Re: Fairfax Underground After Dark
Date: May 18, 2011 01:35AM
Harry Tuttle Wrote:
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> What the fuck?
welcome to the wonderful world of Kobo Abe. Secret Rendezvous is probably Abe's second most 'what the fuck' work of fiction (if you really, really want to get weird, I suggest you check out his final novel, Kangaroo Notebook). I recommended it over his more well-known novel The Woman in the Dunes because I think Secret Rendezvous represents Abe at his existential surrealist peak. What is notable about this book, and about Abe in general, is the focus the author puts---to a point of abstract obsession---on the individual, and the equally vivid sense of detachment and alienation of the individual from society (set in this novel against the backdrop of a nightmarish vision of modern medicine and bureaucracy informed by Abe's own abandoned career as a physician), which is at odds with his contemporary's work (and in a broader sense, the Japanese nationalist ideal of the time it was written). Abe wrote from a point of isolation, confusion, alienation. He was Japanese but grew up in Manchuria, trained to become a doctor, but instead became an extreme leftist writer and playwright. His own isolation from the literary scene of his time and place is obvious in the characters he writes---invariably, all are nonplussed, confused, detached, existential basket cases waiting to emerge from the pack mentality of post-war Japanese society. In Secret Rendezvous, the main character is on a quest to find his wife, seemingly abducted in the night---The Trial-like---and taken to a sprawling, ominous underground hospital that becomes a character in itself. It is self against society/bureaucracy at it's most pointed (and here of course, one may draw numerous parallels to Kafka and his propensity for revealing the inharmonious relationship between the individual, the self, and the 'outside', or the 'establishment'. In short, it is "Kafkaesque". Everything in the novel, then, plays out as an existential probing of what is real and what isn't, all informed by a wild, sometimes absurd sort of 'magical realism' that gives the whole work an added dimension of meaning.
In short, If you've ever felt out of control of your own life, or of the events unfolding around you, or anxiety about the control exerted upon you by the powers that be, Secret Rendezvous is an object lesson in the utter absurdity and ludicrousness that constitutes our 'progressive, modern system' of living. Is progress really 'progress'? Or is it just another source of anxieties and insecurities, alienations and theoretical wanderings....
Any of that make sense?