Title: The Book of Tokyo: A City in Short Fiction
Editors: Michael Emmerich, Jim Hinks, and Masashi Matsuie
Publication Year: 2015
Publisher: Comma Press
In his introduction to this collection of ten short stories, editor Michael Emmerich writes:
In a sense, you might say that the stories of this anthology unfold within a landscape more imagined than real – that they create a Tokyo of their own by drawing on a rather abstract sense of the moods of certain sections of the city, or on a vision of Tokyo and the smaller areas it comprises that is more conceptual than physical. (x)
This is a perfect description of The Book of Tokyo, which offers the reader less of a detailed illustration of an urban landscape than it does a vivid sense of the energy and potential generated by a city inhabited by 13.5 million people, every one of whom has a story.
In Furukawa Hideo’s “Model T Frankenstein,” a monster that may or may not be a shapeshifting goat escapes one of the Izu Islands on a ferry and makes his way to Tokyo to assume a new identity as a ‘Japanese.’ He has to kill a few people along the way, but he eventually makes a home for himself in Shinjuku. In “Picnic,” Ekuni Kaori sketches a relationship between a disaffected couple whose hobby is to have designer picnics in a park by their house, an activity that makes them marginally less alienated from one another. Kakuta Mitsuyo’s “A House for Two” is an ode to the trendy comforts of urban living. The pleasure the narrator derives from walking through the city has its roots in her relationship with her mother, whom she whom once bonded with over luxurious foreign clothes and who now commands a greater share of her affections than any man ever could.
The cosmopolitanism of Tokyo is on full display in Horie Toshiyuki’s “The Owl’s Estate,” in which the male narrator, a sushi chef and secondhand book dealer, finds himself in a strange rundown building in West Ikebukuro inhabited by foreign girls of dubious employ. In the end, though, there’s nothing particularly French or Australian or American about the way these girls enjoy drinking and laughing and being silly with each other. The single father protagonist of Yamazaki Nao-Cola’s “Dad, I Love You” must navigate his way through a maze of foreign brand names, cuisines, and business owners over the course of his day before coming home to his daughter, who encourages him to keep going with the joy she finds in things that transcend culture, such as how large the full moon looks in a clear night sky. The young woman who narrates Kanehara Hitomi’s “Mambo” doesn’t even care where she’s going when she gets into a taxi with a stranger; she’s just looking for adventure in the city.
Yoshimoto Banana’s “Mummy” encapsulates the theme of the entire collection, which is that every random encounter between strangers is accompanied by a galaxy of possibilities. A female undergrad agrees to be walked home by a male graduate student studying Egyptology. He cautions her that there’s a killer loose in the neighborhood, and it would be unsafe for her to go out alone. She suspects that he might be the murderer, but her physical attraction to him is so strong that she resigns herself to her fate. Although the grad student isn’t a criminal, he does turn out to be a complete weirdo, and the narrator has to forcibly restrain herself from judging him and the course his life takes after they go their separate ways. When surrounded by so many potential paths, she asks herself, how do you know that your own is “necessarily the correct and happiest one” (52)?
My favorite story in the collection is Kawakami Hiromi’s “The Hut on the Roof.” The main setting is an izakaya pub, where the divorced narrator, an English teacher, eats and drinks and hangs out with older men from her neighborhood. After becoming close to them through the process of exchanging casual but repeated interactions, she eventually learns the story behind the peculiar living arrangement of a local fishmonger who has befriended her. The story doesn’t have a plot, exactly, but it conveys an almost palpable sense of living your own individual life surrounded by people whom proximity has drawn into a loose yet friendly community.
Don’t let the cover fool you – despite the flying cranes and Shintō gate and temple and Chinese lanterns, the The Book of Tokyo is refreshingly contemporary. None of the stories translated for the collection was published before 2000, and reading them feels like walking through the twenty-first century just as much as it feels like walking around Tokyo. As Emmerich notes, it’s difficult to pin down the “Tokyo-ness” of these stories, but the reader who encounters them can’t help but be drawn into the living and breathing atmosphere of a huge and dynamic city.
The editing and story selection of The Book of Tokyo is excellent. I was so impressed that I ended up ordering several other titles in Comma Press’s “Reading the City” series, which include The Book of Gaza, The Book of Rio, and The Book of Liverpool.
Review copy provided by the wonderful people at Comma Press.