Revenge

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You're right," she said. "I can guarantee they're good. The best thing in the shop. The base is made with our special vanilla." Yōko Ogawa ( 小川 洋子) was born in Okayama, Okayama Prefecture, graduated from Waseda University, and lives in Ashiya. Since 1988, she has published more than twenty works of fiction and nonfiction. Her novel The Professor and his Beloved Equation has been made into a movie. In 2006 she co-authored „An Introduction to the World's Most Elegant Mathematics“ with Masahiko Fujiwara, a mathematician, as a dialogue on the extraordinary beauty of numbers.

Revenge by Yōko Ogawa | Goodreads

Using economical and precise language, Ogawa conveys intensity of emotion. (...) Ogawa's landscapes are frequently bizarre and contain startling images" - Lucy Popescu, Times Literary Supplement The 2020 International Booker Prize | The Booker Prizes". thebookerprizes.com . Retrieved 2022-02-09. Ogawa's language, in Stephen Snyder's translation, is spare, quiet, content with being nimble rather than dwelling on beautiful phrases. It's a language that doesn't announce its own frugality and refuses to make a minimalist's daring and obvious cuts. The seeming ease is the outcome of hard work, but it doesn't make the reader sweat. Ogawa moves swiftly; she has the power to move.” —Stefan Kiesby, Los Angeles Review of Books The reason she was crying didn't matter to me. Perhaps there was no reason at all. Her tears had that sort of purity.An eleven-year-old girl who was raped and buried in a forest. A nine-year-old boy abducted by a deviant and later found in a wine crate with both of his ankles severed. A ten-year-old on a tour of an ironworks who slipped from a catwalk and was instantly dissolved in the smelter. I would read these articles aloud, reciting them like poems. Turkewitz, Rebecca ( Ohio State University MFA candidate). " Review of Revenge: Eleven Dark Tales by Yoko Ogawa; translated by Stephen Snyder." The Journal, Ohio State University. Welcome to the Museum of Torture” and all the rest of the short stories are excellent but what is remarkable is that there is a continuous flow from one story to another and that is so skilful in itself. “The Man Who Sold Braces” for example is followed on by “The Last Hour of the Bengal Tiger” and they both have the “tiger" as a common denominator. Also the so important final sentence or paragraph to each story that says it all. The thrills are sometimes cheap and the connections between stories membrane thin, but Ogawa makes it count with her precision and dedication to bringing the vision full-circle." - Publishers Weekly The son, it transpires, was found dead in a vacant lot, inside an abandoned refrigerator. Macabre detail from the past (the decaying shortcake, of crimes against children, a suicide attempt) is contrasted with the bright reality of the present, a mood disturbed finally by the discovery of a young woman in the kitchen of the bakery, quietly sobbing.

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Every story is told from the first person point-of-view, though each narrator is a different person. At times you're not even sure right away whether the speaker is male or female, adding to the unsettling feelings. Some of her most well known works include The Housekeeper and the Professor, The Diving Pool and Hotel Iris. Revenge: Eleven Dark Tales ( 寡黙な死骸みだらな弔い, Kamoku na shigai, Midara na tomurai ) is a collection of interconnected short stories by Yōko Ogawa. It was published in Japan in 1998, [1] and in the United States by Picador in 2013. Stephen Snyder translated the book into English. Afternoon at the Bakery, the first story, sets the tone. ‘It was a beautiful Sunday. The sky was a cloudless dome of sunlight’. The first person narrator, gender at first unrevealed, visits a bakery to buy two strawberry shortcakes. The shop is empty, no one at the counter, the potential customer decides to wait. Joined by ‘a short, plump woman’ also waiting, they converse. “Whenever she moved in her seat, she gave off an odd smell…” that reminds the narrator of a childhood scene. The cakes are for a son. “He’s six” confides the narrator suddenly, “He’ll always be six. He’s dead.”

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Another character asks: "Why was everyone dying ?" but Ogawa doesn't offer the satisfyingly easy answers a murder mystery might. And the ending. Well that was superb and yes, despite reading this short story, I do still love eating carrots in whatever form they come. Revenge is an exceptionally well-done and well-balanced piece of horror-writing, disarmingly detached -- and all the more unsettling for that.

Revenge by Yoko Ogawa, Stephen Snyder | Waterstones

No, it couldn't be," I said to the old woman nearby. "He's just sleeping. He hasn't eaten anything, and he must be exhausted. Let's carry him home and try not to wake him. He should sleep, as much as he wants. He'll wake up later, I'm sure of it." It's not just Murakami but also the shadow of Borges that hovers over this mesmerizing book… [and] one may detect a slight bow to the American macabre of E.A. Poe. Ogawa stands on the shoulders of giants, as another saying goes. But this collection may linger in your mind — it does in mine — as a delicious, perplexing, absorbing and somehow singular experience." —Alan Cheuse, NPR Translator Stephen Snyder has compared Ogawa’s work to that of Murakami, going so far as to call her “the next Haruki Murakami,” (perhaps in part because of the dream-logic of her plots and the diffidence of her protagonists); some reviewers have cited the influence of Borges and Poe as well. These comparisons are tempting, but there’s something facile about them too. Though there are dark, supernatural elements underfoot in these stories, it does not take long to notice that Ogawa works in a register entirely of her own—and is much more interested in experimenting with form than with paying tribute to any particular style. As she put it one interview: Ogawa is masterful at depicting a seemingly normal scene with a tinge of fear that all may not be as bland and routine as it first appears. She establishes this atmosphere in the opening paragraphs of the first story, “Afternoon at the Bakery”:After he was gone, I began to collect newspaper clippings about children who had died under tragic circumstances. Each day I would go to the library and gather articles from every newspaper and magazine, and then make copies of them. The Memory Police (Hisoyaka na kesshō, 密やかな結晶, 1994), translated by Stephen Snyder, Pantheon Books, 2019. Throughout the book, we get introduced to a series of colourful characters; some were selfish, some were cruel, some had an evil hidden side, some had a softness that made your heart ache, and some, especially the ones in the last story, had an ethereal beauty to them, one that had you both startled and, surprisingly satisfied, when you reach the end. The reason she was crying didn’t matter to me. Perhaps there was no reason at all. Her tears had that sort of purity." This is not without flaws, however, as the second half of the book is weaker than the first, and it becomes hard to tell the gender or age of the various voices because, at least in this translations, the voices are not as distinctly different. This can be a problem for a collection of stories so dependent on first person narratives. The fairy tale quality and even the meta-fictive overlapping, however, thematically justifies some of this de