著者のtokyo trilogyの2作目です。前作(
Tokyo Year Zero (Tokyo Trilogy 1)
と同じで、ある実在の事件が作品の核をなしています。それはあの謎だらけの帝銀事件です。そしてタイトルのoccupied cityのとおり、占領軍が影で暗躍します。ストーリーの構図は陳腐ものです。日本の恥部とも言うべき731部隊との関係が底流ですが、その位置づけは、逆コースを歩み始めた日本の中での旧軍と占領軍との奇妙な共謀関係です。でもこれは左翼の戦後史観ではお決まりの構図です。なにせ出版当時問題となった「悪魔の飽食」が参考文献に取り上げられているほどですから。
でもこんな角度からの批判は著者の狙いとはずれているのかもしれません。あくまでも作品のユニークな構成と言葉の使い方こそがこの作品の売りなのでしょう。でもその構図の構築の面白さは日本の風土とは相容れないものかもしれません。また言葉の使い方もあくまでも英語です。ある種の解決は呈示されますが、真犯人の動機や最後を飾る「隅田川」のストーリーとの関連も今ひとつしっくりきません。独立を奪われた戦後日本の空間というモチーフは魅力あるものですが、そこに濃厚に漂う戦前日本の歴史への意地の悪い解釈は、ある種の斬新さに彩られていますが、さすがイギリス人といわざるを得ません。
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Occupied City ペーパーバック – 2009/8/6
英語版
David Peace
(著)
'We all know what this could be: we know it could be dysentery, we know it could be typhoid. In the "Occupied City", we all know what this could mean -' Tokyo, January 26th, 1948. As the third year of the US Occupation of Japan begins, a man enters a downtown bank. He speaks of an outbreak of dysentery and says he is a doctor, sent by the Occupation authorities, to treat anyone who might have been exposed. Clear liquid is poured into sixteen teacups. Sixteen employees of the bank drink this liquid according to strict instructions. Within minutes twelve of them are dead, the other four unconscious. The man disappears along with some, but not all, of the bank's money. And so begins the biggest manhunt in Japanese history. In "Occupied City", David Peace dramatises and explores the rumours of complicity, conspiracy and cover-up that surround the chilling case of the Teikoku Bank Massacre: of the man who was convicted of the crime, of the legacy of biological warfare programmes, and of the victims and survivors themselves. The second part of his acclaimed "Tokyo Trilogy" - and an extraordinary picture of a city in mourning - "Occupied City" is further evidence of a singular and formidable novelist.
- 本の長さ320ページ
- 言語英語
- 出版社Faber & Faber
- 発売日2009/8/6
- 寸法15.2 x 2.1 x 23.2 cm
- ISBN-100571232027
- ISBN-13978-0571232024
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商品の説明
著者について
David Peace - named in 2003 as one of Granta's Best of Young British Novelists - was born and brought up in Yorkshire. He is the author of eleven novels including the Red Riding Quartet, adapted for television by Channel Four in 2009, GB84, which was awarded the James Tait Black Memorial Prize, The Damned Utd, Red or Dead, which was shortlisted for the Goldsmiths Prize in 2013, and most recently Tokyo Redux. He lives in Tokyo.
登録情報
- 出版社 : Faber & Faber (2009/8/6)
- 発売日 : 2009/8/6
- 言語 : 英語
- ペーパーバック : 320ページ
- ISBN-10 : 0571232027
- ISBN-13 : 978-0571232024
- 寸法 : 15.2 x 2.1 x 23.2 cm
- カスタマーレビュー:
著者について
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他の国からのトップレビュー
MRS H WESTBROOK
5つ星のうち1.0
Self-indulgent not experimental
2024年4月18日にオーストラリアでレビュー済みAmazonで購入
The author apparently thinks this is a work which can withstand editing. It is a generally dreadful experience to try to read it. The cleverness of the first book in the trilogy was its bleak methodology. To merely copy shows a lack of growth and imagination and, ultimately, a lack of insight.
Ms Teresa
5つ星のうち4.0
Frustrating, sickening and compelling
2015年6月21日にアメリカ合衆国でレビュー済みAmazonで購入
occupied city
The book's structure, poetic style and horrifying topic make it at once both a compelling and repellant read.
The book's structure, poetic style and horrifying topic make it at once both a compelling and repellant read.
Roland
5つ星のうち1.0
Roland
2010年10月1日にフランスでレビュー済みAmazonで購入
This book is a hard read and the first time I could not finish a David Peace book.
hiesboeck
5つ星のうち5.0
valiant effort at recreating the poetry of Japanese novels
2010年6月12日にアメリカ合衆国でレビュー済みAmazonで購入
Others have reviewed the content of this book, I will not go into details. The story is highly pertinent and feels terribly relevant in today's world. The lies, the deceit, the helplessness of ordinary citizens ... all that is captured well. This is literature, or at the very least a valiant literary effort far beyond the average crime novel.
I am European and have studied Japanese and Japanese literature. Knowing the works Peace himself refers to in the acknowledgments helps a lot in understanding the structure of this book. From the very beginning, one feels reminded of Soseki & Co. "Konna yume-wo mita ...". The First Night ...
Peace uses the instruments of Japanese dream and crime fiction of the turn of the century, such as ellipsis, repetition, etc.; many of which are still very much present in modern Japanese works. He does so with aplomb, and only rarely stumbles.
The problem with this approach in an English novel is that many of the tools of Japanese fiction are by definition extensions of the Japanese language. They only work to their full effect in Japanese. Whole chapters full of ellipses are normal in Japanese, where even in ordinary speech sentences are very often incomplete, where, in fact, incompleteness is a sign of high style, of literacy. The same style in English sounds highly contrived. Incomplete statements in Japanese are often completed by the context, or the context of similar statements in other situations. That is completely lost in English. The endless repetitions are unoffensive in Japanese, where poetic style has always been part of ordinary prose, and prose itself, one may say, does not exist as separate from poetry as it does in English. Thus the tools of Japanese writing in an English novels often feel too alien, too out of place, and hard to grasp. I imagine this is even worse for the reader unfamiliar with the Japanese background.
Peace's use of Japanese style elements in English is often incongruous, and in many places simply not proficient enough, as if he lacked a full grasp of the literature he is emulating. The novel translated back into Japanese, which I have done for some parts as an exercise in literary criticism, feels almost childishly simplistic.
Even so, it is a great effort. This is the work of a good crime writer who tried something different, something really difficult: the transposition of a literary genre and style into another language. If he failed to do so perfectly, it is still a very convincing effort.
I am European and have studied Japanese and Japanese literature. Knowing the works Peace himself refers to in the acknowledgments helps a lot in understanding the structure of this book. From the very beginning, one feels reminded of Soseki & Co. "Konna yume-wo mita ...". The First Night ...
Peace uses the instruments of Japanese dream and crime fiction of the turn of the century, such as ellipsis, repetition, etc.; many of which are still very much present in modern Japanese works. He does so with aplomb, and only rarely stumbles.
The problem with this approach in an English novel is that many of the tools of Japanese fiction are by definition extensions of the Japanese language. They only work to their full effect in Japanese. Whole chapters full of ellipses are normal in Japanese, where even in ordinary speech sentences are very often incomplete, where, in fact, incompleteness is a sign of high style, of literacy. The same style in English sounds highly contrived. Incomplete statements in Japanese are often completed by the context, or the context of similar statements in other situations. That is completely lost in English. The endless repetitions are unoffensive in Japanese, where poetic style has always been part of ordinary prose, and prose itself, one may say, does not exist as separate from poetry as it does in English. Thus the tools of Japanese writing in an English novels often feel too alien, too out of place, and hard to grasp. I imagine this is even worse for the reader unfamiliar with the Japanese background.
Peace's use of Japanese style elements in English is often incongruous, and in many places simply not proficient enough, as if he lacked a full grasp of the literature he is emulating. The novel translated back into Japanese, which I have done for some parts as an exercise in literary criticism, feels almost childishly simplistic.
Even so, it is a great effort. This is the work of a good crime writer who tried something different, something really difficult: the transposition of a literary genre and style into another language. If he failed to do so perfectly, it is still a very convincing effort.