Tuesday, 25 June 2013

Chapter 3: Food or Enemy? The Villagers decide

The man continues his search and wanders further into the sand blown landscape where, his theory assures him, somewhere lays his chitinous quarry and a bid at immortality. He stumbles upon a deep pit, at the bottom of which he can make out a dwelling or hut of some kind. He steps to the edge to take a photo and almost loses his footing.

While recovering his composure at the edge of this deep abyss, he is disturbed by the sudden appearance at his side of a nervous old man. The old man seems at pains to find out whether or not the man is here for the purpose of ‘inspection’. He explains that he is an insect collector and the man wanders off. A bit further on he sees three other men, whom the old man joins and the 4 men seem to have a heated discussion…then…the old man returns.





















‘Just as he was about to get back into focussing on his search for the beetle, the old man came rushing back.

‘So, you’re really not someone from the prefectural office?’

‘Prefectural office?......no, you’ve got it completely wrong.’

As if he was fed up with all this talk, he abruptly took out his business card. The old man took a long time reading it, his lips moving as he did so.

‘Oh, so you’re a teacher then’

‘I have no connection whatsoever with the prefectural office’

‘Hmm, so you’re a teacher’

Finally, apparently satisfied with this explanation, the corners of his eyes wrinkled up and he went back, respectfully holding the business card in front of him. It appeared that the other three men were similarly satisfied and with that they got up and left. But the old man came back again.

‘By the way, what do you plan on doing now?’

‘What am I..well I’m going to look for insects’

‘But the last return bus has already gone’

‘Isn’t there somewhere around here I can stay for the night?’

‘Stay for the night? In this village? The old man’s face tensed.

‘If I can’t stay here, I can walk to the next village’


‘Well as it happens I’m not in any particular hurry’

‘No no, you needn’t go to all that trouble……’ he suddenly became quite voluble in his eagerness to help,

‘As you can see, it’s a poor village, there aren’t any decent houses really, but you just need to say the word and I’ll ask around for you and try to help you out.’

…………………………………………………………………………(Break in text here)

‘Thank you, I would be grateful it if you would, and of course I will show my appreciation……I really like staying in these villagers houses.’


かまわず : Literally, not minding or being bothered. Here I have translated at the man focussing back on his task in hand and by implication not paying any mind to anything else.

県庁 : Prefectural Office. Government Office sounds a bit too vague and I suppose Prefectural Office sounds too specific. Then again there are so many slightly differing nomenclatures that it’s hard to get a catch all term that just doesn’t just ‘slip off’ due to being too loose and general – and I think that this is the very issue with such terms as ‘government office’. Furthermore in British English it sounds very odd and something like ‘Local Authority Office or Council Office might be more suitable…though that falls into the opposite camp. Hence I have decided to go for Prefectural Office to reflect that the novel is set in a Japanese idiom and not necessarily meant to be an everywhere/nowhere in the sense of a Beckett novel. As an aside there are an awful lot of American English translations of Japanese novels. I think that a British English translation would be quite different and for that reason alone this kind of project is quite fascinating.

もう沢山だと言わんばかりに : This phrase literally comes out as ‘as if to say I’m not going to say so much about it’, the sense being that the man is exasperated with the possibility of a long winded Q and A session and going round the houses to explain to the old man that he is not a G-Man. -ばかりに after と (here as -だと) ha the meaning of ‘as if to’

目尻いっぱいに皺をよせ :’wrinkled up the corners of his eyes’. This makes for a vivid description of the coin dropping in the old man’s mind and the light of understanding coming on. An interesting word here 目尻 literally ‘eye ass/butt’.

どうって : I wanted to bring this out in my translation since it I feel that it is indicative of the insect collector’s attitude to the old man – impatience and looking askance at his questions as if he should be able to work things out. It reminds me of the exasperation of Captain Mannering with the slower of his subordinates, or Ollie explaining things to Stan and Stan’s rather simple and child like questions. I think that to miss this out is to miss something of the interplay between the two. This is brought out more in the way in which they speak to each other but that is harder to reflect since modern English no longer has such subtleties and nuances of register that Japanese has. The old mans speech is a sort of countrified way of speaking to a stranger, sort of a hotchpotch of polite terms and his country old geezer dialect mixed up. The only decent parallel I can think of for this are the excellent portrayals in the Ghost Stories of Montagu Rhodes James, where there is often a scholar who comes from a very academic and intelligent background dealing with a local bumpkin in order to glean information on a relic or ancient place. In this novel we have the urbanite educated man with the old uneducated villager trope.

上がりのバス : In Japan the Kanji Up and Down are used for  direction of transport: the Up train would be normally used of the more important or significant station e.g. towards Tokyo or the major town or city on a line and the Down train away from the city towards the suburbs or lesser destination. We have an equivalent in English in ‘going up to Oxford’.

老人の顔のどこかが、ひくついた : E Dale Saunders has this as ‘The man’s face twitched.’ But there is bit more going on here surely. The literal translation has it as somewhere on the old man’s faced twitched/tensed’ and from that alone, you get a sense of a barely perceptible movement – a slight tensing, indistinct because of the どこかが.

I really think sometimes that translators try so hard to get a text punchy and crunchy and tight that something falls off in the process. I think that AK has more poetry in him than a strict new wave minimalist interpretation allows. I feel this is doing him an injustice and it’s why I also don’t put him even remotely in any similar category with other close contemporaries. One, his poetry, often denied in a too tight rendering and two his surrealism or downright irreality..Often imitated by later writers but never with his panache or level of disturbance.

まくし立てるような調子になり : E Dale Saunders has ‘loquacious’ for this phrase (literally ‘bundling or wrapping it all up together’) but I prefer ‘voluble’ since the former means just talkative and voluble has a sense of pouring out words in a rush in a sudden enthusiasm. So for me this is much better in the context of the old man, who, up until this point has been behaving like an exasperatingly (in the man’s eyes) slow dullard. My pocket dictionary has this entry for the meaning:


言いたいことを一方的に言う。「早口で-・てる」 スーパー大辞林 三省堂

民家 : Literally ‘private dwelling’ but in this context ‘villagers house’, I might add it comes across slightly condescendingly from the insect collectors style of diction (pretentious and haughty).


  1. 上がりのバスは間違っているぞ。
    In tranport terms, a train or bus is heading to Tokyo is 上り and leaving from Tokyo is 下り.

  2. Yes, I should clarify the Up and Down by making them up the line and down the line. So in this context it would be the return train back up to the station or town. Thanks for the comment. I am surprised since I thought that no-one was reaing this blog apart from me, so I appeciate you dropping in and correcting my notes! I suppose that a smaller or less important station would always go up to the more important station..ie the bigger place right?

  3. I adjusted the notes. How is the new explanation?