and Dave Hutchinson's "Fractured Europe Sequence" series (Wandering through Vondelpark I keep expecting to turn a corner and emerge into another dimension!). I have to read "Hard Boiled Wonderland" again because I can't remember what it leaked into my reality! :)
- jfengel 5y agoInteresting. It's definitely good writing, but a bit florid for my taste. "Freezing as an icehouse" doesn't really add anything; cold is all that icehouses are (and who has an ice house any more?) "His stomach was swollen, like an anthill in a field" doesn't really connect for me. To me, anthouses are small affairs, and the big ones I've heard of are uneven, ragged things totally unlike a swollen stomach. In "questioning, opened eyes", the word "questioning" is too on-the-nose. It's assigning an action to a dead body. It opens an image (that the dead person is doing something) and then immediately drops it. All of this is English-major/editor stuff -- me explaining why I didn't care for it after the fact. All I knew when reading it was that 1Q84 was an enormous object, and seeing too many adjectives in it makes it feel padded rather than rich. The sample you give gets significantly better after that, though the meandering paragraph about "Once time has passed, it can't be taken back" is trite. I feel like this has a lot of potential, but also needed an editor. (To my taste, that is. Sometimes, editors make good books great. Sometimes, they squeeze the life and character out of them. Which is which depends on the editor, the author, and the reader.)