Posts Tagged ‘japan’

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Illustration by Max Currie

Beside Azuma’s train terminal and under a pedestrian bridge, Kent spotted a group of Iranians huddled near a telephone booth. At train stations all over Japan, the immigrants had fashioned a surrogate world. They assembled around minivans and kiosks, peddling cheap silver and gold, phony telephone cards, hashish, prescription pills hard to come by with Japan’s conservative national health program, and shabu. Kent fingered the bills in his jeans pocket, thinking about how far he could go if he spent a little more than he should. Walking past the group of Iranians, he looked for recognition from any one of them. He pretended to use a pay phone nearby and when finished with the charade nodded to a man who nodded back but didn’t speak. He was tall and wiry, his black hair shaggy over his weathered face. He fidgeted beneath an oversized black silk shirt in gold damask. A gold medallion in the shape of a dollar sign on a thick, braided chain hung from his neck. Following a practiced assessment of the white gaijin, the Iranian smiled and held out his hand. With the handshake, he and Kent were old friends, the imminent exchange understood.

The Iranian patted Kent on the back and spoke in English. “Hello, my friend. How are you? I am Oscar.” A light wind seemed to circle him in the shade of the station, his shirt rippling like a sail.

Kent stood sweating in the humid air, reduced to squinting in the dark corner. “Nani ga arimasu ka?” He didn’t care what Oscar had, only what he wanted.

Oscar switched to Japanese. “Nihongo wakaru?” Thus began a dance of efficient nods and gestures that signaled Kent’s purpose and the beginning of a buy. It was a choreographed routine, other Iranian men nearby appearing then vanishing inside a minivan. The terminus speakers broadcast a waltz as if in time to their movement. Within seconds, Kent had lost sight of all but Oscar as the others vanished.

Oscar pulled Kent by his arm into the shade of the stairwell. “Do I know you? You have been here before?”

“No.” Even in the shadow of Azuma’s train station under the cloud of a drug deal, Kent felt a tingle of satisfaction at being recognized. He nearly swept his glasses from his face.

Oscar took his hand again, squeezing it for another five seconds, as if searching for credibility. “I think I do know you, but it’s okay. Maybe I don’t. So, you want something from Oscar?”

“Yes, I want something from Oscar. Whatever you got.”

Like a magician pulling a quarter from mid-air, Oscar opened his hand, a matchbook-sized plastic baggie in his palm. “Is this what you want?”

“That’s a start,” Kent said.

“What are we talking about?”

“About five times that. And some hash. Whatever you got.”

“Come back at six. I’ll meet you at Uncle Bob’s Burger House. You know, up the street?”

“I can find it. Can you give me what you got now?”

“Take it all, friend. I can take off work early and go see my girlfriend. She’s always complaining I don’t spend enough time with her.”

In a telephone booth, Oscar left two grams of shabu, a gram of hash, and an assortment of painkillers, their identities for Kent to sort out. Kent replaced it with ¥15,000 inside the pages of the telephone book after pretending to make another call. Oscar’s compatriots reappeared from the shadows, huddling and nodding to Kent. The sweet smell of cheap cologne found in most public onsens lingered around the telephone booths and over the sidewalk, clouds of it under the stairs. As Kent turned to leave, Oscar smiled, his mouth growing wider until Kent thought it would stretch to his ears, and waved him off as if they were old friends.

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Illustration by Max Currie

After an hour down a narrow, winding road, Kent was back in the center of town. The morning was damp and cold, and the umbrella did little to protect him from the rain. His clothes were soaked, his shoes sopped, and water ran from his wet hair inside his shirt. His glasses fogged over and he feared the sad umbrella would lose its battle with the wind. Rivers rushed by him in the gutters, so many streams of water and debris that he gave up avoiding them.

The sky grew brighter as Kent followed a river tributary through a small park. Old men and women in polyester athletic suits shuffled along a tarmac path; dogs trailed on leashes. He was eager to get back to the hotel and clean up, look presentable for whoever he was supposed to meet, especially if the documentary crew was with them. Then there he was: Ozman, weathered and torn on the side of an abandoned building in an old poster advertising Airship Japan. Kent stopped and bent, his hands on his knees as he struggled to breathe. That face through a fish-eye lens, trademark mohawk rising in the sky like a shark fin, his eyes bugged, his mouth in a scream, his pierced tongue lapped over his bottom lip. A short samurai sword—a chisa katana used in ritual suicide—ran in one ear and out the other.

Bullet

Ben Spivey, author of the recently released BLACK GOD (Blue Square Press, Nov 2012), tagged me in the ongoing “The Next Big Thing” interview series where authors answer a series of ten questions about their upcoming books and then tag other authors to do the same. Thanks, Ben…

 Baby Youre a Rich Man Cover Front_final

1) What is the title of your latest book?

The novel BABY, YOU’RE A RICH MANdue Spring 2013.

2) Where did the idea come from for the book?

The idea for the book came from a short story I wrote called “Big in Japan” (Thuglit), which serves as the backstory for the novel. The idea for my protagonist Kent Richman, John Lennon look-a-like and B-level variety star on Japanese TV, came from watching Japanese TV when I lived there in the ‘90s. At that time, there were several foreigners who were popular on a number of variety shows.  Because guys like this spoke fluent Japanese and understood the culture inside/out, they were well-integrated into popular culture. I liked the idea of setting a story in Japan without resorting to the familiar “stranger in a strange land” scenario.

3) What genre does your book fall under?

Maybe contemporary satire via a noir-ish/Tarantino lens?

4) What actors would you choose to play the part of your characters in a movie rendition?

The protagonist has to look somewhat like a young John Lennon and be pretty skinny. Maybe Joseph Gordon-Levitt could pull it off. Or Christian Bale, if he could pass for twenty-something. Sean Lennon?

5) What is the one-sentence synopsis of your book?

Man has it all; man loses it all; man wants it back.

6) Who published your book?

C&R Press.

7) How long did it take you to write the first draft of the manuscript?

The first draft, and a much longer version with an entire sub-plot since excised from the novel, took about a year. Revisions took another year.

8) What other books would you compare this story to within your genre?

When I first started writing the book, I had read a lot of Haruki Murakami and loved that first-person narrative. It turned out to be neither in the first-person nor anything like his books, which is good. Books that might fall under the same category/style: Kingsley Amis’ Lucky Jim; Sam Lipsyte’s The Ask; Michael Chabon’s Wonder Boys, with a dash of William Gibson and Chuck Palahniuk.

9) Who or what inspired you to write this book?

In part, I felt a need to write a book about Japan because my time there meant so much to me. But I also wanted to do so in a way that wasn’t about Japan, i.e., I didn’t want to write about how weird or different Japanese culture might be perceived through a Western eye (stranger in a strange land), which has been done to death and feels more like travel essay. I felt the setting suited my protagonist’s story and went from there.

Also, many of my favorite stories revolve around man vs. himself, and I wanted to work from that premise.

10) What else about the book might pique the reader’s interest?

The book is also illustrated with black and white ink drawings from Max Currie, a friend and fantastic illustrator.

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Many were colored (see below) but are too expensive to print for a small press. I always thought the book should be illustrated because of the exaggerated nature of some parts of the story and the characters, like a good comic book. Kent’s life and Max’s illustrations mirror some of the gekiga (dramatic pictures) style of Japanese comics from masters like Yoshihiro Tatsumi whose underground comics reflected a darker reality and introduced the graphic novel format. And I like the way the illustrations reflect the combination of  grim realism and the absurdly comic in Kent’s story. Midway through the book, Kent even stumbles across a DIY comic book that someone has done, illustrating his post-celebrity life, which, of course, freaks him out. And there are also direct connections made in the book to the manga industry and the practice of cosplay (dressing up like comic book or anime characters), which is popular in Japan.

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Finally, I think the book is funny, not ha-ha but subtly so. Kent Richman is one of those characters who straddles the line between sympathetic fuck-up and douchebag. My favorite kind, the ones who are learning how to live in the world. Kent means well, most of the time, but fails a lot. I’m hopeful the reader can see through the douchebaggery to the human.

You can pre-order BABY, YOU’RE A RICH MAN from the C&R Press site.

In the spirit of the series, I’m going to pass the mantle to Gabe Durham, author of the forthcoming FUN CAMP, from Mudluscious Press. He should be posting his own answers to the questions above soon. On to you, Gabe…