There has been a lot of Japan in my life lately. I returned last week from a short trip to Tokyo, but I have nothing of note to recollect from the city. I had gone expecting a world of strangeness but met with a city no dissimiliar to Hong Kong or Singapore with its sale-obsessed populace and explosion of consumerism. On the surface it was quite a boring place, re
ally. The only things that caught my attention were the sight of 60yearolds packing slot machine parlours and game parlours, and the abundance of bluehaired teens dressed like schoolgirls. And of course, the Jinglish.
Truth be told I was slightly underwhelmed. Yes, I saw brilliant examples of graphic/product design wherever I looked, and there was a remarkable collection of creativity at the 2121designsight in Roppongi, including tablelamps made of dripping chocolate. But I had expected a culture more sinister, less fathomable. Everyone we met was almost too nice, too open, and too welcoming to be the

freak I had hoped to encounter.
Maybe Japan, as a country , is like one of those more evolved organisms. For instance, as a firsttimer to India, you'll find the country daunting, but decipherable, much like a Buffalo. Big, slightly scary, but predictably clumsy and easier to touch, see and understand - almost primal in its bluntness. Japan is more like a Jellyfish. It reveals very little of itself on the surface, but I got the feeling there was lot more to experience underneath the calm. Less obvious and totally unremarkable until you begin to study its physionomy.
But the trip was helpful in another way.
I have recently begun to read a novel by Haruki Murakami, called "The Windup Bird Chronicle". It is a popular book to be seen with these days, but don't hold that against it.
The book is the story of a man who quits his job, whose wife runs away with another man, but also a story of a missing cat, a dysfunctional 16yearold, a prostitute, the Manchurian war, and the dark arts of occult. In short, it's very Japanese in its whole conception, wildly imaginative and inscrutable at the same time. It's peppered with references to popular districts of Tokyo, making it doubly easier to visualize - a joy not afforded to me by American novelists.
It's also 606 pages long.
Books as thick as this usually put me off, not because I'm impatient or have low attention spans, but because I know they will lay complete siege over me and my life for a very long time. I have not read the Russian Classics, so my standards for thickness are set low. But since the days of the MM Kaye's "Far Pavilions", which I had the privilege of recounting page for page to my girlfriend who was convalescing for a week, have I encountered a book so intent on imposing its will on me.
This was confirmed over the weekend as Murakami forced me to postpone a long list of To-do jobs that I had planned for - I still have around 100 pages to go and am wrestling against its hold over me. And once I finish, another whim will take over - the itch to reproduce the extracts I particulary fancied. Thankfully though, this novel seems to have run out of steam midway through, and the quality of his writing hasn't kept pace with the numerous twists and turns in the plot. Perhaps this is what keeps me reading without a pause -to see how the grand puppeteer will find his way out of the labyrinths he himself has created.