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The Memory Police

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The Memory Police

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Highlights

  • 288

    Pages
  • 9781846559495

    ISBN
  • 137 mm

    Width
  • 205 mm

    Height
  • 445 gram

    Weight
  • HARDCOVER

    Binding
  • 15 AUGUST 2019

    Publish Date
  • 29 mm

    Spine Width

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    Description

    Hat, ribbon, bird, rose. To the people on the island, a disappeared thing no longer has any meaning. It can be burned in the garden, thrown in the river or handed over to the Memory Police. Soon enough, the island forgets it ever existed.When a young novelist discovers that her editor is in danger of being taken away by the Memory Police, she desperately wants to save him. For some reason, he doesn’t forget, and it’s becoming increasingly difficult for him to hide his memories. Who knows what will vanish next?The Memory Police is a beautiful, haunting and provocative fable...  Read More

    About the Author

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    Yōko Ogawa

    Yōko Ogawa () was born in Okayama, Okayama Prefecture, graduated from Waseda University, and lives in Ashiya. Since 1988, she has published more than twenty works of fiction and nonfiction. Her novel The Professor and his Beloved Equation has been made into a movie. In 2006 she co-authored „An Introduction to the Worlds Most Elegant Mathematics“ with Masahiko Fujiwara, a mathematician, as a dialogue on the extraordinary beauty of numbers.

    A film in French, „LAnnulaire“ (The Ringfinger), directed by Diane Bertrand, starring Olga Kurylenko and Marc Barbé, was released in France in June 2005 and subsequently made the rounds of the international film festivals; the film, some of which is filmed in the Hamburg docks, is based in part on Ogawas „Kusuriyubi no hyōhon“ (薬指の標本), translated into French as „LAnnulaire“ (by Rose-Marie Makino-Fayolle who has translated numerous works by Ogawa, as well as works by Akira Yoshimura and by Ranpo Edogawa, into French).

    Kenzaburō Ōe has said, Yōko Ogawa is able to give expression to the most subtle workings of human psychology in prose that is gentle yet penetrating. The subtlety in part lies in the fact that Ogawas characters often seem not to know why they are doing what they are doing. She works by accumulation of detail, a technique that is perhaps more successful in her shorter works; the slow pace of development in the longer works requires something of a deus ex machina to end them. The reader is presented with an acute description of what the protagonists, mostly but not always female, observe and feel and their somewhat alienated self-observations, some of which is a reflection of Japanese society and especially womens roles within in it. The tone of her works varies, across the works and sometimes within the longer works, from the surreal, through the grotesque and the--sometimes grotesquely--humorous, to the psychologically ambiguous and even disturbing

    Rating & Reviews

    3.8

    1779 total
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