Haruki Murkami
アンダーグラウンド (Andaguraundo / Underground)
Kodansha (Japan) 1997-98
Harvill Press (UK) 2000
Recently, as I was drifting through the pages of Murakami's Underground, the oral history and coming-to-terms of the 1995 Tokyo gas attack, I found myself drawn to these lives that had – seemingly out of sheer, implacable chance – been caught up in an atrocity. Some of them had been altered forever – a man whose sight will never fully recover; a sportswoman who can't bear the strain of exercise and now tires quickly. What stood out across these narratives was not, however, their involvement in this bizarre end-of-days blood letting, but instead the narratives with which they framed their participation or experience. What stood out, most of all, were their routines.
On that morning, thousands of people – salarymen, housewives, pilots, metro staff – encountered – perhaps for the first time – the strangeness of the absurd, the un-ordinary, in the half-wakeful steps of their ordinary lives. After all, the commute – in whatever nation on earth, whether it is clung to the side of a steam train or slept in a cramped electric carriage – is a time of passage, a movement from the private into the public life. Murakami, to make his subjects comfortable, and to emplace the narratives in some sort of humanity, had asked the interviewees to recount a little of their routine. They agreed (but why does this matter? You really want to know? I imagine they asked these questions, a little confused).
After a brief author's portrait, the transcribed interview begins. It is an ordinary voice caught in the process of recollecting. “I always take the front carriage when I change trains at Kasumigaseki”. Partly this might be the flattening that occurs in the translation of conversation (I am reading a translation). But I suspect that it might be due to some other effect, such as the struggle of conversation to encompass the sudden eruption of violence that constitutes the unexpected. As Yury Lotman has drawn out, there is value to the analogies of biological and chemical processes within the experience of the articulation of narrative, of voice; Lotman describes how, “an alien body falling into a supersaturated solution causes the precipitation of crystals, i.e., reveals the true structure of the dissolved substance”.
On that morning, the 20th of March 1995, an alien body did indeed fall into an already supersaturated solution – the cramped, complex, layered lives of Tokyo's residents, its commuters, its salarymen. In one of the largest cities on earth each individual, as an individual, maintains their own space of personal reflection – their routines, which act like anchors in the midst of a stormy sea. This alien body – sarin, Aum Shinrikyo – brought forth, even for a moment, a state change in the solution itself – in society. I don't want to labour this analogy, and I am not arguing that these people were simply chemically reacting to a given event (!), but I do think that Lotman's analogy has a certain relevance to the concept of routine, especially when routine – the opposite of chaos – is precisely implicated within that chaos. Routine is the negation of a loss of control, or at least an attempt to push it away. That Murakami wanted each interviewee to begin there, and that each interviewee agreed with precise and specific language, tells us a great deal about the complex crystals of meaning and identity that appear to become activated in a moment of precipitation, when the alien object – chaos itself – encounters the ordinary, the routine.
We associate our routines – our rituals of keeping chaos at bay – with a particular place. That place is usually our own home, or bedroom; it is a safe place, a place in which your routines are not only central, but primitively woven into the existence of the place itself.Your rituals – like drum thumping – constitute the sanctity and sacristy of these places. And even when you must depart that place, you carry your rituals with you; sit in a café and watch how two people drink an identical cup of tea. But by the precipitation of our rituals, their coming into focus precisely as routines, as objects of stabilisation, do they become less meaningful, even awkward? We never say, “I must now have a cigarette while closing my eyes, imagining nothing”, or “now I boil the kettle and stand with my head against the door jamb, listening to its boil”. We don't say that these things fill our time at all – we simply say, “I had breakfast”, or “I made a cup of tea”. “I sat around for a bit before leaving the house”.
What seems incomprehensible to these people is precisely that their routines – their silent, unconscious self-stabilisation – bought them into contact with the absurd extrusion of a gas attack, an act of wanton and unimaginable terrorism. The shock comes with realising that the routine is now implicated in that event – and without it, if you had broken your routine, would everything have been okay? What is to blame, the routine – which ensured that you got on this train in this carriage at precisely this time – or the attack itself. Which is responsible for severing the anchor, after all? That the interviewee has a favourite carriage, perhaps even a favourite seat, is not uncommon amongst these accounts. Other individuals maintained similarly precise remembrances of travel; “I always take the fourth carriage by the front, by the rear door”. In the crushing mass of the train, packed in like cattle, the performance of routine confirms a certain continuity of the Self amidst the flattening two-dimensionality of the group. Performing routine is to say, “I am here, me; I remain”.
And yet, on the other side of the coin, the members of Aum Shinrikyo – the renunciates who had packed in their ordinary lives, their families, their attachments with the outside world, had traded one routine for another – a routine less biting. Of the Aum members interviewed by Murakami, many were emphatic that they had given up the complexities and unsynchronised meanderings of their life in the 'secular world' in order to find some fixity within the spiritual community that Aum represented. These members describe the spartan discipline, the regulatory requirements of being a member, of joining that holy brethren. So many tapes must be listened to; so many hours of standing and seated meditation performed. Each renunciate was given a job, perhaps a counterpart of their profession in the 'secular world'. The difference was that the members were not accruing wealth, but spiritual “merit” (while their leader, Asahara, accrued the eerily clichéd postures of the prophet-cultist; wealth, violence, paranoia and questionable sexual behaviours towards female members of the sect; the oddly typical contrasts between ordinary members and their Master). You can easily see why the draw of routine is so persuasive. New, entirely new and risky experiences cause us to flinch or pull away.
Despite the delusions and eventual terror of Aum, in reading the explanations of its members – not those who committed the attacks, but those who were, for whatever reason, members – you can sense a feeling of spiritual awakening, of existential reconfiguration. Meditation and the study of the Self brings attention to the confusions and faults that criss-cross our identities. To focus attention on these faults, a great white beacon of light punched through the fog of night, is to awaken and confront things that are not easy to confront. Routine – the smoking of a cigarette, spreading butter on bread, how you wash your hands and when – these things smudge and smooth across the recognition of faults, of the great gulfs. Routine – at least, unexamined routine – helps to ease our existence in a world even if we do not fit completely with it. And yet, at the same time, routines can also reaffirm our strengths – many old Zen koans precisely urge us to do simple, 'boring' things; “drink tea”, “chop wood, carry water”. These routines, these systems of habituated behaviour, can also provide deep pools for reflection and immersion. They help us to stabilise the often chaotic vicissitudes through which we pass, and flag, and fail.
As readers of the Paris Review will know, routine is an essential thing for a writer; sure, many say, inspiration can come, but you need to be in the habit of it all, in the mode of receptiveness. E.B. White; “a writer who waits for ideal conditions under which to work will die without putting a word on paper”. Or Jack Kerouac, with his burning candles, his bedroom desk and good light, a drink when you begin to drift away, drift off. Hemingway with his lectern and bourbon, the hour to rise, to eat, to stop and start again. To say that routine is only ever linked with unconscious drifting, with mindless activity, is to misread the whole effect of routine – to misread how it can, like a koan, like seated meditation on a small, square pillow in the spare bedroom (my own little habit, facing the scuffed-up wall), become a great reservoir of understanding, of allowing the self to drift to the surface, unobserved. I'll hedge the following with Murakami's own warning, that I promise I'll only draw on the pop-psychology this once, but is the fact that each interviewee put emphasis on their routine, its specificity, its consistency (“I always”, “on Mondays”), a means of securing themselves emotionally from what they were about to divulge – their involvement, their being caught-up-in the strange and stuttered apocalypse of the gas attack itself?
One of the great strengths of Murakami's work is his distance from it; the narratives of the survivors speak to us on their own terms, without the great, leering authority of the author reaching down to fix and transfix the revelation. The author's natural predisposition to strut and stride is reduced to a shuffle on carpets several rooms away, faint yet present. The temporary overlap, on that March Monday morning in 1995, of end-of-days apocalypse and workaday routine, changed the until then unfocused solution of people's lives; with the evaporation of sarin, its sweetness and heaviness on the breath, crystals spread through the solution, reflecting strangely the ordinary lives of people.
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