Fiction

After Dark by Haruki Murakami

By Haruki Murakami

A brief, modern 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 fowl Chronicle and Kafka at the Shore.

At its middle are sisters—Eri, a way version dozing her method into oblivion, and Mari, a tender pupil quickly led from solitary studying at an nameless Denny’s towards humans whose lives are notably 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 through secrets and techniques and desires that draw them jointly extra powerfully than the differing conditions that will preserve them aside, and it quickly turns into transparent that Eri’s slumber—mysteriously tied to the businessman stricken by the mark of his crime—will both repair or annihilate her.

After darkish
moves from enthralling drama to metaphysical hypothesis, interweaving time and area in addition to reminiscence and standpoint right into a seamless exploration of human agency—the interaction among self-expression and empathy, among the facility of commentary and the scope of compassion and love. Murakami’s trademark humor, mental perception, and grab of spirit and morality are the following distilled with a unprecedented, harmonious mastery.

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Yo diría que la historia que te he contado hoy es como un esbozo de la historia de la creación que aparece en Nova. Lo que tengo que dilucidar ahora es cómo continuaría la historia. —Entonces, ésos son los deberes que te pongo. Mañana quiero que me cuentes la continuación de la historia. UU. {N.

A no ser, por supuesto, que lodos empecéis a sospechar que os están mintiendo, y que todos descubráis cuál es la mentira. — ¿Qué quieres decir? — Si sólo tú descubrieras la mentira, entonces probablemente estarías en lo cierto: en la práctica la cosa no tendría ninguna importancia. Pero si todos descubrieseis la mentira, la cosa podría tener muchísima importancia en la práctica. — Cierto. — Entonces, es a eso a lo que debemos aspirar. Empecé a preguntarle qué quería decir con eso, pero él me tendió su coriácea mano negra y me dijo: — Mañana.

Yo diría que así es, en efecto. —Como verás después, lo que yo digo es bastante distinto de esto. Los Dejadores no son el primer capítulo de una historia en la que los Tomadores son el segundo capítulo. —¿Puedes repetir esto? - 42 - Daniel Quinn —Lo diré de otra manera. Los Dejadores y los Tomadores están representando dos historias distintas, basadas en unas premisas completamente diferentes y contradictorias. Sobre esto nos detendremos después; así que en este momento no tienes por qué comprenderlo.

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