The Aosawa Murders
Japanese Title: EUGENIA (ユージニア)
Author: Riku Onda (恩田 陸)
Translator: Alison Watts
Publication Year: 2005 (Japan); 2020 (United Kingdom)
Publisher: Bitter Lemon Press
In 1973, in a small seaside town on the west coast of Japan, the prominent Aosawa family and their guests were poisoned with cyanide during a birthday party, an incident resulting in the death of seventeen people. Makiko Saiga, who was a child at the time, later interviewed people connected to the family for her senior thesis, which ended up becoming a true-crime bestseller titled The Forgotten Festival. Makiko never published another book and refused to give interviews, and the sole survivor of the Aosawa family, a young woman named Hisako, married and moved to the United States. When the man who delivered the poisoned alcohol to the party committed suicide, the police closed the case.
Thirty years after the incident, however, it becomes apparent that there may be more to the story. There are fourteen chapters in The Aosawa Murders, each narrated from the perspective of someone once connected to the Aosawa family or the publication of The Forgotten Festival. Makiko Saiga is polite yet evasive. Her research assistant knows that there are small departures from reality in her account but doesn’t know what to make of them. The detective who investigated the case is convinced that Hisako Aosawa is responsible for the murders but can’t quite prove it. Someone who knew the supposed culprit believes the young man was manipulated by a mysterious woman. A handful of other people, such as Makiko’s brother and the daughter of the Aosawa family’s housekeeper, offer additional intriguing anecdotes.
The Aosawa Murders is a slow burn. For the first two-thirds of the novel, the reader has no choice but to take each separate account as it comes while trying to pick out the connecting threads, which initially seem to be few and far between. The Aosawa Murders respects the intelligence of its reader by presenting information impartially and without cliffhangers, false leads, or red herrings. The circumstances surrounding the mystery are compelling enough to warrant sustained attention, but the carefully measured narrative pace allows the reader to take time with each account without being driven to rush forward.
When things begin to come together in the last hundred pages, the true brilliance of the story becomes apparent. The final two chapters focus on Hisako Aosawa (now Hisako Schmidt) and Makiko Saiga, and I couldn’t help but fall in love with both of them. After hearing so much about them from secondhand accounts, the down-to-earth reality of their actual personalities is refreshing. Regardless of what each of them may or may not have done, the author reminds us that both of these women are far more than archetypes in someone else’s story.
Although an astute reader will have formed several theories about what happened, the novel never presents a simple and neatly packaged explanation. The ending is fragmented and recounted in a jarring manner that serves as one of the strongest clues concerning the identity of the narrator who has presumably assembled the accounts that appear in the story. I can imagine that some people may find this sort of open-ended conclusion anticlimactic, but it was extremely satisfying to me.
I have to admit that I enjoy formulaic murder mysteries in which everything is neatly arranged and fits together perfectly at the end. The Aosawa Murders is not that type of story, however – not by a long shot. Instead, the novel is a sprawling puzzle that rewards the reader’s active attention and engagement. This is not a book that can be read in an afternoon. Thankfully, the strength of the writing and the quality of the translation encourage sustained reflection and speculation. I had an enormous amount of fun with The Aosawa Murders, and I would happily recommend it to anyone looking for an uncommon mystery written by a mature and confident storyteller.
To anyone concerned about such things, there is no overt violence, sexism, or misogyny in The Aosawa Murders. In addition, aside from a minor subplot involving a Buddhist priest, the story doesn’t contain any particularly “Japanese” elements, and it’s not necessary to be familiar with Japanese society or police procedure in order to fully appreciate the characters and plot. In fact, I think The Aosawa Murders would make an excellent addition to a reading list of contemporary international mystery fiction.
A review copy of this book was kindly provided by Bitter Lemon Press. The quality of the publication is excellent, and I’m thrilled and delighted that Riku Onda’s work has made such a stunning debut in English translation.