A True Novel by Japanese author Minae Mizumura, translated by Juliet Winters Carpenter, received a lot of positive attention when it was released in 2013 by Other Press.* Not least because it was released in a beautiful two-volume, illustrated and slip-cased edition. But the plot, itself, was always going to be catnip to a certain type of reader — the re-interpretaion of the beloved Bronte classic, Wuthering Heights, complete with all the familiar touchstones: gorgeous landscapes; star-crossed lovers; restless ghosts; and unreliable (often contradictory) narrators. And if that was all A True Novel was, a simple retelling of an old favorite in a more modern setting, it would have been enough (though, admittedly, at 880 pages a bit of a slog). But instead, Mizumura playfully transforms what at first blush appears to be an act of homage into something else entirely. Her story is set in the affluent and tranquil Summer community of Karuizawa, Japan, in the aftermath of WWII. And her cast of characters engage in a dazzlingly elaborate game of whisper down the lane.
The novel tells the fragmented history of the lovers Yoko and Taro, as told by three distinct narrators. There is Mizumura herself, who spends the first 150+ pages explaining her connection to the characters she writes about. This Preface and Prologue is meant to establish the illusion that the book is a work of non-fiction, what is known as an “I novel” in Japan. This fictional Mizumura explains how the bulk of the story was told to her by a second narrator: a young man named Yusuke (who corresponds with Lockwood in Bronte’s original). Yusuke, in turn, learned most of what he tells Mizumura from a third narrator: Fumiko, the maid who was actively involved in the doomed lovers’ adventures – Nelly Dean if you’re keeping track. And so we are four times removed, reading Mizumura’s transcription of Yusuke’s retelling of Fumiko’s version of the events she witnessed and influenced. A structure which is, once again, loosely based on Emily Bronte’s original Wuthering Heights. I use the term loosely because this is a version of Wuthering Heights as translated through the dual lenses of Japanese culture and language.
There’s a cleanness to Japanese translations that I adore. A sharpness and a clarity achieved by stripping away extraneous adjectives. Juliet Winters Carpenter’s translation is a contrast to Bronte’s 19th-century Gothicism. For an example: compare the words of the two heroines, Cathy & Yoko, describing their connection to their respective heroes –
“My great miseries in this world have been Heathcliff’s miseries, and I watched and felt each from the beginning: my great thought in living is himself. If all perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger; I should not seem a part of it.” – Cathy
“I feel as if I’ve disappeared, myself.” She sounded even more remote. It was as if while she was standing there her spirit had gone off to wander some far corner of the earth… “I will never, ever forgive him,” she said in a low firm voice, and bit her lip again. “Never. Not as long as I live.” She put up a good front, but she may finally have begun to understand what it meant to be loved that much by someone like Taro – in a life she was given only one chance to live. – Yoko.
Yes, Mizumura’s prose (in Carpenter’s hands) is minimal. Particularly when compared to Bronte’s. But that doesn’t mean the words suffer from a lack of substance or are devoid of poetry. There is an aching sense of loss that permeates every character in every word on every page of A True Novel. And it is still very much a ghost story; more so even than the original. The characters in Wuthering Heights (including the dead) are vibrant, full of life and passion. Yoko and her lover Taro, Fumiko, the three sisters (who feature prominently and who I’ve intentionally avoided describing so that you can discover them for yourselves), even Yusuke… they are all haunted. Each has crossed an invisible line. Their connections to the past is stronger than their grounding in the present. As a result the reader instinctively understands that this story is over, the characters left wandering among shades, even as we are experiencing it for the first time.
Anyway, in the end, as he alone knew – and knew only too well – she held absolute sway over him.
“You apologize!” The demand rang out more insistently.
In the white light of the full moon I saw Taro drop down on his knees and, supporting himself with both hands, lay his forehead flat on the ground in an attitude of abject apology. The flashlight he’d laid down shone on the pebbles. I gasped as Yoko slipped off one wooden clog and put her bare foot on his head to press it down farther. There was no need for me to intrude, however. As soon as her toes touched his head, she lost her balance and toppled over, landing on the ground beside him. Now she began bawling even harder, fists in her eyes, elbows sticking out in the air. Taro jumped up, grabbed her by the hands, and pulled her up off the ground. Then he was on his knees again. He took her bare foot in his hands and slipped the wooden clog back on, then brushed the dirt off the hem of her yukata. His slim figure was radiant in the light of the moon.
I watched in bemusement as the two children disappeared hand in hand up the dark mountain path to the strains of the “Tokyo Ballad.”
One item the many reviewers and fans of this book don’t seem to be discussing (except in passing) are the photographs. Lovely black & white pictures with simple captions of the places where they were taken: “Western-Style Summer Villa With Bay Windows”; “Chikuma River”; “Oiwake Station”. All places mentioned book. But deserted. Emptied of people. Brilliant. The illustrator N.C. Wyeth once said that his goal was to illustrate the scenes that were not fully developed or described by the author. His illustrations were created to add and build on the author’s text, not just interpret it. His portrait of blind Pew in Treasure Island being the most famous example. Toyota Horiguchi’s gorgeous photographs are the next stage in the evolution of this tradition.
A True Novel is a favorite among the judges of this year’s Best Translated Book Award. It’s a foregone conclusion that it will be on the long list. I’d be shocked if it didn’t make the shortlist. Should it win… well… it would be a huge departure from past winners which have fallen into the category of less traditional (less accessible, even) works. It’s looking to be an interesting contest and I can’t wait for March 11th to see how it plays out.
Publisher: Other Press, New York (2013)
ISBN: 978 159051203 6
*Other Press consistently gives as much care to the quality of the physical book as it does to the words it contains. They are one of my favorite publishers – always interesting and always innovative. And yet they’ve surpassed even my expectations with the loveliness of this book.
9 thoughts on “A True Novel by Minae Mizumura, translated from the Japanese by Juliet Winters Carpenter”
Yep, I’d be surprised if this didn’t do well – it’s already come up in posts over at Three Percent from some of the judges…
I noticed that Tony. It appears to be the only book that is standing out across the board.
I can’t wait to read this one. I’ve read quite a few reviews of this and love the idea of her transposing Wuthering Heights to a Japanese setting, especially one that isn’t contemporary Japan. I once watched a Japanese daily tv series loosely based on Wuthering Heights but set in Meiji/Taisho Japan, and although it was a melodrama, it was riveting.
Sakura, can you tell me the name of the series?
I’ve had eye on this a while love concept of a classic English work being transposed to modern japan a very Japanese idea I feel having seen other things they have done like this in films and tv
I haven’t seen much Japanese film or television. Off the top of my head I can’t think of any at all. Can you recommend something? I’d no idea that what Mizumura was doing was common in Japan.