When you get accustomed to a particular writer’s work, even a slight aberration in the style, tone or language strikes you more profoundly than usual. This was exactly my reaction to Haruki Murakami’s “After Dark“. I picked up the book during my summer vacations in my continuing attempt to catch up on Murakami’s bibliography as soon as possible. So far I have caught up with more than two-thirds of his works available in the English language and I hope (fingers crossed!) to finish the rest soon before I graduate.

The book was originally published in Japanese in 2004 by Kodansha, while Vintage released the translation to the English speaking world in 2008. The plot is set during the night time in it’s entirety. It starts off with the description of Mari Asai sitting alone in a Denny’s, devouring a coffee and her book. But her consternation is broken by the arrival of her sister’s friend whom she fails to recognize at first. The circumstances tie her inevitably with the staff of a nearby love hotel and their problems that night. Then a sequence of bizarre events involving Mari’s sister, who lies in a deep unwaking sleep, disturbs the silent darkness of the night at exactly midnight.

Now let’s get down to what struck me as different from the usual Murakami trend. Needless to say, this book is brimming with the weirdness and surrealism expected from Murakami. There are large sections dedicated to the description of Ari Asai, Mari’s sister, her deep sleep, and the goings on around her. The language is lucid with vivid and disturbing imagery. It shocks the reader’s conscience and forces them to think. The description is so detailed and the imagery so real that one cannot help but put themselves into Ari’s room of bizarre realities and let themselves be shocked in disbelief. No other Murakami book I have read so far has managed to so thoroughly unnerve me, not even the controversial sections in “Kafka on the Shore“.

Another thing significantly unique in the book is the presence of several strong female characters, which we tend to not find in his other works. In fact, except for Takahashi, the aforementioned breaker of Mari’s consternation, and a Chinese pimp, all other significant characters are female. This is not to say that all of Murakami’s female characters are feeble, (a quick reference to “South of the Border, West of the Sun”, “A Hard Boiled Wonderland and the End of the World” and “Dance, Dance, Dance“), but this book has several extremely well created strong female characters. The story revolves around these characters and enhance the experience of the story several times more than a male character would have in their stead. (Purely personal opinion, you are free to disagree)

In general, the book is a quick 200 page read which would not be any challenge to avid book readers. The language is in the trademark “describe-as-you-would-think” style unique to Murakami. Jay Rubin deserves a shout-out for his brilliant translation. I found the reading experience very smooth and invigorating. I was unable to put it down as every chapter ending made me want to know more and more. As is the norm with Murakami, the ending is open to interpretation and refuses to provide closure to the reader. Yet, it left me with a sense of satisfaction which I believe trumps over the need for closure.

“All stories begin before they start and never, ever finish.”

– Patrick Ness, The Crane Wife

I would highly recommend this book due it’s unique place in Murakami’s catalog, and also because of it’s brilliant use of shocking imagery. Reader discretion is advised. I am hesitant to say that everyone would like it at the first read. Also, I would recommend against reading this book as one’s introduction to Murakami. It would help in appreciating the uniqueness of the book, consequentially enhancing the reading experience.

Rating– 4.5/5

Verdict– Must Read, but only after familiarizing oneself with Murakami’s works and style.