Japanese Title: ヴァイブレータ (Vaiburēta)
Author: Akasaka Mari (赤坂 真理)
Translator: Michael Emmerich
Publication Year: 2005 (America); 1998 (Japan)
Publisher: Soft Skull Press
Vibrator is not an easy book to read.
In the first twenty pages, the 31-year-old bulimic narrator describes her strategies for throwing up after meals. Apparently, the trick is to not allow the food to digest. Soda water helps too, it seems. Alcohol complicates matters, but it’s difficult to give up entirely, because it makes the voices go away.
As you might imagine, the narrator of Vibrator has Issues. The first third of the novel is occupied by her nerve-wracking, stream-of-consciousness jabber. What’s perhaps most disturbing about the narrator’s ranting is not that it so accurately reflects narratives of self-hatred and self-doubt, but that the circumstances she describes make her anxieties and self-destructive behavior seem entirely justified. Being an independent woman in a man’s world is hard, and the narrator knows that her beauty will fade as she grows older, thus depriving her of her only advantage over her male colleagues. Moreover, as a female journalist, the narrator is placed in situations in which she must comment not as a professional but as a representative member of her gender, which she finds banal and insulting. To anyone – male or female – who’s ever resented her job or lamented her relative lack of professional success, the narrator’s complaints will be painfully familiar.
One snowy night, after buying a liquid dinner in a Family Mart on her way home, the narrator almost runs headlong into a tracker-trailer on the edge of the convenience store parking lot. The driver, a twenty-something named Okabe, invites her into the cab. The narrator wants to spend more time observing the white world generated by the snow flurry, and she feels as if she has nothing to lose, so she accepts his offer. They talk while drinking, and before long they’re on the road to the northern Tōhoku region. Sex is involved, but more interesting than the smut is the intimacy of Okabe’s story about dropping out of high school to become a low-ranking member of a yakuza clan.
Vibrator is not quite a love story. At the end of the book, there’s no indication that the sudden relationship between the narrator and Okabe will amount to anything beyond the single ride they share. Still, it’s lovely to witness the garbled voices in the narrator’s head slowly fade as she is calmed by vibrations of the truck’s engine (the “vibrator” of the title) and Okabe’s placid self-assurance. Even if the narrator is unable to achieve any deep or permanent connection with Okabe, her escape from her own head and engagement with the landscapes flashing past the truck’s windows is satisfying and meaningful.
Vibrator may not an easy book to read, but it’s certainly worth reading, if only to witness the skill with which the translator, Michael Emmerich, has rendered its narrator’s many voices.
If you live in the United States, Hiroki Ryūichi’s 2003 cinematic adaptation of Vibrator is streaming on Netflix. The film features gorgeous long shots of the Japanese countryside, and the director effectively removes the characters from the narrator’s incessant stream-of-consciousness commentary, which creates an entirely different atmosphere for the story. Tom Mes highly recommends this movie, and it’s a beautiful interpretation of the novel.