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Archive for the ‘Translation’ Category

SOUNDTRACK: BLACK MOTION-Tiny Desk (Home) Concert #233 (July 8, 2021).

 Black Motion specializes in Afro-House and this set is infectious.

Afro-House has spread joy and healing across the country of South Africa, transcending local boundaries to become a thriving global dance phenomenon. In my experience, Its indigenous sounds and percussive rhythms drench the soul and heart with healing powers and cultivate communion with the infinite.

This Afro-House set is brought to life thanks to several featured vocalists and guest musicians.  Black Motion’s Tiny Desk (home) concert, recorded at the former residence of Nelson Mandela, feels like a spiritual sound bath. The South African production duo turntablist Bongani Mohosana of the Zulu tribe and percussionist Thabo Mabogwane of Sotho tribe — open their set with “Mayibuye iAfrica,” a cry for Africa to return to its culture and history.

“Mayibuye iAfrica” opens with a fun introduction.  There’s whooping, growling, cawing, (from DJ and producer Bongani Mohosana and keyboardist Almotie “Alie-keyz” Mtomben).  There’s some great percussion (producer and drummer Thabo Roy Mabogwane’s set has over ten different drums and a few cymbals).  Then, after a minute or so Siyabonga Hosana Magagula’s grooving bass and Lifa “Sir_Lifa” Mavuso’s slow but perfect-sounding guitar enter the picture.

Then the singers come in singing a beautiful chorus.  The three of them are: Lusindiso “Jojo” Zondani (tenor), Gugu Shezi (soprano) and Noxolo Radebe (alto), and there voices gel wonderfully.

Up next is “Rainbow” which shuffles along with the DJs sampling and a simple keyboard melody (that sounds a bit like The Way It Is).

South African singer Msaki makes her third appearance in our (home) concert series, after earlier credits with Black Coffee and our Coming 2 America special. She lends her vocals to “Marry Me,” a soulful jam from Black Motion’s 2020 album, The Healers: The Last Chapter.

Next up is “Marry Me.” Msaki sings lead vocals on this song which has a grooving echoing lead guitar. “Alie-keyz” plays a cool retro organ solo before “Sir_Lifa” jams out a guitar solo.

Interestingly, Msaki’s voice was relatively deep, but on the next song, “Joy Joy,” Brenden Praise’s voice is pretty high (in the choruses).  For the verses, he sings a bit deeper.  I like the way the backing vocalists sound like gospel singers here.

“Imali,” featuring Nokwazi, soothes the lingering remnants of pandemic fears,

The snare drum introduces the colorfully dress Nokwazi who sings “Imali.”  Her call and response singing is really great, as is her intense, growling style.

Tabia closes with the lilting “Prayer for Rain.”

Tabia comes out for “Prayer For Rain” and says “let’s pray” as she sings some wordless notes to warm up the song.  When she starts singing, I don’t know what language she’s singing, but the passion is palpable.  And the thunderclap that DJ Bongani Mohosana adds at the end is a welcome touch.

This is a powerful and moving (emotionally and physically) set of songs.

[READ: May 10, 2021]  “Easy, Tiger”

After reading David’s story about shopping in Tokyo, it was funny to go backwards and read about one of his first few trips abroad and how he started learning the local language(s).

He says that he had been using Pimsleur Japanese and felt fairly comfortable when in Japan.  But on this trip he was also going to Beijing and he had forgotten to study.

But this is not so much about China as it is about learning languages in general.

Since he doesn’t drive, phrases like “as for gas, is it expensive” don’t really help him out.  But he uses “fill her up please” when asking for a tea refill.  He also gets to say that he is a man with children since they do not have a phrase for “I am am middle aged homosexual…  with a niece I never see and a small godson.”

He recommends Pimsleur for pronunciations and memorization.  But he also likes Lonely Planet. (more…)

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SOUNDTRACK: LIZ PHAIR-Tiny Desk Concert #227 (June 23, 2021).

I loved Liz Phair’s first two or three albums.  Then I got a little bored by her.  And then she went really aggressively commercial (to not so great effect).  This new single “Spanish Doors” sounds a lot like old school Phair but retains some pop sensibility in the super catchy bridge.

Liz Phair’s music was always meant to fill arenas. After a clever sleight-of-hand at the top of this Tiny Desk (home) performance, where it briefly seems we’ve returned to in-person sets behind Bob Boilen’s desk, Phair and her backing band do their best to recreate the kind of set you’d see in a much larger space; everyone plugs-in, turns it up and rocks with an impressive light show.

Phair plays three tracks from Soberish, her first new album in more than a decade.

She starts with “Spanish Doors,” a heartbreaking but hooky portrait of a marriage nearing its end.

It rocks a bit harder here with three guitars (Phair, Connor Sullivan), with lead solos from Cody Perrin.  Liz seems surprisingly nervous here–or maybe her patter is rusty.

She follows with a song against loneliness called “In There.”

It’s a mellow song with snapping drums (Neal Daniels) and rumbling bass (Ben Sturley).  It’s almost sounds like Liz Phair of old but is missing something.

followed by “The Game,” a meditation on the mind games that sabotage troubled relationships.

Liz switches to acoustic guitar for this one–and her guitar sounds wonderful.  There’s some terrific harmonies on this corner which really does sound like old school Liz.

Phair still finds joy and a playful sense of humor in her earliest work, closing her Tiny Desk with a generous version of “Never Said,” from Exile.

I loved Exile in Guyville and listened to it all the time.  It’s great to hear “Never Said” live like this.  When she played a few years ago, I didn’t feel the need to go, but if she played more of these older song (and the newer ones), I’m sure it would be an enjoyable show.

[READ: July 9, 2021] “Heirs”

This was an unusual story in which reality is never fully explained.

A man, Aryeh Zelnik, is resting on a hammock on his porch.  A second man pulls up in a car and heads to the porch.

The story goes into remarkably great detail about the man with his car–how he looks, what he does, even how he smells (not great).

We also learn a lot about the man on the porch.  His wife has left him and now lives in America (the story is set in Israel).  He has moved back in with his mother and is more or less waiting for her to die so that house can revert to him.

The man who arrives in the car, though, begins talking about legal issues.  At first he is very circumspect about what he really wants.

Would it be more comfortable for you if we were to chat awhile longer about [the loveliness of the land here]? Or will you allow me to go straight, without any circumlocution, to our little agenda?

Aryeh Zelnik is suspicious if not downright annoyed by this man who claims to have official business but who keeps avoiding details and calling him Zelkin. (more…)

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SOUNDTRACK: BILAL HASSANI-“Roi” (France, Eurovision Entry, 2019).

I was going to be done with Eurovision, but then I read this graphic novel.  And since it was called Paris 2119, it seemed worth tying it to the 2019 French Eurovision entry.

This song is a remarkably powerful ballad sung in both English and French.  It opens with a quiet piano melody as Bilal sings

I am me
And I know I will always be
Je suis free oui, j’invente ma vie
Ne me demandez pas qui je suis

The pre chorus turns minor

You put me in a box, want me to be like you
Je suis pas dans les codes, ça dérange beaucoup
At the end of the day you cannot change me, boo!
Alors laisse-moi m’envoler

but the chorus swells.

I’m not rich but I’m shining bright
I can see my kingdom now
Quand je rêve, je suis un roi

I like the restraint Bilal shows in the chorus, downplaying potential soaring notes with dramatic effect  The second time through the song is bigger, but again, they are downplaying their singing until they comes to the last line

Moi je les cala pas, you can never remove my crown

When they show off what a powerful voice they have by holding that “crown” for an extended note.

The first listen through I thought the song was okay, but a second listen revealed quite a great song.  I am pretty surprised this came all the way down in 16th place.

[READ: May 27, 2021] Paris 2119

I saw this book at work and wanted to read it.  The cover was quite dramatic.  This book was written by Zep and translated by Mike Kennedy.

The story is quite simple.  Possibly too simple.  But its very compelling.

The book opens on Tristan Keys as he heads into the Metro.  He is scanned by a face recognition drone.  The subway is virtually empty asides from tourists, junkies and woman who looks like she is totally zombied out.  She sits next to Tristan and drools.

He arrives at his girlfriend Kloé’s apartment–she is very glamorous.  They have sex and discuss the possibility of having a baby.  But Kloé dismisses it saying that was how babies were born before–not anymore.  But maybe one day they can request a reproduction visa.

Kloé prepares to leave. She is off to Beijing to meet with clients.  She tells him to be careful while she’s gone.  His latest text post has his boss calling him in for a talk about his future as a writer.

When Kloé leaves she climbs in the Transcore machine–a teleportation device that everyone uses.  Tristan will be walking–he says he’ll never get in one of those contraptions. (more…)

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SOUNDTRACK: C. TANGANA-Tiny Desk (Home) Concert #194 (April 20, 2021).

It’s surreal seeing this many people standing so close to each other singing and having a good time. It’s also an incredible reminder of how good it sounds when a lot of people sing together.

The blurb is surprisingly lax about explaining who C. Tangana is–but I gather he must be pretty huge.

From Mexican Regional to Spanish flamenco, C. Tangana is simultaneously coming home and reaching out to bridge Latin music boundaries. He’s building a community of cross-cultural collaboration, rooted in a unifying love of language and tradition, making it clear he’s intent on giving everyone a seat at the table.

The blurb does say that this gathering is Tangana’s extended family (the clinks of salud certainly suggest familia).

After more than 13 months amid a global pandemic, C. Tangana’s extended family basking in the warmth of sobremesa with easy smiles and effortless baile looks otherworldly. (Check his mama and tía vibing in the corner.)

They open the set with

This first live performance of his latest album, El Madrileño (including a global premiere of a fresh single, “Me Maten”) buzzes with communal energy, spotlighting talent from across Latin landscapes.

C. Tangana sings with Antonio Carmona, on “Me Maten” and the whole show gets off to a warm, relaxed feeling.  The backing singers (Lucia Fernada Carmona, Pilar Cerezo, Marina Carmona, África Heredia, María Rubio, Mariola Orellana, Patri Alfaro and Mari Estrada) do an amazing job of fleshing out this and the other songs.

The concert’s star-studded cast of Spanish collaborators, including long-time friends (producers Alizzz and Victor Martínez) and new contributors (rumba legend Kiko Veneno and flamenco-pop icon La Húngara), are each spotlighted for their contributions to the record.

Up next is C. Tangana and Kiko Veneno singing “Los Tontos.”  Kiko plays guitar and opens the song.  When everyone sings along (especially the la na na na) it sounds wonderul.  Then Alizzz, who has been playing the keys, sings the New Order line “Every time I see you falling…” into the vocoder and it fits perfectly.  Kiko ends the song with lovely guitar melodies.

Tangana switches positions for “Demasiadas Mujeres.”  He walks away from the table to a nearby string octet (Pablo Quintanilla, Paula Sanz, Franciso Palazón, Marina Arrufat, Paloma Cueto-Felgueroso, Adrián Vázquez, Irma Bau, Daniel Acebes).  Huberto Morales (I think) plays a martial drumbeat.  Tangana raps this track and it sounds pretty great with the strings–the octet is really into it–rocking and bopping around.  They play a pretty solo as Tanagana heads back to the table.

There’s lots of friendly chatter before “Tú Me Dejaste De Querer.”  Alizzz once again plays keys and sings into the vocoder to introduce this wonderfully catchy simple guitar riff.  I’m not sure who is playing guitar as there are so many guitarists: Victor Martínez, Juan Carmona and Niño De Elch who sings a verse.  He’s also joined by La Húngara whose female voice brings a wonderful change to this great set.

[READ: February 1, 2021] Hasta el Mismísimo

I saw Hasta el Mismísimo which Google translated as “Even the Very” at work.  It was in Spanish but the cover was cute and I was curious what it was about.  The translated title certainly didn’t help.  I flipped through the book and found that it was mostly cartoons.  So it seemed easy enough to translate.

The first text is a big thank you page, the final line of which is Thank you to @glorianietophoto who gave me the brilliant idea of drawing a talking pussy [Google translates that last word a bit more harshly when it is by itself].

So THAT’s what this book is about and what’s on the cover.

The second pages says A los Mismísimos del mundo, !Bienvenido!  which gets translated as “To the themselves of the world, welcome.”  Clearly “Mismísimo” is a hard word to translate inthis context.

The first cartoon shows the talking pussy with a cup full of blood painting on a cave wall: “It seems that a long time ago we painted in the caves, but really today there are still a lot of cavemen.  That’s why it’s easy to finish UP TO THE SAME [Hasta el Mismísimo]. (more…)

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SOUNDTRACK: ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O.-Pink Lady Lemonade ~ You’re From Inner Space (2011).

This album is something like the fortieth AMT album and somewhere in the middle of the band’s tenure with this lineup:

Tsuyama Atsushi: monster bass, voice, cosmic joker
Higashi Hiroshi: synthesizer, dancin’ king
Shimura Koji: drums, latino cool
Kawabata Makoto: guitar, guitar synthesizer, speed guru

The album consists of one song, the title track, broken into 4 parts all based around a simple, but rather lovely guitar melody

 “Part 1” is 32 minutes long.  It begins with the opening guitar melody which plays along with some trippy sounds.  Tsuyama is reciting the words (in Japanese?  English?  Gibberish?) and occasionally you hear the words “Pink lady Lemonade.”  At around 12 minutes drums and bass are added.  Once the bass starts meandering through some catchy riffs, Kawabata starts soloing.  It’s pretty far down in the mix (the main melody continues throughout).  Then around 22 minutes Tsuyama starts adding the monster bass–wild riffs that go up and down the fretboard.  With about 5 minutes left Kawabata starts playing s louder solo–louder than the rest of the music–and you can really hear him wailing away.   Part 1 fades out completely before jumping into Part 2.

“Part 2” is only 5 minutes, but it is utter chaos, with everyone making a big pile of noise–keyboard banging, sliding bass, thumping drums and wild, seemingly uncontrollable guitars.  It ends five minutes later with some warbling keys

Then comes “Part 3,” which runs just over the minutes.  It’s a faster chord version of the same guitar intro with slow bass notes and a big guitar solo.  It changes shape and adds some discoey bass lines.  About midway through the synths take over and while there is music in the background the song becomes mostly washes of sounds.

“Part 4” ends the disc at just over 18 minutes.  It picks up with the original guitar melody once more.  This time, it’s only a minute until the drums and bass kick in and the soling begins.  At five and a half minutes the guitar solo gets really loud and takes over.  The soloing is wild for over ten minutes and then around 13 minutes the song grows very quiet with only the lead guitar and the heavily echoed main riff playing.

There’s on online version here that has this entire record but adds six minutes at the end of the last part which is mostly the introductory melody and some washes of keys over the top.  i rather like this extra 6 minutes and it feels like a really nice ending.

 

[READ: May 1, 2021] “My First Passport”

This essay was translated from the Turkish by Maureen Feely.

Pamuk talks about people travelling from Turkey when he was young.  First it was his father, who left the country when Orhan was seven.  No one heard a word from him for several weeks when he turned up in Paris.  He was writing notebooks and regularly saw John-Paul Sartre.   He had become one of the penniless and miserable Turkish intellectuals who had been walking the streets of Paris.  Initially Orhan’s grandmother sent Orhan’s father money but eventually she stopped subsidizing her bohemian son in Paris.

When he ran out of money he got a job with I.B.M. and was transferred to Geneva.  Soon after Orhan’s mother joined his father but left Orhan and his brother with the grandparents.  They would follow when school was done.

Orhan sat for his first passport photo (included in the essay).  Thirty years later he realized that they had put the wrong eye color down–“a passport is not a document that tells us who were are but a document that shows what other people think of us.” (more…)

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SOUNDTRACK: BORIS-Akuma No Uta (2003).

Boris albums are never an easy thing to find.  This album was originally released in Japan in 2003.  Then it was reissued in America in 2005 with a vastly superior cover.  The cover to the right, a hilarious mock up of Nick Drake’s Bryter Layter album (left).  The original album (cover way below) was only 31 minutes, but the reissue was extended to 39 minutes because that’s how long the Nick Drake album was.

So this new album is quite different from the original: In addition to running an additional 7 minutes, the opening track of the newer version is a totally different take; both use the same riff from “Akuma no Uta,” but the original, shorter track repeats it far less and opens with over a minute of ambient, resonant amp noise absent from the longer version.

I have the newer edition and don’t know the original.  “イントロ” (Intro)” opens with a slow, simple infectious riff and then a sort of soaring siren sound starts.  The four note riff is enveloped in distortion while the backing chords cycle through slowly.  Then comes soaring guitars and washes of noise which stretch this song out to almost 10 minutes.

The opening track lulls you into a false sense of mellowness until “Ibitsu” comes blasting out with heavy rocking guitars, pounding drums and screaming vocals.  Most of the verses are just drums and Atsuo’s singing with an occasional riff from Wata. Then Takeshi joins in on the chorus and turns it into a big old crashing metal song. The middle is a three note riffs before a brief Wata solo and some wild drumming. The end is so loud it seems to blow out the speakers.

There’s a brief pause and then “フリー” (Furi) kicks off even faster and more intense heavy rock.  There’s a fast riff and a chorus that is super fun to sing along to even though I have no idea what they are saying.

“無き曲” (Naki Kyoku)” is a grooving slower song.  The first three minutes are primarily a solo by Wata.  The middle turns into a slow jam with stops and starts.  A slow grooving solo resolves into a another catchy rocking singalong before feedbacking out.  Around five minutes, the vocals come in.  The middle has another solo and some meandering bass from Takeshi–almost like a call and response musical section.

“あの女の音量” (Ano Onna no Onryou) is another big crashing rocker with heavy ponderous chords.  It’s got screaming guitars and shouted vocals but plenty of room for noisy feedback.

The album ends with “”あくまのうた” (Akuma no Uta).  A big gong introduces the three note riff.  Around two minutes the fast guitar riff begins and the song rocks out–a classic short heavy Boris rocker.

[READ: May 1, 2021] “Casting Shadows”

I haven’t read a lot of Jhumpa Lahiri’s stories, but she was very popular a while back.  I’m not sure if she still is.

Perhaps the most fascinating thing about this story is that it was written in Italian (translated by the author, which is also interesting).

Lahiri used to write in English but she has recently begun writing in Italian.  I find that fascinating, especially since she translated this work herself–how different is it than if she had written it in English first, I wonder.

This is the story of an older woman and how she interacts with the world around her. particularly the men.  She was

Never married, but, like all women, I’ve had my share of married men.

It’s a really interesting character study and shows a powerful woman who some people might (foolishly) try to take advantage of. (more…)

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SOUNDTRACK: KISHI BASHI-“Honeybody” (2016).

I love Kishi Bashi and am always excited to see him live and to hear new music from him.

Much like the story, this song is remarkably cheerful and happy.  It feels different and special in Kishi Bashi’s canon.  All of the Kishi Bashi elements are there: strings, looping, soaring vocals, but there’s a few novel moments as well.

The chorus, for instance has an island feel.  The way he sings “Maybe sipping a Coca-Cola with me, babe” you can feel your feet in the sand.

But first there’s an orchestral string opening, following by some manipulated pizzicato plucking and Kishi’s singing

Then the chorus

Cause everybody wants a Honeybody someday
Mama said they don’t grow on them trees easy
Hands down on the ground
I’m begging you to please, Honeybody, please me

Followed by some lovely soaring oooh oooh oohs in the post chorus.

The song seems like it could just end with another repeated chorus, but after the post chorus, the song shifts gears to a buzzy synth sound.  The song turns vaguely electronic with a soaring violin as he sings the chorus to a new melody.

Delightful happy music. #stopasianhate (I mean, really, knock it off).

For a delightful twist on the song, check out this version with the Nu Deco Ensemble

[READ: March 13, 2021] “Honey Pie”

Most of Murakami’s stories are abstract or, at the very least, kind of puzzling  There’s usually some vaguely supernatural element to them that you’re never sure exactly how to read (and it usually doesn’t matter because the story is good.)  This story, which like most of the others was translated by Jay Rubin, is it only the most straightforward story of his that I’ve read, it is one of the most beautiful.

The story begins with a man telling a little girl a story.  The story is about Masakichi the bear, the all time number one honey bear.  The girl, Sala, asks many questions about the story–good, thoughtful questions (“Can bears count money?”).  The storyteller, Junpei, loved the girl and the questions.  The questions helped him to guide the story that he was making up.

Junpei was a professional writer, but these storytelling gigs were for his best friend Sayoko and her child Sala.  Sala had been having some terrible nightmares ever since the earthquake hit Kobe.  They don;t live near Kobe, but tit’s been on the news every day.  Sala fears that the Earthquake Man is in the house and she can’t settle down until she checks every single possible place in their house.  Finally Sayoko called Junpei because he stays up all night writing anyway. (more…)

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SOUNDTRACK: PICTUREHOUSE-“Sunburst” (1998).

Picturehouse drummer Johnny Boyle was in the Irish Drummers book.  I was unfamiliar with them, but apparently they were pretty huge back in the late 1990s (at least in Ireland).  Boyle played on this album (Karmarama) and the follow up.

“Sunburst” was apparently all over Irish radio when it came out.  After a fun opening drumfill, this song falls into a gentle indie rock vein.  There’s some lovely harmonies, some nice gravelly vocals from singer Dave Brown and a big soaring “what a day” chorus.

The end of the song bops along on series of bah bah bahs and and a tasty fuzzy guitar solo.

It’s a delightful jangly pop song and was understandably a big hit

[READ: March 15, 2021] “Girl with Lizard”

I was sure that I had read this story, or something like it, before.  But this is the first story by this author that I have read.  This story and the resulting short story collection Flights of Love were translated by John E. Woods.

The story concerns a boy and a painting.  It was a painting of a girl looking at a lizard on the beach.  His mother and father called it “The Girl with the Lizard” and his mother referred to the girl in the painting as “The Jewish Girl.”  The painting played a large role in the boy’s childhood.  He napped under the painting every day during nap time.  He became very familiar with the details of the painting, which had a pride of place in his father’s office.

He became so familiar with it that when asked to describe a painting in detail for school, he was excited to write about this one.  He stared at the painting and took in all the details. He marveled that when he was little he had to look up at the girl and now that he was older the two were at eye level with each other.

His father admired the essay but told him that the painting was very important and it would be much better if people didn’t know they had it.  He said it was valuable and din;t want anyone to steal it.  He refused to say anything more about it and over the boy’s life, he never learned the provenance of the painting,  But his father certainly believed it was valuable. (more…)

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SOUNDTRACK: RHEOSTATICS-Jasper Heritage Folk Festival-Night set (August 3 2001).

The guys played a 40 minute set earlier in the day (playing the entire Harmelodia album).  Then in the evening they returned for an hour long set of new songs and some classics.

Night of the Shooting Stars was coming out soon and they were primed to play some news songs.  There’s also not a lot of goofiness–it’s a short set and they need to get it all out.

You can really hear Dave B’s acoustic guitar in “Mumbletypeg” and “In It Now.”

When they play “Aliens,” Dave sings “Artenings Made of Gold” at the end.  “Record Body Count” runs a little long with a lengthy solo at the end.

“Legal Age Life” has a country feel and when they do the “12 Bar Blues” part, they credit NRBQ–I never realized it was a song before–just thought they were making it up.
Dave asks, “Do the people of your generation still do the twist?  Because i saw very little twisting.  You twist now but there’s no music.

After a lovely “King of the Past,” They’re going to take it down for a couple of long slow songs.  They’re very poetic and we know how much the people of japer die for the poetry.  “Saskatchewan” is first and then “We’re gonna crank up the Hitmaker 2000” for “We Went West.”  Introducing the song:

The first time we toured was in 1987 across Canada.  I bet that was before you were born.  Every verse is devoted to a province–not every province but the ones we went to.  Yes, Alberta’s in it.  [cheers] Wait, you haven’t heard the verse about Alberta.

Someone shouts a request and Dave says, “We’re going to do a new song, but thanks for the request.”  Up comes a good “P.I.N.”

The set ends with a great “Stolen Car.”  The acoustic really rings and the end has a wicked loud and wild solo from martin.

These short sets are definitely less fun than the full length ones, but they sound fantastic.

[READ: March 14, 2021] “Austerlitz”

About ten years ago I read the novel Austerlitz, from which this excerpt comes.  At the time I had written

I read about Sebald in Five Dials. And the glowing talk about him made me want to read one of his books (specifically, this one).

This excerpt is quite long, but so is the novel.   It’s essentially the first few sections of the the novel.  I had written

Austerlitz is a strange novel [translated by Anthea Bell] which I enjoyed but which I never really got into.  I feel like rather than absorbing me into its words, the book kind of held me aloft on the surface.  As such, I have a general sense of what happened, but I’d be very hard pressed to discuss it at length.

The basic plot summary is that an unnamed narrator runs into a man named Jacques Austerlitz.  Austerlitz talks to him at length about his life. They run into each other at various points over the years, and Austerlitz’ story is continued.  And literally, that is the book.  Now, of course, Austerlitz’ story is multifaceted and complex.  But we will never forget that this is a story within a story (it’s impossible to forget because the phrase “said Austerlitz” appears about 500 times in the book.

It was interesting to me that the details I wrote about this novel ten years ago were the same ones I kept from this reading, more or less.  (Particularly the part about how it says “said Austerlitz” all the time). (more…)

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SOUNDTRACKTHE RAILWAY CHILDREN-“Brighter” (1987).

In Stuart David’s book, In The All-Night Café, he lists the songs on a mixtape that Stuart Murdoch gave to him when they first met.

Although I’ve been a fan of Belle & Sebastian for a long time, I knew almost none of the songs on this mixtape.  So, much like Stuart David, I’m listening to them for the first time trying to see how they inspire Stuart Murdoch.

In the book, David writes how much he does not like “rock,” especially music based around bluesy rock.  Most of these songs, accordingly, do not do that.  In fact, most of these songs are (unsurprisingly) soft and delicate.

A looping almost marimba-like sound opens before a jangly guitar and steady bass.  Here’s another song where the main instrument is the bass with guitar flourishes added on top.  This band reminds me of The Church (who had put outa couple of albums by now).

Singer Gary Newby has a nice crooning voice and the chorus is quite catchy.  The instrumental break allows the guitar to shine a bit with a meandering solo.  But the biggest surprise comes about 4 minutes in when there’s a drum solo of sorts–played on something like a metallic bongo.  After all of the short songs, this one pushes five minutes and is something of a surprise.

There’s some other good stuff on Reunion Wilderness, like “Gentle Sound” which I thought was a bit catchier.

[READ: January 30, 2021] “A Poor-Aunt Story”

In this story Murakami discusses a poor-aunt. I don’t know of this is a universal idea as I’ve never heard it before, although I do get where he’s coming from.

He says it was a beautiful day and he was out enjoying it when he suddenly had the idea of a poor aunt.  There wasn’t even a poor aunt around, the idea just came to him and it stuck.  He needed to write a story about a poor aunt.

He told his friend he wanted to write a poor aunt story.  She asked if he had a poor aunt.  He said no.  She said she did have a poor aunt bit didn’t want to write about her.

He admits that chances are “you don’t have a poor aunt relative, but you have seen one.”

Every wedding reception has a poor aunt.

No one bothers to introduce her.  No one talks to her.  No one asks her to give a speech.  She just sits at the table like an empty milk bottle.

When people look at the photo album they ask about her and the groom says she’s no one, just a poor aunt of mine.

He woke up the next day and a found that a poor aunt–a little one–was stuck to his back.

Nothing alerted him to her presence, he just felt it. She wasn’t heavy and didnt breathe across his shoulder. People had to look hard to see she was there.  But people did see her–she gives me the creeps, a friend said.  He said it felt like his mother was watching them.

The narrator was unable to see the poor aunt but other people cuid and they all saw her as something else–usually something unfortunate–a friend’s dog who had died.  Soon enough friends stopped calling him–they found it depressing.  But the media swooped in on him. He even made it on the show “Look What Else Is Out There.”  He tried to explain what had happened but the show tried to sensationalize him–looking for a horror story or a joke.

One of his friends said she wished it had been an umbrella stand on his back–that would be more pleasant to look at and more practical.  He could even have painted it different colors.

The poor aunt left him in autumn. He was on a train ride and watched as a mother tried to deal with her squabbling children.  The boy was teasing his sister–stealing her hat.  She was getting very upset and complaining to her mother.  The mother was trying to read and was getting angry at the daughter for bothering her. Finally the girl reached across the seat and slapped the boy’s face and took her hat, feeling very pleased with herself.

The mother was furious and made the girl sit in a different aisle–next to the narrator.  The child protested but the mother said “You’re not part of this family anymore.”  He wanted to say something to the girl, to cheer her up.  Like that she had done a good job, but he knew it would only confuse and frighten her so he said nothing.

Sometime during that interaction, the poor aunt left him.  He wasn’t aware of it, she was just gone.

This was one of Murakami’s first experiments with the short story form.  It was translated by Jay Rubin.

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