Revolution Now

James was a short, fat and balding man who had long considered himself the most mediocre person alive. He repeated this fact to himself as he handed his resignation letter to Steve, his manager, whom he found clattering away on his computer. James stood still for a few moments, looking at the letter for the pathetic little signature of his that he hadn’t bothered to change since high school: a little scrawl that vaguely started with a J and ended with a short curl for an S, with an interlude of weird scrawny loops that were meant to be shitty cursive for “a-m-e”. James thought that his signature was weak and unimpressive. It was.

“Sorry, Steve,” he mumbled. Steve’s eyes briefly flitted from his screen to James’ face, barely registering his being in the room. Apparently an email took precedence over James, because Steve continued to whack away at what seemed like a very important and angry message. But James wasn’t surprised. He was used to people ignoring him. He pushed the letter on the table ever so slightly forward – whereupon he noticed it lay uncomfortably white against the dark polished wood of his manager’s table, as if its very existence offended the natural order of things.

Steve noticed the slight movement. This was unusual; never, in his seven years of handling James’ incompetence, had James re-asserted himself – to him, at least.

“What?” Steve demanded. His fingers danced across the keyboard with a fiery passion.

“I…” James hesitated. He didn’t know how to put this. The room was filled with the staccato patter of aggressive office politics taking place. “I’m resigning,” he said at last.

Without turning his head away from the screen, Steve asked, “And what in the hell for?” He secretly burst into a jolt of elation. He knew that this day would come. The company did not support his decision to terminate James’ contract on account of him being one of its longer serving employees, but since James had remained a senior executive for seven whole years, Steve could see this resignation letter coming faster than all those goddamned foreigners coming into the country. The past seven years saw James attend training session after training session, with no noticeable improvement in performance whatsoever. A waste of time and money, Steve repeated to himself as he had done ever since he clapped eyes on James.

Coincidentally, James was repeating something in his head, too. Your life is a mediocre one, he thought. Whatever you do here, it won’t make a difference. You’re the most mediocre of the mediocre. Your mediocrity is outstanding, and that’s why you have to leave. That’s why you have to do it.

“I’m leaving to do politics.”

The typing stopped. The sentence hung in the air, above the humming of a faraway printer. James was suddenly aware of a single cold bead of sweat trickling down his back. He traced its passage down, past the shoulder blades, past the spinal column and into his butt crack –

“WHA–!” Steve shouted, but he couldn’t shout much more because his mouth was busy with laughter, sharp peals of manic laughter that shook his entire being. He doubled over, convulsed, desperately clutching his armrest in an attempt to breathe through the uncontrollable contraction of his lungs, expelling air out as soon as he got it. James stood there and took it in. He took in the accusing daggers of humiliation and doubt like any politician would, and then proceeded to calmly lie like any good politician would.

“I’m going to stand for election in the next cycle – will you be my first voter?” He was surprised at how confident he sounded.

This only served to renew Steve’s laughter, which was now bordering on levels of medical concern. James swept his eyes over his manager’s room: the luxurious leather sofa chairs in the corner, the shiny plaques displaying Steve’s second lower honours degrees and the dull silver name plate that was knocked over in his mania. James briefly thought of his own small, cramped cubicle, and slowly made his way back to his seat. Steve’s laughter didn’t seem to subside as he left the room. He sighed and looked at the seventy-one unread emails in his inbox, and then at the window outside. It was such a nice day. It would’ve been nice to be outside. Steve still did not stop laughing.

 

*

 

That was all a month ago. James now found himself in a room called “COURTESY”; this was emblazoned in huge, sparkling golden letters on the door, an ostentatious effort to remind staff of the company’s core values. James thought that he had never come across anyone, not in his seven years of service to the company, who was courteous to him. The white plastic chairs and tables reeked of corporate, and he was vaguely reminded of the antiseptic in hospitals.

A woman walked into the room holding a sheaf of papers. “James?” she asked. He gave a small nod of his head.

She sat down opposite him and picked out a sheet of paper with his picture: unsmiling, bespectacled, ugly and just as fat as he was – albeit with more hair. A big, black “EXIT FORM” was ominously placed on top of the page, then his eyes moved down to the first question: Why are you leaving the company?

“Just fill up this page and the one behind,” said the HR lady with clinical coldness. James looked at her and frowned.

“A bit ironic, isn’t it?” he said, shifting his gaze to the letters on the door behind her.

“What?” she replied. But James was already looking down at his exit form, considering which of the options would best fit politics. I found a new job? Then again he hadn’t actually done anything yet, and neither did he know how he was going to actually join politics. When he spontaneously came up with the idea to quit his job a month ago, his idea of politics was writing political posts on his blog and aggressively promoting them on social media, criticising the government for its lousy economic strategy and poor approach to social issues. He found that none of the parties in his country suited his views, and he had no idea how to create one. The most daring thing he had done, which probably counted as one of the prouder moments in his life, was to call the prime minister “a barking piece of shit” on one of the PM’s Facebook posts. It was then promptly removed and he received a stern warning from the site. Naturally, he ranted about the entire fiasco on his blog.

He decided on “Others” and wrote down “Joining politics to better my country.” He could feel the stare of the HR woman reading his untidy schoolboy scrawl, and he thought he heard the silent judgement in her head. He completed the other questions with relative ease and was about to sign away his job and livelihood. There was a polite, deliberate pause. Steve was partly correct in that he wasn’t really progressing – but that wasn’t the crux of the problem. The government was somehow responsible for his job progression and it was up to him to affect change by entering politics. He had been mediocre for far too long. He was, for once in his life, determined to change that. He was flooded with Cs during his time in school, and he didn’t see how all the As could be overrepresented in government all of the time. It was, then, a call to arms against the elite: taking away his two years, taking away his right to freedom of speech, of the press and – what? He didn’t actually know what else. He only listed all these things because the websites told him that he was missing these things. They had explained it to him, but he wasn’t entirely sure what they really meant. He understood, though, that gay rights were a huge rallying point for everything. If anything went wrong, gay rights would be the answer. Trouble from supporters of the incumbent government? Gay rights. Conscription? Gay rights. Unreasonable retirement plans? Gay rights.

Before he knew it, he was looking again at his familiar scrawny signature on the dotted line. The woman took away the form and introduced another sheet of paper. “Sign here, too.”

It was just a declaration that he wouldn’t share the company’s secrets with the rest of the world. This time, he didn’t want to use his old signature – he cursed himself for unconsciously signing that pathetic signature of his. He placed the pen high, guided it down in one magnificent swoop to finish off a “J”, eating into the text of the document, as all good signatures do.

“We need your signatures to be the same, James,” the woman said.

James looked up. Clearly, she didn’t appreciate his internal metamorphosis after technically completing the exit process a few seconds ago.

“This is my new signature.”

She looked at him strangely as if she was talking to a small, difficult child.

“No, James – we need them to be the same. It doesn’t matter if this one’s new or not.”

He briefly considered his position. If he was going to enter politics, he had to be firm. All this behaviour of allowing things to just happen was not going to work.

“Well, okay then – you’ve got me in a very tight situation here. Here is my compromise –” He took the pen and scrawled in “a-m-e-s” in the way he had done before, satisfied that he successfully brokered his first deal.

The lady, at last relieved of such a burden, stood up and walked out of the HR department. As she scanned out with a card, he noticed that it was the pass that he had just surrendered to her; the parting shot with his company was that of his dull, dazed face on his first day of work, uncertain about what the company had in store for him. He knew now that it had done exactly nothing for him.

 

*

 

Once, in the days after he had handed the letter to Steve, he overheard a conversation between two old men on his way home in the evening. They were sitting in front of a broken lift that normally serviced a block of public housing apartments, obviously very annoyed that they’d have to use the stairs that night.

“I tell you, this government don’t fuck care the people one. See? This sort of thing so simple still don’t know how to do.” A man with a large mole on his chin sat with one leg on his seat, slapping his knee as he spoke.

“All they know is bring in the stupid bangla, bring in so many still take so long to fix,” the other man responded, vehemently nodding his head in absolute agreement. “They promise us lift for pioneer – but the lift at where? Fucking sitting down here doing nothing.”

“Sorry – uncle? I couldn’t help but overhear your conversation about this lift,” James said as he approached the two old men. Before the letter he wouldn’t have bothered about two disgusting old men at the void deck – but somehow, the letter was a source of inspiration: by himself, for himself.

The one with the mole looked him up and down carefully. “You who? MP?”

James was quite flattered by what he took to be a compliment, because he didn’t see how someone could mistake him to be a member of parliament when his shirt sleeves were rolled up carelessly to the elbow, complete with rings of dried sweat around the armpits: the making of a true salaryman on his way back home from work.

“No, I’m not an MP, but I will soon be representing your voice in politics.” He figured that he should start making his existence known as quickly as possible, seeing as he had seventy per cent of voters to convince. Something in the old men’s desperate swearing told him that they needed some change in their lives.

“Not MP, not bangla, talk to us for fuck? Like you can fix the spoiled lift?” Mole dismissed him with a fold of his arms.

James really didn’t know what to say. He couldn’t repair lifts, and neither did he have direct political influence on his own constituency. He couldn’t really do anything. He was mediocre.

But –

“But what about gay people?” he said with an air of deadpan seriousness. He thought that he had them now – he silently muttered praise and thanks to the website he had visited that morning. “Don’t you know that gay people need to have rights too…” his voice trailed off.

Something was wrong. The expressions of the two old men changed dramatically. Both of them carved a huge, disgruntled furrow in their brows and their mouths began to twitch uncontrollably. Mole unsteadily got to his feet, clenching his wrinkled fists as he strode towards James.

“You think you big fuck?” Mole pointed a dirty, yellowish finger at him, which was trembling in rage. “We don’t fuck care what gay people nonsense shit! You think if gay people can fuck each other, this lift will be fix?” Spittle was flying freely from Mole’s mouth.

Now James didn’t know what to do. Two sources of truth – the Internet and the situation unfolding before his eyes – were contradicting each other. Didn’t everyone care about the LGBT community? About the environment? About relentless immigration? Then why were these men so angered by a lift?

He looked at the lift again to see if he could weasel his way out of this one. But he could only see four unhelpful sentences, two of which he couldn’t even understand, all of them shouting at him, shouting, screaming, telling him to get the hell out of there, DANGER – KEEP OUT, the red paint burning into his corneas and making him painfully aware of his own ineptitude to solve anything at all. He decided to take their advice and started to move away from the scene, but the orange netting caught his fat, stubby body and he came crashing down, down to the ground, smashing his spectacles instantly. He barely made sense of the sharp roar of laughter nearby and got up as quickly as his heavy body would allow him to, picking up the shattered remains of both his lenses and what little pride he had.

He started running. He felt his body being overworked, and in that myopic blurriness, he thought he saw two grotesque and distorted human forms chase after him in mirthful wrath. Or perhaps they didn’t and just continued laughing from where they were.

 

*

 

His mind stubbornly insisted on replaying this memory as he passed by the same place on his way back from the HR office. Fortunately, there were no old men in front of the lift this time. It seemed like it had been fixed at last.

He noticed, however, that there were an unusually large number of pigeons. They were hooting about, stupidly knocking into each other in excitement over the food left in front of the big burning canisters reserved for the Chinese folks who still believed in hell money and hungry ghosts. That was it: it was the first day of the seventh Lunar month. The smoke from the burning hell notes made his eyes water, and he saw things clearly for the first time. There were hungry ghosts. They existed. There they were, fat, plump and grey like him, nibbling at the pathetic little orange cakes and flaky rice. As he saw them fighting amongst themselves for morsels of stale food, he smiled at it all. It was all there: the fire, the ghosts, the offering.

He breathed in the incense deeply. He finally knew what he had to do.

 

*

 

“What do you mean you don’t sell it any more?”

“I’m sorry, sir it’s just – I’ve never seen one in here before,” the pimple-faced teenager said. “I don’t know what you’re referring to.”

“How can you – let me speak to your manager,” James insisted. “Now.”

The teenager behind the counter visibly broke out into a thin sheen of sweat. His nametag pathetically read “TRAINEE” in big, block letters, accompanied by a large badge that said, “I’m New But I’m Trying!” It wasn’t his incompetence that ticked James off. Rather, it was the overall air of apathy and entitlement that was supposed to come with Trainee’s generation. James wasn’t really sure if Trainee himself was apathetic and entitled, but it was always better to assume than give the benefit of the doubt. By the looks of it, James thought, it didn’t seem like he was very engaged with bettering the prospects of this country – he didn’t even know what was in his own store.

The manager came out from the back of the tiny office a minute later. He was probably around five years younger than James.

“Sir, I’m sorry, but that item hasn’t been in stock for a few years already. I don’t know why, but maybe for public safety. You know, with all those terrorists nowadays?” Although what the manager said would have sounded ingratiating had he adopted a different tone, it sounded as if he was tired of life. He looked like he was tired of everything the world had thrown at him, even James’ wretched appearance in his store.

James actually did know what the manager was talking about. He wouldn’t have considered what he was going to do a terror act, however. It was all for the betterment of the country. “Do you even know what I’m going to do?” James retorted. “It’s not going to be some cheesy attack on somebody. It’s a sacrifice for the future of this country! You may not know what I’m talking about now, but just watch out. You’ll see,” he finished. He swivelled around and left the petrol kiosk’s minimart, walking onto the street. He didn’t even have a car. Both Trainee and his manager were staring at his receding figure, not entirely sure how to make out what they had just seen and heard.

“Siao already, this one,” the manager said.

 

*

 

“How I’m Going To Fix My Country’s Problems Tomorrow:

Tomorrow we’re gonna see radical and irreversible change in this country. Far too long have the elites oppressed us and taken away our rights. Chinese privilege and president elections all are a part of a larger conspiracy which are out to destroy the values we hold dear to us. We must keep these values close to our hearts and believe that they will beat the other values that we do not advocate.

Tomorrow I will do something to change everything. Nobody else has done anything so I will do it. Watch out for the headlines. Let’s make this country great again”

James updated his blog without re-reading the post. He let out an exhausted sigh as he closed the lid of his old laptop. It was half an hour to midnight. Only a bluish light from the small television silently showing a Korean drama lit his messy room. He watched the actress plead, miserably, to her character’s mother – it occurred to him how strange it was for the lips to move and for the eyes to well up in tears. The surreal mock sadness was somewhat funny in its muteness. The painted face morphed suddenly and grotesquely; the artificially red mouth shifted and moved, desperately trying to keep up with the outburst of emotions from its owner; the cheeks, the jowls, folded and unfolded, sometimes both at the same time, contradicting, flailing –

He switched the screen off. Radical and irreversible change. Won’t anybody notice that it’s a blatant copy from that website? God, I hope they do. Then they’d know what I believe in, James thought. Since his childhood no one really understood him nor cared for him, not even his aging mother who had died in that very room of a heart attack two years ago. His father had left him when he was still an infant and his mother cared more about the lottery than his well-being. They were never married. When the casino opened a few years ago, he had already effectively lost his mother – she came back only for more money, and eventually, to die.

His eyes wandered to the red jerry can on his desk. Tomorrow, that will be the catalyst for change in this country – that will be the reason why I will finally leave a mark on this world, he thought. He had purchased it online with the last bit money in his savings account after the petrol kiosk denied him a revolution.

He threw himself onto the bed and closed his eyes. In the grey, dreary darkness of the night, he groped helplessly for sleep’s salvation. It was far too fluid, too slimy and quick – just when it seemed within his reach, it slithered away, hissing at him. All of a sudden he was in a pitch-black hallway with no doors or windows. It was at the end of the passage. He started to run, but the hallway expanded endlessly before him. He ran and ran and ran, chasing after something that was shapeless, intangible – all he knew was that he had to catch up, to somehow have it writhing in his bare hands, struggling, but in his grasp.

His eyes flung open – he could not sleep. It was decided: he would leave at once.

He took the jerry can and the lighter sitting on his table and got ready to leave. Just then his digital alarm clock beeped: it was twelve midnight. As he pulled the door open, he realised that he was summoned – summoned, by that little beep, to a greater, newer heaven, one that he would forge single-handedly.

It never occurred to him that it could have been a call to hell.

 

*

 

The journey from his place in the west to the city centre was a straightforward, albeit long, one. After considering all his options, there had been no choice but to walk to the place: he did not have any more money to take a cab, and neither would it be possible to board a train or a bus with what he was going to do.

He managed to arrive in town just as the sun was rising. The light of the new day was eclipsed by that giant red structure at the fork – layers upon layers of people, all in stacked rings, were suddenly smiling at him. Some were even dancing, running, in nauseous dizziness; some were coloured in the wrong colours in various shades of disgusting green and blue. The colours clashed in his eyes, the violent red and the exploding greens, pinks, yellows, blues, all of them forcing themselves into his field of vision – he tried to look away, but he could only follow the spiral, up and up and up as each layer viciously stepped on the heads of the ones below them. They seemed to be fully content with everything as long as they were crushing somebody else – blood, red, thick and hot, flowed from the crowns of their heads and dripped freely down to the scum beneath. And then he saw the man at the top, triumphant, above all of the filthy beings below him. The man, holding out a spiral of red, a vertiginous abyss, started to laugh, and all of the people exploded simultaneously into a cacophony of laughter, jeering, booing at James, whereupon he crumpled into a pathetic heap onto the ground.

He did not know how long he remained there. He could tell that there were some people who stopped and tried to speak to him. When he opened his eyes a small crowd had gathered around him. The morning rush hour was in full swing. He had to complete what he had set out to do. He stood up, ignored the concerned looks of the faceless people around him and picked up his things. He started running, his mind set on one thing only.

Breathless, he stood in the centre of the square in front of the train interchange. He watched the stupid and irritating office people come and go as he opened the jerry can. The sharp pang of petrol momentarily stung his nose. Then the liquid was all over him; he smothered every inch of his skin with the one thing that would redeem him from mediocrity in his life. He embodied the smell. By this time the crowd had caught up with him, and after the incident they would describe him to be “wild… as if he were dancing to save his life.” In reality he was dancing to be saved from life.

James brandished the lighter from his pant pocket, which drew several gasps from the crowd. There was a moment of silence. James looked hard at the cheap, green plastic and his roughened thumb over the metal. It clicked.

At once his body was in flames. Evil, sinful tongues of fire licked his body dry of the foul liquid – his skin peeled back horrifically and his tender flesh was eaten alive. He allowed the flames to consume him and was very quickly numb to whatever was happening to him. As he lost consciousness he looked to the sky and cried out – but there were only unintelligible rasps and stutters.

The immediate response was swift. He was declared dead within an hour. Newspapers plastered his name all over the headlines. Opinions flew across all sides of the political spectrum. Was he a terrorist? A martyr? A revolutionary? The country was abuzz with theories, rumours and conspiracies – people couldn’t stop talking about him. At one point the government even put out a public statement, after which citizens calmed down and stopped discussing. His name survived only on the boards of alternative fringe theory forums.

In time everybody forgot about him.

Apologies, Bottled Emotions and Christianity: At Least We Can Apologise by Lee Ki-ho

Apologize-Korean.jpg

At Least We Can Apologise by Lee Ki-ho. (Source: www.londonkoreanlinks.net)

I made it a New Year’s Resolution to expose myself to more literature from other countries this year. As I was going through the countries in my head, I mentally ticked off the writers I’d already read: United States, United Kingdom, Russia, China, Japan… wait, just to the west of Japan is Korea. Why haven’t I read any writing from any Koreans at all? The worrier in me panicked: I’ll be starting a B.A. in Comparative Literature this September, and will an undergraduate of comparative literature say that he or she has not read a literary work in Korean before? Of course not!

But then again, why is it that Korean literature has relatively little influence in the international field? Taking into account that it (at least the Southern one) has huge cultural exports in other areas such as Korean pop music and soap operas, it surprisingly does not come to mind when people mention ‘world literature’. Perhaps it is because Korea only started to aggressively promote its culture in recent years – I remember only having first caught wind of the K-pop craze in 2008, a mere nine years ago. Understandably, literature isn’t the first thing people look for when they get introduced to a new culture. This was bad news for me – I didn’t even know where to start with Korean literature. Who are the principal writers? Did I need to know about associated cultures and philosophies to understand Korean works?

Fortunately, the Dalkey Archive Press, together with the Literature Translation Institute of Korea, sought to address this problem; they have published 25 Korean novels and short stories into English. I was particularly taken by the premise of “At Least We Can Apologise” by Lee Ki-ho, translated by Christopher J. Dykas: two men, Jin-man and Si-bong, have been released from a mysterious institution, but realise that they can do nothing but package socks and apologise on behalf of other people. The bulk of the novel focuses on how the two men attempt to commercialise the latter skill by selling their “apology services” to others, and in the muddled, institutionalised worldview the two hold, the narrative nearly convinces the reader into believing that such a thing is possible.

If you’ve been following the recent news headlines, I’m sure you’re at least aware of a few Koreans who have apologised over scandals: how Ms Park Geun-hye, the South Korean president, apologised against the backdrop of her alleged involvement with cults, collusion and how she peddled her presidential influence; how both Korean Air and Ms Cho Hyun-ah apologised after Ms Cho, then vice president of Korean Air, forced a plane to taxi back to the terminal because her macadamia nuts were served in a bag and not in a bowl. It is not a stretch to consider that saying sorry is an integral aspect of the Korean society.

Warning: Spoilers ahead

I approached the novel with this in mind, and I was rewarded with bursts of laughter amid starkly melancholic scenes. In his dark and biting satire, Lee takes the concept of an apology and distorts it to the extreme. The moment I started reading, I was reminded strongly of Kafka’s universe, where surreal things happen to hapless people, and where the hapless people do nothing but stoically accept every surreal thing that happens to them. Lee’s novel makes full use of that Kafkaesque quality to introduce us to the disconcertingly simple-minded Jin-man, who narrates the novel’s events. Jin-man is unable to recall how much time he has spent in the nameless institution, where his house is, or even what his father looks like. His companion, Si-bong, suggests that they can first go to his house:

I said nothing as I looked at the dirt road that led up to the highway. The crisscrossing tire tracks in the dirt looked like the metal grates on our windows at the institution.

Si-bong brushed off his pant legs and spoke. “So, you wanna just start by going to the house we know, first?”

I nodded silently. Only then did we slowly start walking. After walking for a while, Si-bong and I turned around for a moment to look back at the institution. With all the people gone from inside, the institution looked somehow in danger, as if it might come tumbling down at any moment. I felt queasy. The institution was the place where we had lived for a number of years, a place that had taught us so much. That was certainly something to be thankful for. Now, Si-bong and I were leaving that place.

Jin-man knows nothing outside the institution, and he realises that he cannot go back now that the police have raided and dismantled it. The only option he has is to follow the dirt road to the highway – traditionally, roads present new opportunities or places where characters can grow, develop or find new things. This concept was used ironically in Samuel Beckett’s “Waiting for Godot”, where Vladimir and Estragon stand by a road for the entire play, but never choose to take it – so nothing happens. Likewise, Lee has subverted our expectations for what a road could present to his characters. They take the road, but Jin-man can only see the “metal grates on our windows at the institution”; he doesn’t think about the future or what it may mean to him, and neither does he think about his newfound freedom. Instead, he harks back and considers the “home we knew” (the chapter’s title) as “a place that had taught us so much”. As Lee later shows, Jin-man and Si-bong essentially go nowhere with the road they have taken – they do not know how to do anything aside from the things they did at the institution: folding socks and apologising.

Jin-man’s view of the world upends all of the reader’s expectations. In the institution, he and Si-bong were beaten daily for wrongdoings they did not commit, and were even beaten on behalf of the other residents’ wrongs. Yet, as he leaves the institution, he is worried that it is “somehow in danger”; Jin-man and Si-bong could be seen as walking, living examples of irony. Most importantly, Lee lures us into their world: from their point of view, everything follows their own logic and can be simply explained right away using their line of thought.

On the verge of convincing their first ‘customer’ that he needs to be apologised to, Si-bong says:

“ ‘An apology means that you say you’re not going to do the same thing that you did before. That’s all there is. There’s nothing we can do about your feelings, sir.’ ”

Si-bong has reduced the apology to a mere action, which explains why the two view that it can be sold as a service in exchange for money. It is nothing more than, say, paying for a haircut or for a train ride. Furthermore, as Si-bong describes it, it holds no promise of remorse, guilt, or any feelings on the part of the apologiser – he doesn’t need to feel sorry, he just has to say that he is. Again, Lee distorts the reader’s preconceived notions of human nature, at once criticising society’s increasing lack of sincerity and calling to attention the idea that emotions are integral in human conflict.

In fact, Jin-man and Si-bong display a chilling lack of emotion throughout the novel, and the novel suggests that they actually suffer from a mental disability. On more than one occasion, Jin-man has been called “sick” and “not right” – his father places him in the institution because “he’s really not normal… He’s just not normal!” Lee could be commenting on the failure of society to comprehend and treat mentally disabled people with respect, and instead (in Lee’s extreme version of the world) send these people to be institutionalised by violence and abuse. Perhaps Lee could also be criticising the need to conform to normality, and that anyone who does not fit in is simply branded as “sick”.

However, there is one moment in the novel when Jin-man’s humanity shines through his flawed logic. Towards the end of the novel, Jin-man betrays Si-bong by making the decision to not surrender the institution superintendent’s diaries over to the caretakers of the institution, which contain evidence that two people committed suicide while staying at the institution. The caretakers made it clear that Si-bong will be buried alive at the institution if Jin-man does not return with the diaries and Si-bong’s sister, Si-yeon; Jin-man rationalises his decision by apologising to himself. Earlier in the novel, Si-bong tells him that if there were anything he needed to apologise to him for, Jin-man could simply accept on behalf Si-bong. Not only does Lee epitomise the flawed nature of their rationality in this statement, but he also emphasises how the two see themselves as one inseparable entity.

Therefore, understandably, Jin-man regrets his decision – betraying his one and only companion in a sea of broken and abusive characters, Jin-man finally shows some ability to feel as a “normal” human being, amidst his emotionally removed rationality. He doesn’t understand what he’s feeling, however:

“I didn’t know why it was that I was headed to the institution. Although I didn’t understand why, it seemed as though I had to go. It had been three days since I had seen Si-bong. I had committed a wrong against him, but I missed him very much. That was all.”

Jin-man acknowledges that there is something more that is driving him to return to the institution, but in just the space of a few thoughts, he deduces that he simply misses Si-bong’s companionship, firmly declaring “that was all” that there was to it. This incapacity to recognise his emotions is never fully revealed as being a result of his institutionalisation or if he was born that way; perhaps there is a larger nurture-nature debate going on.

In any case, when he returns to the spot in the institution where he left Si-bong, he breaks down, showing us his first and only display of outward emotion in the entire novel:

“The ground was firm, and there were no signs of Si-bong anywhere. I looked down at my feet for a long time, and then slowly picked up one of the shovels. I dug up one shovelful of earth. Then I put the shovel back down. Without realizing, my legs were trembling. Suddenly I became somewhat afraid. I didn’t know what it was I was afraid of, but tears began to pour down and I grabbed my legs, then my trembling wrists. I began to bawl loudly. My legs and wrists kept trembling. I turned around and ran back down the mountain. Even still, the tears did not easily stop.”

Lee places in his main character a final, redeeming quality, even though Jin-man may not know himself what he is crying for. Lee could perhaps be showing, through Jin-man’s uncontrollable grief, that humans ultimately cannot be wholly institutionalised and removed from their emotions and instincts. The language in the above passage may seem plain and simple, but Lee’s short sentences lend strength to the urgency of Jin-man’s tears, emphasising the idea that he still is human despite all that he has gone through. In running away from the scene where he last saw Si-bong, it is clear that Jin-nam is unable to process his feelings, and even feels “afraid” of his own behaviour. One could say that Lee is showing the outcome of being bottled up in a society where emotions have to be removed from apologies; that, since it is in human nature to feel and emote, it is dangerous and unhealthy to separate our emotions from our actions, to the point where one may not even be able to point to the cause of our passion or grief. Jin-man’s fleeing from the scene could suggest that he is trying to run away from his emotions. That, in my opinion, is the real tragedy of the novel: Jin-man has betrayed his friend, but he does not know why he feels sad.

On another note, the novel could also be seen as a comment on the Christian concept of confession and forgiveness. There are a number of Biblical allusions in the novel, and even a direct mentioning of Jesus’ name. Following complications of their final apology service, Jin-nam and Si-bong have to die because the woman being apologised to will only accept her husband’s death as the only apology. After much deliberation, Jin-nam and Si-bong discover that Si-yeon’s older gambling addict of a lover – known simply as ‘the man with the horn-rimmed glasses’ – has gambled all the money paid for the apology before the service was completed. In other words, Jin-nam and Si-bong deduce that the man with the horn-rimmed glasses must die on behalf of the husband since he had already spent the money that was meant for the apology.

They drag the drunken man with the horn-rimmed glasses to the woman’s residence, who falls over “three times” on the way. This could be an allusion to how Jesus fell three times carrying the cross to Golgotha, where he was to be crucified; similarly, the man with the horn-rimmed glasses is hung above the ground, somewhat paralleling Jesus’ crucifixion. Lee’s use of this Biblical allusion perverts and distorts the imagery of Jesus sacrificing himself to cleanse the world of its sins – in an ironic twist Kurt Vonnegut would be proud of, the man with the horn-rimmed glasses has no idea that he is walking to his own death. Whereas Christ died for a very noble cause, this man, a drunkard and gambler who lives off other people entirely, dies unnecessarily and unknowingly as a result of Jin-man’s and Si-bong’s fallacious line of reasoning. Lee’s brilliant use of Christian imagery strengthens the sheer ridiculousness and perverseness of the situation, and brings in a possible discussion of Christian reconciliation. Could someone really die for our wrongs? Perhaps having someone apologise on our behalf isn’t as foreign and alien as we’d thought it was – it is one of the core beliefs of a major world religion.

In the closing words of the novel, after Jin-man’s betrayal, he sneaks out of the hospital with Si-yeon, who was warded for an overdose on medication. There is a final, melancholic Christian image in the hospital’s cross:

“I continued walking. Si-yeon put her cheek against my back again without saying a word. I didn’t know the way home. Still, I didn’t stop and kept on walking. I looked back once and gazed at the neon blue cross of the hospital. I thought about how we’d gotten pretty far, but that still, the cross, from someplace high up, from someplace close, was still looking down at us.

Without saying anything, I turned my head back around.”

Jin-man exhibits some semblance of recognition that the cross may mean something more to him, but just like how he ultimately failed to assess his emotions, the meaning of the cross is just out of his grasp. Lee could be echoing the idea of how Jin-man and Si-bong have been apologising on behalf of others like Jesus did, but more crucially, Jin-man could be seeing Si-bong in the cross. Si-bong effectively died for Jin-man’s wrong against him, and this is unlike the ‘sacrifice’ the man with the horn-rimmed glasses made, who was just a convenient scapegoat (although their logic convinced them otherwise). The personification of the cross “looking down at” Jin-man and Si-yeon is the strongest indication that he sees something human in it. Among other things, the cross also signifies the dead: Si-bong, as we have seen in Jin-man’s emotional outburst, is the one who matters to him most. This last, parting image Lee gives his readers strongly recalls Ernest Hemingway’s writing style, and unlike Jin-man, we can definitely see that there is so much more in what the cross symbolises.

The novel is, overall, a surprisingly in-depth study into the human condition: the importance of emotions, the loss of a friend, and the concept of redemption. I started the novel expecting laugh-out-loud satire, but it turns out that melancholy is the overarching emotion in this narrative. There were many parts of the novel I did not cover, but in the few scenes I have chosen to look at, it is evident that the novel is chock full of humanity and pressing questions about human nature. Lee has done a fantastic job in weaving all this into a compelling and moving novel. As with all great novels, I felt a resonance with the book right after I’d put it down – it couldn’t possibly have ended already?

It looks like I’ll be making a return to Korean literature very soon!

The Girl

The girl on the metro was crying. She was pushed up against the doors of the carriage, hunched over and racked with sobs. She’d long given up trying to cry discreetly; so had the train carriage in pretending to not notice her. She was desperately trying to cover herself with her last tissue, hanging limp and pathetic in her hands, torn from all the tears and snot. The whites of the eyes around her flickered about rapidly, hazarding glances at her red, crumpled face.

No one knew why she started crying. No one knew what to do with her either. The inaction was compelling – yet no one did anything, which in turn led more people to do nothing at all. And so she was left there to cry on her own, an absurd anomaly in an otherwise perfectly good emotionless morning. It was almost as if the eyes were blaming her for ruining the grey indifference of the drab bubble in which they lived, where they preferred to remain completely undisturbed. They could have had a boring journey to work, dressed in their stiff, starched suits, and had a terrifically uneventful day – but now she had to go and ruin it with some unexplained crying. They hated how they were, in a way, forced to do something. They all just wished she would just go somewhere else to cry.

The train came to a stop. Some of them threw one last look at the shrivelled figure and left; a shuffle of high heels and black shoes; a slight jostle; moving; and all settled down. An old man was squeezed in next to her and didn’t seem to be surprised at her crying. In fact, he didn’t seem like someone who would be surprised by anything at all. The girl continued in her nameless grief, the passengers in their wordless silence.

The man had a pretty serious case of vitiligo going on: the bald dome of his head was crowned with a vast, white patch of skin that ended just before his eyebrows, sprawling. Isolated patches of vitiligous skin appeared on his otherwise wrinkled brown skin. Now they were looking at him, not her; he was not looking at them, but at her. His hand reached into his pocket for a handkerchief.

“Please, take it.”

It was then that the girl noticed that some of his fingers were disfigured. Several digits were severed, abruptly, rudely, at the second knuckle, which, along with his vitiliginous skin, was jarringly surreal. The girl took the proffered article, somehow feeling embarrassed that her hands were whole, and just managed a mumbled “thank you”. Her hands fumbled clumsily with the article, while the man watched her with a sagely wisdom. The train started to move off. He waited a few minutes before speaking again.

“I cried like that when my son died.” His voice trembled as he spoke. “He died twenty years ago, when he was in the army. Spent every waking hour calling his name and lamenting his unspent years.” The man was looking down, pensive. The girl’s sobs reduced to small hiccups and looked at him carefully.

“I have many things to cry about,” he continued. “This skin, these hands… my son. But I’m not saying that you don’t have a problem simply because I think my suffering was greater, no. You do have a problem.”

He raised his eyes to meet hers as he said this. Her eyes, a clear, electric blue, pored into the comfort of his calm, brown eyes. It seemed to her as if his eyes were infinite, transcendental; eyes that had seen all, squeezed out every last tear, and were now teaching her an unspoken lesson. She felt a tear roll down her cheek.

“You have to see past it. That is the problem. You are the only solution, and nobody else can help you to overcome it. They can tell you what to do, but it is up to you to do it.”

He said this with such conviction that the girl felt as if the wind had been knocked out of her. She never imagined that someone would deign to speak to her, much less try to address her problem. She stared at the ground, hoping to find some answer in the mass of cramped shoes on the dirty carriage floor. The man, with his mutilated hand, pressed her shoulder lightly.

“Take care.”

As he said this, the train stopped. The girl caught sight of his eyes glistening; then, in a blur of motion, he jostled his way out of the train carriage, leaving the girl to find herself looking at a fat, sweaty stranger, who looked at her strangely. She realised that the man had left her his handkerchief, which served as the only evidence that such a conversation had taken place. She instinctively tried to chase after the man, but a large sea of irritated people stood between her and the train doors – they closed before she could even start excusing her way out of the carriage.

She got off on the next stop and made her way back to the station where the man had alighted. She did not know what she was expecting: was he going to be there, waiting for her to return his handkerchief?

Of course, nobody was waiting for her at the platform. The stop was an unused one; very few people left the train with her. She stood in the middle, turning round and round and round, until the station seemed a grey concrete blur, the rush of the wind in the wake of the train leaving, whirling, whooshing, as she held the white handkerchief tightly in her hands.

Perhaps he had been right when he said that only she could solve her own problems.

Perhaps he had meant it, and wanted to show her in this way.

Perhaps, perhaps, she thought.

A Metamorphosis

The boots were clumsy

the clothes foreign and strange —

the borrowed robes of oppression incarnate.

Yet, the young, innocent boys around him

admired their green golden likenesses, prancing about

in those uniforms of theirs.

 

What had they pledged?

What had they said?

No one knew — not one knew,

but that didn’t matter, now that they dressed

like warriors in the victorious march home,

received by women and children alike

in a flurry of flowers and good cheer.

 

Night after night

he took up the wrinkled skin of the day

and cast it into the darkness.

Only then could he bask in the new skin of the night,

muttering desperately some wild whispers of prayer.

 

The boys about him gradually thickened their hides;

they had no need for the moulting in the night.

But still he did it,

and found it increasingly difficult to strip away the sins of the day.

 

Two years —

when he could finally peel back

the evil-smelling green scales

there lay skin, crumpled and flayed

parts shot with horrific, pus-filled boils

hot, bloodied, burning

 

They said:

Let him go, let him go

he has lived out his usefulness.

Take another,

take another to replace him.

 

So they paraded him in a white gleaming suit

taking care to show its iridescent, glorious shine

and all was fine, absolutely fine;

for what more could they ask

when everything had already been asked of him?

Literary Thoughts: A Farewell To Arms by Ernest Hemingway

A Farewell To Arms Special Edition

A Farewell To Arms: The Special Edition, by Ernest Hemingway. Image source: amazon.com.

I recently gifted a long-time family friend a copy of A Farewell To Arms in celebration of both his official discharge from national service duties and his twenty-first birthday, despite not having read it myself. This went against my personal rule of not giving anyone a book that I’d not read before, but Hemingway was one of the giants of twentieth century American literature, one whose stature only either invited emulators or a firm avoidance of his influence. Besides, wasn’t the title so apt, his name so revered? Hemingway’s name was a guarantee of literary satisfaction – and so my friend, among the expensive watches and dazzling yacht club memberships, found himself the owner of what was possibly one of the seemingly least impressive 21st birthday gifts.

As it is with all books, I found myself itching to read it in the few seconds after I’d got it for my friend. It should be made known now that I am a dedicated practitioner of tsundoku, the act of buying books and letting them pile up to the point that one will not have a chance to read them all. Reading lists have been made in vain, mostly thrown away and forgotten in pursuit of the latest craving; this was exactly what happened in this case. (I had to create an entirely new list to accommodate AFTA.) Although I was aware of Hemingway’s fame and influence, I hadn’t read anything he’d written before, so you can imagine my desire to get in on what made him so famous.

When looking for the book on bookdepository.co.uk, I discovered that there was a special edition of AFTA published by Vintage Books, which contained collections of Hemingway’s drafts, edits and alternative endings. In the brief description on the special edition’s product page, Hemingway apparently “re-wrote the ending thirty-nine times to get the words right”. I immediately had an unexpectedly great deal of respect and admiration for Hemingway. Not only was I in awe of his patience and dedication to his work, but it was also because he stood to the underlying reason behind why great writers write: to allow people to understand the writer’s ideas, feelings and opinions. There are, arguably, a finite number of things or topics to write about, but the writer’s craft and art is the one that makes all the difference: it is in how they express things that readers are able to relate to and understand the writer. Yet the writer also requires the skill of observing and identifying issues to discuss, on top of his ability to put things down into words – above all, they are expected to be unique and original, and considering all this, the profession of writing no longer seems to just be the default alternative to teaching for English majors.

Hemingway did not disappoint in all these respects. His fastidiousness evidently paid off, many times over, in his writing. A Farewell To Arms follows American Lieutenant Frederic Henry through his service in the Italian army during World War 1, where he serves as an ambulance driver. He meets Catherine Barkley, an English nurse, and the two fall in love with each other – although predominantly a novel about the war to end all wars, AFTA mainly centres around the couple’s relationship and how it develops as the war progresses. The novel grew from Hemingway’s own experience in World War 1, where, as it was with Frederic, served as an ambulance driver on the Italian front.

(WARNING: SPOILER ALERT)

What was most remarkable about the novel was Hemingway’s deceptively simple writing style. Known to all who have read at least a paragraph of his writing, it reflected his professed “iceberg principle“. According to Hemingway,

If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.

Ernest Hemingway, Death in the Afternoon

Since I was used to having writers write a little more than one-eighth of what they intended to say, it took some time to appreciate Hemingway’s writing. Another thing I had to adapt to was his near-superfluous use of polysyndeton, a technique in which conjunctions are used in rapid succession without commas. Hemingway’s prose is made up of simple sentences and long compound sentences (as a result of the polysyndeton), in line with his theory of omission. As I was reading the first few chapters in the novel, I was reminded of my grammatically pedantic Grade 10 English teacher banging on about not using commas, where to use commas and how she even took half a class to start a discussion on the Oxford Comma. While all that is true and good, Hemingway was clearly not a Grade 10 English student.

The following passage, in which Frederic Henry gets hit by a mortar shell, illustrates Hemingway’s skill with this technique:

I ate the end of my piece of cheese and took a swallow of wine. Through the other noise I heard a cough, then came the chuh-chuh-chuh-chuh – then there was a flash, as when a blast-furnace door is swung open, and a roar that started white and went red and on and on in a rushing wind. I tried to breathe but my breath would not come and I felt myself rush bodily out of myself and out and out and out and all the time bodily in the wind. I went out swiftly, all of myself, and I knew I was dead and that it had all been a mistake to think you just died.

Ernest Hemingway, A Farewell To Arms, Chapter 9

In contrast to the slow, casual course of events preceding this, where Frederic was having a conversation with his men over some wine and cheese, Hemingway’s effective use of polysyndeton captures the suddenness and urgency of the situation, highlighting the abrupt nature of the shelling attack. The pace of the action is brought to an intense high with the repetitive “…and out and out and out” in deliberately withholding what is to come. The reader is momentarily placed in suspense, Hemingway skilfully using the pace of language to convey how rapidly situations can deteriorate in war. Reading this for the first time, I was utterly taken aback by the ability that Hemingway possessed in intricately commanding language to suit his use as he wished. The reasoning behind Hemingway’s iceberg theory stands clear: if you have no idea about what you’re doing (which is what my Grade 10 English teacher probably thought of my class), it’s most likely going to fall through; on the other hand, if you’re Ernest Hemingway, you’re probably going to write a work that will end up on the English literary canon.

As I mentioned earlier, Hemingway’s minimalist writing style shines brilliantly in AFTA. Nowhere is this more clear than in the final lines of the novel, for which Hemingway devoted a lot of time to perfect:

It seems like she had one haemorrhage after another. They couldn’t stop it. I went into the room and stayed with Catherine until she died. She was unconscious all the time, and it did not take her very long to die.

Outside the room, in the hall, I spoke to the doctor, “Is there anything I can do to-night?”

“No. There is nothing to do. Can I take you to your hotel?”

“No, thank you. I am going to stay here a while.”

“I know there is nothing to say. I cannot tell you –”

“No,” I said. “There’s nothing to say.”

“Good-night,” he said. “I cannot take you to your hotel?”

“No, thank you.”

“I do not want to talk about it,” I said.

“I would like to take you to your hotel.”

“No, thank you.”

He went down the hall. I went to the door of the room.

“You can’t come in now,” one of the nurses said.

“Yes I can,” I said.

“You can’t come in yet.”

“You get out,” I said. “The other one too.”

But after I had got them out and shut the door and turned off the light it wasn’t any good. It was like saying good-by to a statue. After a while I went out and left the hospital and walked back to the hotel in the rain.

Ernest Hemingway, A Farewell To Arms, Chapter 41

In this final scene, Frederic learns that Catherine has died of multiple haemorrhages as a result of complications after giving birth to a stillborn child. With the line, “I went into the room and stayed with Catherine until she died,” Hemingway very effectively manages to capture the tragedy of her death. As it is with his deceptively simple prose, this sentence must be read in the context of the narrative: prior to this moment, Hemingway makes Catherine’s struggle to survive seem long and drawn-out; Frederic is teetering on the edge of uncertainty, and readers are kept in suspense. In the section prior to this, Frederic prays, “Oh God don’t let her die. Please, please, please don’t let her die.” This repeats for nearly an entire paragraph – this is in stark contrast to Hemingway’s final revelation when he sharply and abruptly declares that Catherine is dead. The shock that readers experience would not have been as great if not for the development and description of Frederic’s internal monologue and Catherine’s efforts to live. Hemingway’s prose works simply because he makes it work.

As in the above passage, Hemingway also shows that he is a master of dialogue: he conveys Frederic’s utter sense of loss in his exchanges with both the doctor and the nurse. He initially responds to the doctor’s questions politely, simply stating that he will “stay here a while”. When the doctor proves too talkative for his liking, Frederic interrupts him, cutting his sentence short. In disrupting the pace and rhythm of Frederic’s conversation with the doctor, Hemingway very subtly and intricately portrays Frederic’s grief. Hemingway brings Frederic to life, making him act the way everyone would in such a situation, and that is why readers can empathise deeply with Frederic’s last moments with the dead Catherine. As Frederic forces his way into the room, his insistence in contradicting the nurses draws out his desperation to see his loved one: the short, commanding lines he speaks emphasises, despite the lack of any detailed description, the complete hopelessness he is experiencing.

The final few lines are perhaps the finest example of Hemingway’s writing style in AFTA. What got my attention most was the phrase, “after a while”. In spite of it being such a vague reference to time, readers can sense his despondency; the phrase suggests that it would be futile to wait by Catherine’s side any longer, and Frederic realising this fact would arguably be the saddest point of the entire novel. Hemingway beautifully ends the novel with Frederic walking back in the rain, a recurring element in the novel that not only is traditionally linked to sadness and grief, but is also used to signify futility and dreariness in other parts of the work. (Such as the Italian retreat and Frederic’s subsequent journey in deserting from the war.)

Out of the horrors of war unexpectedly springs a love story: the poignant irony of the novel is akin to the poppies that grew following the same war in which the narrative is set. Hemingway intertwines the two in A Farewell To Arms, a tragic novel that, in my honest opinion, discusses and deals with far more significant issues in the world than glittering Rolexes and luxurious club memberships. Hopefully my friend looked past the fact that he received books for a 21st birthday gift, and realised that he instead was given the ideas of a man whose outlook on the world would leave a lasting legacy on English literature.

P.S. In writing this post, I realised that I enjoyed this book a lot more than I originally thought – appreciating Hemingway’s language is difficult to do if one is just reading for the narrative. Thankfully I took this chance to slow down and do a bit of close reading! 🙂

おかえりなさい: Welcome Home

Kyoto Gion Matsuri

Japan: Endless Discovery?

Japan is indeed full of endless discoveries, as their national tourism organisation likes to put it. From the buzzing, electrically charged Tokyo, to the solemn, quaint Kyoto (often dubbed the ‘cultural capital’), or to the exotic and seemingly far-away Hokkaido, Japan has a sort of enigmatic, old world charm. Its sphere of influence reaches out to the most unexpected of places – film enthusiasts have a special place in their hearts for Hayao Miyazaki; it is not only exceedingly difficult, but perhaps impossible to turn down a bowl of deliciously oily cha-shu ramen; anime and manga in the West has gained a sort of cult following, hailing the Land of the Rising Sun as its ‘Mecca’. In other words, Japan is seen as a player on the world stage for shaping human culture, admittedly only second to the United States.

IMG_0256

Akihabara: The Electric Town

And when you actually get down to visiting the country, your experience will simply re-affirm the preconceptions you had of the place: scarily efficient and clean, far too technologically advanced, and oh-my-goodness-me, why is everyone so polite! Your ‘endless discoveries’ can take place virtually everywhere – on the metro, crossing the road, damn it, even bumping into someone – and, once you’ve been wholly acquainted with the Japanese ways, you find yourself joining in. You’ll do the same awkward nod of acknowledgement when someone holds the lift door open for you, when somebody lets you pass; you find yourself improving in graciousness day by day and you will have no idea why. You’ll speak in the low, polite tones the Japanese use, you’ll hold on to that pesky receipt you didn’t want (for such a clean country, Japan sorely lacks bins in public places) until you get back to the hotel to civilly place it in a bin, return your used tray to the counter, all the way until you sit yourself on your plane seat back home, where you’re still using the strange Japanese ‘thank-you’ head movement when you receive a cup of water from the air stewardess, sipping it courteously and taking care not to disturb the large snoring man next to you. This will continue until you get off the plane, until you realise that nobody cares how politely you carry and present yourself any longer, then will the Japanese behaviour obtained through ‘induction’ wear off and fade away. It is strange how nice it is to be polite to others, but only when everybody else is doing it.

The exotic Japanese culture is what motivated me to pick up the Japanese language, contrary to the usual assertion that I did it to watch anime without subtitles. (In fact, I never really enjoyed anime – rather, I never really could make myself finish a series) The Japanese language is very big on politeness, explaining a large part of my experiences in Japan; I treat my foray into the language as a way of exploring Japan away from Japan, and I never fail to be amazed by how the language reflects Japanese culture and behaviour. There is a phrase, 「用事がありますけど」, literally meaning, “I have something (an errand) to do…” which is a free pass to get out of any sticky social situation. The vagueness of the expression, together with the incompleteness of the sentence, sums up the indirect way of communication the Japanese often use. The hesitance to inquire as to what demands your immediate attention which prevents you from partaking in any social event whatsoever says as much as the ambiguous phrase itself: the outward docility of the Japanese people can be condensed into one simple sentence.

But, as many have noted, a phenomenon known as the tatemae/honne personalities in the Japanese has been well-documented: it describes how the Japanese people act in front of strangers, customers, and their bosses versus how they behave towards family, friends, and when under the influence of alcohol. Simply put, the tatemae version of one’s personality is how one acts as expected in formal social situations, in comparison to the honne self, where one reveals their true thoughts and opinions. Knowing how to transition between these two modes is regarded as a virtue in Japanese culture, showing that one knows how to behave appropriately given different situations – a mark of maturity. Hence foreigners are often taken aback by the professional way the Japanese treat their customers and guests: they are given a full dose of the tatemae side, often hard to find in other countries.

This inevitably brings up the question: are they actually genuine in their thanks for the smallest things and when they drown you in profuse sumimasen? The sense of welcome you get from your Japanese hosts might seem too professional at times, and under the surface of all that’s nice and good, you get the impression that their behaviour stops only at the word ‘politeness’ – it’s not kindness. Ironically, I only started thinking about the Japanese graciousness after I returned to Japan with a conversational capacity for the language.

I remember the exact moment when it happened: after getting off the plane, following the bilingual signs to immigration in Narita International Airport, I was presented with a friendly, “Welcome To Japan” sign.

To its right, completely in hiragana, was 「おかえりなさい」: “Welcome Home”.

A couple of things hit me: 1) I was overjoyed that I could understand a sign in Japanese, but that was beside point number 2) it was meant only for people who could read and understand Japanese. The welcome back home was not intended for foreign eyes. I felt as if I had trespassed into an area made forbidden to me – there it was, clear as day, “welcome home” – yet somehow, it being written in Japanese, cordoned off with the strange power of the language barrier, made me really think about how the Japanese are inextricably linked to their language.

The sign suggested that Japan only means home if one is able to understand the language, and with it, Japanese culture. Given the homogeneity in Japan and how the country was cut off from all outside influences for a large period of time prior to the Meiji Restoration, it is not outrageous to suggest that one can only truly be ‘Japanese’ if one were born and raised there. But that may not be enough. The recent hoo-ha over Miss Japan 2015 goes to show that one must also look ‘Japanese’ to qualify as one – an assertion that, if applied to other racially diverse parts of the world like the US, Canada or Singapore, might seem ridiculous. Ariana Miyamoto, crowned Miss Japan 2015, is half-Japanese and half-African American, and yes, she doesn’t appear to be what people usually consider Japanese. When ethnicity, appearance and nationality are all conflated into one messy mix, it can be hard to justify whether a person is a full-blooded member of a country, and does not only apply to Japan.

Japan evidently has to re-consider how it asserts its social norms and conventions, and while nationalistic pride may be good to a certain extent, strong resistance to immigration and foreigners may not prove to be beneficial to the country in the long run. The ageing Japanese population is a hot-button issue, but the country seems to ignore the prospect of immigration and naturalisation of foreigners. It is not as simple as it seems to open the floodgates and let everyone in, seeing as Japan has long held the view that a Japanese nationality is synonymous with Japanese ethnicity, and it may be tough to change a view that is passively supported by the rest of the world. Everyone across the globe needs to accept that the world is slowly – but surely – moving towards one where ethnicity and language barriers are dissolving.

On ‘Sonder’

“There is no experience you’ve had that you were not at the absolute centre of,” claims David Foster Wallace, author of the mammoth Infinite Jest. Wallace’s scarily accurate insight into how we perceive the world is captured in his ‘This Is Water’ speech, where I found myself vigorously nodding to nearly every idea of his – we do indeed believe that we are “the centre of the universe”, a guilty admission that may result in the loss of a good many friends. Everything that we do, see, hear, touch or feel, it goes through us first; we see everything from our own perspective, and no matter how open-minded we think we may be, we, though we may not want to admit it, are our own greatest bias.

So much so that we sometimes barely spare more than a passing thought to the people around us. Everyone has their own story; we very often forget that behind that face on the street is years of love, loss, laughter and pain. We carry on with our own lives, because that’s what matters to us most, and ironically, that is how everyone else treats you: just a cashier, passer-by, bus driver, waiter, the list goes on. When attempting to place a ‘backstory’ of sorts onto these strangers, the association seems strange, almost alien: they have their parents, siblings, significant others, but we fail to consider this while being too focused on what is happening to us and us only.

It was by trying to rid myself of this self-centred worldview that I experienced one of the most poignant nights in my life. I was with a group of friends holidaying in Penang Island, Malaysia, kind of the last place you’d expect me to be thinking about life and worldly perspectives. It was my third night there, coming close to the end of a small island of fun and solace in a seemingly endless sea of mundane work. I’d just had two dinners with one of my close friends, Matthew, and we stopped over at a petrol kiosk to refuel.

And that’s when I saw him. He was a plump Indian man, sixty-odd years of age, his dirty blue shirt sticking to his body after a days’ worth of grime and sweat. While I sat there, in the cosy comfort of the car, watching him sweep up leaves, something stirred in me. I didn’t know what it was that made me feel for him. Perhaps it was how the little leaves nonchalantly rolled into the dustpan, him knowing full well that he would have to do so again for every night for the remainder of his life; perhaps it was the sharp staccato rakes fading into the deadness of the night, an unpleasant reminder that he worked while everyone else rested; perhaps it was the raw stain of the fluorescent lights, harsh on his solitary, bumbling figure.

Ordinarily, I would have simply elected to ignore his existence, deigning only to give him a few seconds of my attention. But there was a certain deadened, resigned silence in his eyes that accompanies the implicit acknowledgement of an ambitionless future – and I, with grand, sparkling hopes and dreams for what awaits me in the uncertain game of life, could see that he had no cards left to play in his.

Maybe it was for the best that I met him, considering the infinitesimal chance that I had for his life to cross paths with mine, for I was presented the opportunity to glimpse into a life so wholly different from mine. I’m not saying you shouldn’t cherish your fortunate lives and thank your lucky stars you aren’t sweeping leaves at 11PM at some petrol kiosk you’ll never return to in your lifetime; you should, but what I’m trying to say is that we can overcome the all-too-easy temptation of simply seeing things from our own perspective. It’s not too outlandish to consider that this man goes home to a family everyday, has his children to take care of, yet we very often take these ‘flat characters’ in life for granted. Make your flat characters in life become round characters, and one can see things in a very, very different light.

生日

星期天,我们庆祝了我祖母的生日。

到餐馆后,大家抱一抱后,笑一笑后,我发现生日女孩正坐在我右边。

那也倒好,最近我们面对面的谈话机会少多了。我想,终于可以跟她讲几句话。

茶倒好之后,菜来起之后,看着那满脸皱纹的脸庞,正笑着那脸永恒的笑,我问自己:

今年奶奶几岁了?

想来想去,去年她是否71岁?70?咦?我怎么不知道呢?

我转过身,略微害羞地问:“婆婆(虽然她是我爸的妈,叫她婆婆叫惯了,如今还这样称呼她),你… …今年几岁了?”

我想,当我们把自己的生日给忘了,那就是一个很明显的变老迹象。不因为是老人痴呆症还是什么,但,老的时候,我们真的看得出72岁跟73岁的差异吗?对,倒是一年过了,然而我们可以说这一年带来了什么重大的事吗?

我认为,我们老的时候,再也不在乎自己的生日了。

我们会从别人的生日开始数一个新的数目。

孩子的生日。孙女的生日。

当我们把自己的孩子的年龄、生日排为第一,那我们就会知道,一百八仙地知道,我们老了。

我想象,那可是个好的感觉。