Ian "Marvin" Graye's Reviews > After Dark
After Dark
by
by

Ian "Marvin" Graye's review
bookshelves: reviews, read-2007, mura-karmic-wonder-land, nippon
Feb 22, 2011
bookshelves: reviews, read-2007, mura-karmic-wonder-land, nippon
Original Review: March 8, 2011
A Midwinter Night's Tale
"After Dark" is probably the easiest Murakami novel to read. At 201 pages, it's not difficult to finish in one session.
It's also close to what you would call "high concept" in the film industry. Its execution is not much more than its conception.
All of the action takes place from 11:56pm to 6:52am on a midwinter night, more or less "after dark" when the days are shortest and the nights are longest.
Hidden Meaning
Murakami's writing is stripped back, simple, present tense, in the style of detective fiction, yet there is always a sense of deeper meaning, even if it is or remains hidden.
We see the surface, almost like a camera, but we know there is something behind it, even if he doesn't choose or have to describe it.
Beware of Darkness
"Darkness" is an extended metaphor throughout the entire novel.
At the most superficial level, it describes the night. However, it also represents the darkness of the human soul.
This level of meaning is most likely to resonate with its likely audience � youth in their teens or early twenties who are still trying to piece together some sense of the meaning of life and how they fit into it.
The Same People, Just a Different Cave
Before people developed the technology to build houses, they huddled together in caves at night, primarily to escape their predators, but also to share their collective warmth.
Darkness then created a sense of family, if not society as well.
Language as a form of communication probably developed during these hours of darkness, when there was little else to do.
Now that we can build accommodation, we create smaller scale, more individualised caves where we can live alone and lonely.
What was once a source of comfort has become a source of alienation.
The Life of Buildings
This spiritual or anti-spiritual life of buildings in Murakami's fiction has been coming for some time.
The homes, office blocks, cafes, bars and hotels in his novels take on a life of their own.
They are characters with their own mysteries that embrace and surround the human characters. They're almost microcosms with their own cosmic significance.
Inside these buildings, we can be easily lured away from interaction with other humans, even the members of our own family.
Sister Feelings Call Again
Mari and her beautiful sister, Eri, are two sides of the one coin (their names are only one syllable apart) that have lost touch with each other.
Eri is at home sleeping a deep sleep that is "too perfect, too pure" and has lasted for two months.
Late in the book, we learn that they once embraced each other for protection in a lift while it remained trapped in darkness in a blackout.
Spiritually, it was the closest they ever came to each other, a return to the comfort of the cave.
Since then, they have drifted apart for no discernible reason.
Metaphorically, they have lost touch, but it's almost as if it is important that they have literally lost "touch" as well.
Close to You
Although Eri never fully regains consciousness during the span of the novel, their reconciliation and sense of wholeness begin when Mari learns to open up personally over the course of meetings with strangers during the night and decides to sleep in Eri's bed, holding her close under the sheets, just as the sun starts to rise and the darkness starts to dissipate.
Open Up and Let Me In
In Murakami's concluding words, "this hint of things to come takes time to expand in the new morning light, and we attempt to watch it unobtrusively, with deep concentration. The night has begun to open up at last."
Throughout the night, we have watched two flowers start to blossom...or, more likely, two shrubs about to re-blossom.
In a sense, they have emerged from the dark and into the light. They are literally "after dark" or post-darkness.
There is a suggestion of a recurring cycle at work here too. Just as day follows night, night follows day.
Darkness Becomes Light, and Light Becomes Darkness
Murakami's very last words are that the hint of things to come will continue to expand in the light, at least "until the next darkness arrives".
This might just mean that we will retreat to our caves at night, pending a new sunrise.
But it could also mean that, all through our lives, we have to deal with darkness and depression, but we have to remember that there will be a new sunrise, especially if we make it happen ourselves.
Is Once a Night Enough?
Someone has suggested that this novel could be the first in a trilogy based around these characters.
There are a myriad of questions that the detective in the reader wants to find answers for.
On the other hand, the metaphorical significance of the novel and its title is complete in one volume.
A Midwinter Night's Tale
"After Dark" is probably the easiest Murakami novel to read. At 201 pages, it's not difficult to finish in one session.
It's also close to what you would call "high concept" in the film industry. Its execution is not much more than its conception.
All of the action takes place from 11:56pm to 6:52am on a midwinter night, more or less "after dark" when the days are shortest and the nights are longest.
Hidden Meaning
Murakami's writing is stripped back, simple, present tense, in the style of detective fiction, yet there is always a sense of deeper meaning, even if it is or remains hidden.
We see the surface, almost like a camera, but we know there is something behind it, even if he doesn't choose or have to describe it.
Beware of Darkness
"Darkness" is an extended metaphor throughout the entire novel.
At the most superficial level, it describes the night. However, it also represents the darkness of the human soul.
This level of meaning is most likely to resonate with its likely audience � youth in their teens or early twenties who are still trying to piece together some sense of the meaning of life and how they fit into it.
The Same People, Just a Different Cave
Before people developed the technology to build houses, they huddled together in caves at night, primarily to escape their predators, but also to share their collective warmth.
Darkness then created a sense of family, if not society as well.
Language as a form of communication probably developed during these hours of darkness, when there was little else to do.
Now that we can build accommodation, we create smaller scale, more individualised caves where we can live alone and lonely.
What was once a source of comfort has become a source of alienation.
The Life of Buildings
This spiritual or anti-spiritual life of buildings in Murakami's fiction has been coming for some time.
The homes, office blocks, cafes, bars and hotels in his novels take on a life of their own.
They are characters with their own mysteries that embrace and surround the human characters. They're almost microcosms with their own cosmic significance.
Inside these buildings, we can be easily lured away from interaction with other humans, even the members of our own family.
Sister Feelings Call Again
Mari and her beautiful sister, Eri, are two sides of the one coin (their names are only one syllable apart) that have lost touch with each other.
Eri is at home sleeping a deep sleep that is "too perfect, too pure" and has lasted for two months.
Late in the book, we learn that they once embraced each other for protection in a lift while it remained trapped in darkness in a blackout.
Spiritually, it was the closest they ever came to each other, a return to the comfort of the cave.
Since then, they have drifted apart for no discernible reason.
Metaphorically, they have lost touch, but it's almost as if it is important that they have literally lost "touch" as well.
Close to You
Although Eri never fully regains consciousness during the span of the novel, their reconciliation and sense of wholeness begin when Mari learns to open up personally over the course of meetings with strangers during the night and decides to sleep in Eri's bed, holding her close under the sheets, just as the sun starts to rise and the darkness starts to dissipate.
Open Up and Let Me In
In Murakami's concluding words, "this hint of things to come takes time to expand in the new morning light, and we attempt to watch it unobtrusively, with deep concentration. The night has begun to open up at last."
Throughout the night, we have watched two flowers start to blossom...or, more likely, two shrubs about to re-blossom.
In a sense, they have emerged from the dark and into the light. They are literally "after dark" or post-darkness.
There is a suggestion of a recurring cycle at work here too. Just as day follows night, night follows day.
Darkness Becomes Light, and Light Becomes Darkness
Murakami's very last words are that the hint of things to come will continue to expand in the light, at least "until the next darkness arrives".
This might just mean that we will retreat to our caves at night, pending a new sunrise.
But it could also mean that, all through our lives, we have to deal with darkness and depression, but we have to remember that there will be a new sunrise, especially if we make it happen ourselves.
Is Once a Night Enough?
Someone has suggested that this novel could be the first in a trilogy based around these characters.
There are a myriad of questions that the detective in the reader wants to find answers for.
On the other hand, the metaphorical significance of the novel and its title is complete in one volume.
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Reading Progress
Started Reading
July 1, 2007
–
Finished Reading
February 22, 2011
– Shelved
June 28, 2011
– Shelved as:
reviews
September 29, 2011
– Shelved as:
read-2007
November 17, 2011
– Shelved as:
mura-karmic-wonder-land
March 22, 2013
– Shelved as:
nippon
Comments Showing 1-46 of 46 (46 new)
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If (having read it) you thought it was only OK (say three stars), I would say read "Norwegian Wood" to see whether you just didn't like this particular novel.
"Norwegian Wood" is a bit more relationship-based and romantic.
If you thought it was one or two stars, I would probably say there is something about Murakami that you just don't like, full stop, which does happen.
Good luck and have fun, and I look forward to your review.
It would be great if you were ready to read "IQ84" in November onwards.
I'd like to get a group together for that one.


I've decided to do The Recognitions and then Infinite Jest, perhaps with some wedgies in between.
Then some light reading.




As usual, I learned something new and valuable from your review.

Thanks, Samadrita. I think this was one of my early GR reviews. I appear have done it from memory, rather than a recent [re-]reading. I was probably just trying to recall the feel of the book as best I could.



He is magical, but not everybody believes in his magic.


Murakami has at least two translators, each of whom has worked on many books over a long time. I'm pretty sure they correspond with M when working on one of his books. However, they have different styles of translation.
Murakami lived in America for many years. He has also translated many English language books into Japanese, including three Raymond Chandlers and the complete works of Raymond Carver. He has a lot of exposure to English fiction of the type I mentioned.
My comment was more a comparative assessment within his ouvre.
I'm pretty sure he would let people know if he wasn't happy with a translation of his work.
His books vary in tone (as between books). Once he has established a tone, he remains pretty consistent, without trying to set off fireworks at intervals or all the time (cf David Mitchell, perhaps). Some books are less quotable than others.



I don't really get enamored of this type of heavy-weight author nowadays. I generally enjoy what I read by them, but am not driven to read more either. My reading is too classically oriented I think, even after all these years. There aren't a huge number of writers that I've read more than one book by, even when I liked what I read. I guess I wander from author to author. I should look at my reads on GR since I've joined and do the stats. Now that seems to be a more interesting project than reading!

Ian wrote: "I think both Murakami and Mitchell are like licorice or chocolate. Some people can't stand them and others can't get enough."
Licorice gives some people the runs. Me, I just hate the taste. Marmite is the more usual analogy in the UK. ;)

Re the other M's, I worry that their pleasures are defeated by great expectations. As if literary and/or popular success brings out the sceptic in the (good) reader.

I think you're right about expectations of Mitchell and Murakami and other successful authors. It's something I'm guilty of myself: if someone or something get too much hype, I tend to back away and if I do capitulate a read it, I either have low expectations or unrealistically high ones.





Thanks, Matthias. It's a constant craving, no matter what age you are :)
Nice, competent review as is now expected.
But, on Murakami. IDK. This book can be articulated in 3.5 minutes by one who is talented, and in an hour by an average half-assed New Age meeting.
But, on Murakami. IDK. This book can be articulated in 3.5 minutes by one who is talented, and in an hour by an average half-assed New Age meeting.

But, on Murakami. IDK. This book can be articulated in 3.5 minutes by one who is talented, and in an hour by an average half-assed New Age meeting."
Thanks, ImpWiz. You could say the same thing about any book from "After Dark" to "Infinite Jest".
Ian said; "Thanks, ImpWiz. You could say the same thing about any book from "After Dark" to "Infinite Jest".
No sarcasm intended; thank you. I'll be spending some time thinking about that. My initial reaction is one which says "yes" to some books and "no" to others. But, IDK .....................
No sarcasm intended; thank you. I'll be spending some time thinking about that. My initial reaction is one which says "yes" to some books and "no" to others. But, IDK .....................

No sarcasm intended; thank you. I'll be spending some time thinking about that. My ini..."
See the list of AA maxims from "IJ" here:
/story/show/...
"What The Text Needs Now Is Acronym" by Maxim Gerunding ( an abbreviation)
What the text needs now is acronym, sweet acronym.
It's the only thing that there's just too little of
What the text needs now is acronym, sweet acronym.
No not just for scribblers, but for everyone
Lord we don't need another intensive pronoun.
There are relatives and possessives
Enough to adverbialize
There are whatevers and whomevers
enough to conjunct
'Till the end of literature.
What the text needs now is acronym, sweet acronym
It's the only thing that there's just too little of
What the text needs now is acronym, sweet acronym.
No not just for scribblers, but for everyone
Lord we don't need another absolute modifier.
There are adjectives and adverbs
Enough to convolute.
There are tenses and simple verbs
Enough to inflect.
Oh listen Roget if you want to know
What the text needs now is acronym, sweet acronym.
What the text needs now is acronym, sweet acronym.
It's the only thing that there's just too little of
What the text needs now is acronym, sweet acronym.
No not just for scribblers, but for everyone
Lord we don't need another intensive pronoun.
There are relatives and possessives
Enough to adverbialize
There are whatevers and whomevers
enough to conjunct
'Till the end of literature.
What the text needs now is acronym, sweet acronym
It's the only thing that there's just too little of
What the text needs now is acronym, sweet acronym.
No not just for scribblers, but for everyone
Lord we don't need another absolute modifier.
There are adjectives and adverbs
Enough to convolute.
There are tenses and simple verbs
Enough to inflect.
Oh listen Roget if you want to know
What the text needs now is acronym, sweet acronym.

She's got a smile it seems to me
Reminds me of childhood comic strips
Where super man
Is strong and will never deviate.
Now and then when I see her face
She takes me away to that special place
If battling heroes and evil contractions take too long
I'll just have to abbreviate.
Oh, oh, oh
Sweet acronym
Oh, oh, oh, oh
Sweet acronym


Hi, Bayu
You should post your review on your page for the book, so we can like it.
However, it reminded me that I want to sit down one day and write down some ideas about consistent themes in Murakami's fiction.
Two that I mention in this review are buildings and sisters.
In "The Wind-Up Bird", it's birds and cats.
But there's also music and spaghetti.
If anyone wants to join me, I think we can have some fun.