Volume 13 | Issue 11 | Number 4 | Article ID 4298 | Mar 16, 2015 The Asia-Pacific Journal | Japan Focus Horses, Horses, In the Innocence of Light 古川日出男『馬たちよ、 それでも光は無垢で』より抜粋 Furukawa Hideo Translated with an introduction by Doug Slaymaker Introduction Furukawa Hideo's novel-length Umatachi yo, sore demo hikari wa muku de (Horses, Horses, In the Innocence of Light) is compelling and important for all the reasons that it can be exasperating and demanding. It is driven by the triple disasters of 3.11-the earthquake, tsunami, and then nuclear meltdown in northeast Japan, of March 11, 2011.Horses, Horses first appeared in the journal Shinchō in July 2011 and in book form shortly thereafter; it captures the shock and disorientation of that time. It is many things, but it is primarily a 3.11 document. It is hard to overstate the effect of 3.11 in Japanese society; its resonances to 9/11 are multilayered: it is a Japanese disaster and also a world event; many, many things are now measured as "before" or "after;" it is a semiotic event comprised of endless, horrific, film loops and digital images. In that context,Horses, Horses has become one of the most important touchstones for the disasters: raw, sometimes confused, multilayered, overwhelmed and overwhelming, forceful, personal; just like, that is, the disasters and the responses of those caught up by it. It captures the sense that all the important things of a day before-all the Furukawa Hideo major novels to be written, for example-were suddenly meaningless, ephemeral, and, somehow, devoid of life. And each aftershock is Horses, Horses does not fit neat genre a reminder; as this narrator relates, with each categories. Furukawa's farming family was in new jolt manuscript pages are destined for the Fukushima prefecture when the disasters trash. struck, but he was not; on March 11, Furukawa, who is based in Tokyo, was in Kyoto gathering materials for a novel. So, this is not the tale of a Tohoku native who watched friends and neighbors, buildings and everything 1 13 | 11 | 4 APJ | JF else, washed out to sea only to then be haunted to March 2011, but it was clearly still much on by real, but invisible, radiation. There are many the mind of the author Furukawa. So insistent of those. Rather, one of the important strains of is it that the brothers of Holy Family appear as this work is its recounting of the other common characters in Horses, Horses, they show up in experience of contemporary Japan: living the the back seat of Furukawa's car as he makes surreal experience of unending imageshis way north from Tokyo to Fukushima (in but unfolding across innumerable screens; feeling one example of its narrative complexity). The part of scenes that should not be: ships on brothers' story simultaneously traces contours roads, boats on schools, waves surging through of Japan's Northeast, of Tohoku, both in rice fields. An early image of the novelHorses, Horses and in Holy Family. This is one replicates this: eyes that should close but way that the atmosphere of Horses, Horses is cannot, will not. The work is haunted by guilt thick with multiple voices and challenging and paralysis; it is driven by a real-time record perspectives. The work owes much to magical of wading through to action and sensibility. realism in its conflation of temporalities and voices, of time and space. It also reflects the Horses, Horses recounts the shock of the fierce history of a rugged region in the shadow disasters, made the more distressing to the of the national, urban, controlling capital of Furukawa narrator who was not "at home" Tokyo. These are among the ways that readers when they struck and therefore feels more are led to think of William Faulkner or keenly the tenuousness of communication and Nakagami Kenji. The brothers' story of disaster connections. Some calls got through and some and mayhem, which overlaps with violent did not; more to the point of the commonality of histories of the region, weaves depth into the the experience, he also found himself unable to experience of the 3.11 disasters and their stop watching the scenes playing across the relationship to this area. screens. Still more, there was again, the compulsion from outside, beckoning and Horses, Horses is also driven by the bloody demanding, that he "go there." This unspecified tales the region has to tell of non-human actors, voice is consistent throughout: "go," "see," as the title leads us to expect. Horses, "write." especially, but dogs, cows, and birds, like Furukawa's family, like the brothers ofHoly But the path leading to "there" is oblique, Family, are all disrupted, all share histories and multidimensional, multivocal. Horses, Horses parallel stories, all have been pushed under or opens, for example, in media res of another cut out. We encounter many of these in the novel; this marks only the first instance where opening scene: humans, the narrator, the Furukawa's major novel,Seikazoku (Holy presence of extraterrestrials, the brothers from Family), muscles its way into the narrative. The Holy Family novel, the sense of place That is, while Horses, Horses is a record of the signified by Tohoku. Likewise, at the outset we disasters, it is other things as well. It is at times encounter the concern for dates and calendars, memoir, at times fiction, at times non-fiction for ancient tales, for alternate tellings; concern, essay. Holy Family, the other novel (as it is that is, for ownership of one's own history and often referred to), is a sprawling work that narrative. traces the convoluted story line of two brothers as they move around the Tohoku region, the The fact that all of the electric output from the same region, that is, of Furukawa's family Fukushima Nuclear plant was destined for lineage and the 3.11 disasters, the "'North' plus Tokyo, indeed, that the power plant is 'East' [that] adds up to Tohoku," (p. 2).Holy administered not by any local entity but by Family was completed and in print years prior Tokyo Electric Power Company, which is to say, 2 13 | 11 | 4 APJ | JF that the irrevocable changes that reach into suggests no other possibility. every aspect of living beings are solely by and for Tokyo, becomes a touchstone rooting the "Strawberry Fields": the name of an orphanage entire work. It drives the sense of injustice, it that really existed there in Liverpool, the drives the ferreting out of stories; those stories harbor town that looks out on the Irish Sea. An then congeal to formHorses, Horses. For orphans' song. A song of the orphans maybe, example, not just the histories of humans, but certainly for the orphans. the histories of horses: horses are historical actors here; horses are constituent of the place An open atlas brought the scene to mind. The names of this affected region; horses are scene calls up many related emotions. Not a evacuated following the disasters; horses are map of England. It had nothing to do with traumatized; horses are in temporary shelters. England, or even Europe, nor North America. It As are humans. The Furukawa narrator's travel is a 1:140,000 scale map of a place labeled unearths the history of horses in community, "Nihonmatsu." The city of Nihonmatsu occupies and of horses being slaughtered at the whims the center. But I wasn't looking at the center of of central governmental powers across the the map but up to the north and east. In the centuries. Again, of course, just like humans. upper right hand corner of the open page, The disasters of 3.11, and the Furukawa along route 114, you can find the "UFO narrator's traveling through the region in the Friendship Center." Everyone who lives there aftermath, become the stimulus for those calls route 114 the "Tomioka Highway." There narratives. This adds an entirely different is a "UFO road" close to the UFO Friendship narrative line to the tale; it is another of the Center complete with statues of ways that this is much more than a 3.11 extraterrestrials, according to the explanation narrative; it is this complexity and richness that in red letters. I read the whole thing. My eyes make it more than a 3.11 document. DS stopped there and I read place name, explanation, all of it. That's what called up the *** scene. The scene of the two brothers. Right then, seemed like the most natural thing in the An older brother questions his younger brother. world, I knew I had to go there. The next He wants to know, instant, I rejected such a decision. What was I --What if there were this extraterrestrial, and hoping for? What I hoped for in that instant the extraterrestrial is riding in a UFO, and this was for the statues of the extraterrestrials to be UFO were outfitted with a stereo system; what toppled, to be crushed, reduced to shards kind of music would you have thescattered and broken across the landscape. extraterrestrial play? Flying through the air, Wanted them pulverized rather than not there, what would you want him to listen to? pulverized. I closed the atlas. Not a question the younger brother can The book closed with a sharp slap. answer, so he asks something else. Closed with a softer rustle like the flapping of a --What if there were this extraterrestrial, and great bird's wings. they are in their UFO, and you could pick just one Beatles song for them to listen to, what I didn't even make sure: the UFO Friendship would you pick? Center might be within the Fukushima city limits, or maybe it was Kawamata City, or Younger brother answers immediately:maybe some other city.