El jardín de la señora Murakami

by Mario Bellatin

Para nuestra satisfacción, aparece por segunda vez en nuestro catálogo Mario Bellatin , y también por segunda vez lo hace con una irónica y original novela que confirma el talento narrativo del que diera sobradas muestras en Salón de belleza (Andanzas 414), traducido ya al francés y al alemán . En El jardín de la señora Murakami , Bellatin teje una historia, en apariencia sencilla, con excepcional y fina capacidad de observación, que ironiza con sutileza sobre la traducción de los clásicos japoneses.   Izu , hija esmerada al cuidado de un padre enfermo, había sido una estudiante de arte excepcional. Por encargo de su profesor, visita la célebre colección de arte del señor Murakami , hombre mayor, viudo y rico, de misteriosas costumbres y rodeado por el escándalo , quien de inmediato comienza a cortejarla. Si bien aquel encuentro termina en matrimonio, Izu no abandona sus aficiones artísticas y escribe un ensayo crítico que tendrá para ella graves consecuencias: el asombro de protectores y adversarios, una doble traición y una venganza minuciosamente urdida contra ella. Izu , que suele refugiarse al borde del estanque, toma un día una decisión terminante cuando cree ver el espectro de su marido agonizante en el momento en que, como ocurría a veces, una luz peculiar incidía sobre las aguas: destruir aquel exquisito jardín , aunque fuera el único rincón de la casa que aún le brindaba cierto goce entre tanta abnegada humillación.

Genres: Fiction, Novella, Spanish Literature

112 pages, Paperback

First published January 1, 2000

About the author

Mario Bellatin grew up in Peru as the son of Peruvian parents. He spent two years studying theology at the seminary Santo Toribio de Mogrovejo and graduated from the University of Lima. In 1987, Bellatin moved to Cuba, where he studied screenplay writing at the International Film School Latinoamericana. On his return to Mexico in 1995, he became the director of the Department of Literature and Humanities at the University of the Cloister of Sor Juana and became a member of the National System of Creators of Mexico from 1999 to 2005. He is currently the director of the School of Writers Dynamics in Mexico City.

Reviews

[Guille · Rating 4 out of 5]

Una narración breve (50 páginas) en el que cuenta cada palabra, cada frase, en el que cada párrafo encierra algo importante y todo se dice desde una estética minimalista muy acorde con este relato que bien pudiera ser una obra traducida del japonés, pero no lo es; que bien pudiera transcurrir en Japón, pero no lo hace; en el que los sentimientos apenas se hacen explícitos y aquellos que se expresan lo hacen siguiendo normas tradicionales estrictas y sin sentido o con un sentido ya olvidado, como los muchos rituales que deben seguirse hasta en los actos más íntimos y familiares.

Bellatin expresó en una entrevista lo siguiente: «Yo quiero lograr transitar por una realidad paralela a la cotidiana y que el lector se salga del mundo real y entre a este universo que no es el mundo de todos los días, deslavado y aburrido». Y es norma de la casa esa incursión en mundos casi idénticos al nuestro, donde sabemos que existe un Tokio o un NY aunque no sepamos donde transcurre el relato, donde luchan por la preeminencia artística y político-social dos grupos antagónicos como son los Conservadores radicales y los Modernos a Ultranza; donde los esponsales se sellan con ombligos de bebé; donde existen juegos ancestrales y clandestinos donde los participantes corren grave peligro de muerte; donde en años bisiestos se organizan cacería de orugas en las que llevar la cara desnuda es mala señal, como también lo es que una bombilla ilumine obras de arte antiguas; donde hay casas diseñadas con habitaciones para suicidas, ilusiones ópticas, fantasmas, presagios, sombras que ocultan o a las que nuestros ojos deben acostumbrarse para ver lo que desde allí nos mira. Un mundo en el que hay restaurantes en los que se ofrece la carne recién cortada de un pez que es devuelto descarnado pero vivo a una pequeña pecera que permanece sobre la mesa. “La comida debía durar el tiempo exacto que tardaba el pobre animal en nadar y morir.” (*)

En este escenario, Izu, una mujer que, sin romper de forma radical con la tradición más ortodoxa, se inclina por una apertura a nuevos caminos artísticos y sociales, es víctima de una cruel venganza por parte de su marido al que acepta inopinadamente tras una trascendental decepción.

Quizás no sea el mejor relato del autor, pero sí mi preferido.


(*) Esta desagradable e inquietante escena aparece también en otro relato del autor, BOLA NEGRA, relato que también pudiera haber sido una nota a pie de página más, de las muchas que contiene la narración de El jardín…, en la que se nos explicaría la cruel tradición por la cual los señores de una casa no podían llevar vida marital hasta que la servidumbre no perdiera el último de sus dientes y se unieran a la Caravana de los Seres Desdentados donde morirían de inanición. En este relato, el entomólogo Endo Hiroshi declara la guerra a su estómago tras soñar que este, con una descontrolada voracidad, hace desaparecer sus brazos y piernas.

[Caroline · Rating 4 out of 5]

This is a spectacular translation by Heather Cleary. And a marvelous, pitch-perfect work by Mario Bellatin. In the past I’ve read Bellatin translations through Phoneme Press. Now that Phoneme has been acquired by (adopted by?) Deep Vellum, apparently future Bellatin books are going to be published directly by Deep Vellum. I don’t care, as long as they keep coming, and in such excellent translations.

As usual, Bellatin has a couple of strange threads weaving through the book, throwing you off kilter intermittently. There is a strange game of stones, which at first seems as though it may be like go, then emerges as something that can be lethal. Sometimes it seems as though we are in Japan, but then at other times we’re aware that it is a place where a Japanese university is intact, but other parts of the environment are not in Japan. The reader is always unsure, uneasy. Just like the characters.

At the core of the story is the slowly growing awareness of the destructive relationship between Mrs. Murakami and her husband. All the while there is the delicate, indirect sense of a Japanese text. Bellatin maintains that building tension perfectly. You would swear you are reading a Japanese author, until you get the sudden sharp jokes that undermine what they proclaim. I imagine Ms Cleary must have had a great deal of fun translating ‘her’ Translator’s Note.

PS If you liked this, try Cleary's translation of Roque Larraquy's book, Comemadre.

[Mientras Leo · Rating 4 out of 5]

Pocas veces se ha escrito breve de una forma tan acertada.

[Emilia · Rating 4 out of 5]

Más un 3.5 para mí. Un relato muy interesante con hartos saltos temporales que se van complementando entre sí. Fue un libro que disfruté sobretodo por la manera en la que estaba escrita. Me deje llevar y creo que para eso me sirvio, para relajarme. Mi parte favorita fue la adenda del final.

[Gustavo Lozano · Rating 4 out of 5]

Es mi segundo libro de Bellatin, luego de “Salón de belleza”. Este, sin dudas, un homenaje a los escritores japoneses, y sobretodo a “El elogió de la sombra” , es un libro corto, ágil, y entretenido, con todo el oficio de un gran escritor. Da pie para seguir indagando en Bellatin.

[jeremy · Rating 3 out of 5]

ever enigmatic (and not infrequently confounding), mario bellatin's books are always a cerebral workout. the peruvian-mexican novelist composes works that may appear simple, but seldom ever are. whereas literary experimentalism can often be a navel-gazing slog, something about bellatin's writing (that is, something well beyond me) compels and entrances. like gazing upon a heretofore undiscovered creature which you're not entirely sure won't maul you if you approach any nearer, the curiosity and intrigue it provokes freezes you in place and forces you to forestall the flight impulse altogether.

bellatin's latest rendered into english, mrs. murakami's garden (el jardín de la señora murakami) is straightforward enough, until it isn't... of course making you realize it probably wasn't even ever at all. and then you get to the addendum. and then comes the translator's note (of playful complicity), which makes you wonder what the hell just happened.

there does not seem to be a single star around which bellatin orbits, but his planetary roguishness makes him all the more captivating to encounter. it's increasingly evident that mario bellatin is an interdimensional being here to upset all known literary conventions (good thing for us he's found publishers in this earthly realm).

science cannot explain why a thread of saliva dangles from the father's mouth when he appears to understand something, much less why it changes color over time.

*translated from the spanish by heather cleary (chejfec, larraquy, girondo, et al.)

[pablo · Rating 3 out of 5]

Una bella novelita. De Mario Bellatín destaco que siempre hay algo más detrás de la superficie. Una novela detrás de otra, una historia escondida, pero a la vista. La primera historia, sencilla, directa y sin gran profundidad, oculta un sentido más profundo, casi parabólico, que se va armando como un rompecabezas del que uno no conoce la imagen final. Esto, junto a su lenguaje juguetón y sencillo, hacen que sea difícil dejar de leer sus libros. Es un gran escritor.

Si no lo han leído, léanlo. Y a pesar de todo esto, recomiendo que lean Salón de Belleza, obra más solida y consistente que esta.

[Isabel · Rating 5 out of 5]

Siempre es un placer leer a Bellatin. El libro es precioso, si bien no tanto la sociedad que presenta. De todos modos lo amé.

[laladebombay · Rating 5 out of 5]

A Japanese story by a Mexican author of Peruvian descent, this is the story I had been waiting for 😭

Mario Bellatin's excellence is undisputed. When I started reading the story at 2 am last night, I wasn't expected to be thrown off guard and sucked into the narrative - that's exactly what happened.

This beautiful short novel was first published in Spanish in the year 2000. The English-speaking world is hopelessly lacking when it comes to translations (as compared to other European languages) but with publishers like Deep Vellum, there's still hope.

The story begins as a simple tale - a lady who's fucking pissed with her husband because his death wish was to see her maid's pale breasts. The story layers up and gets more and more absurd. The narrative is not linear. There's tonne of symbolism and hints and an entire list of things that the story doesn't care to explain- something that adds to the enigma of it all.

Important themes that are wonderfully done

▪︎Women - Marriage - Identity
▪︎Why are some of us more unlucky than ▪︎others
▪︎Repressed sexuality
▪︎Chronic illness and disability
▪︎Betrayal
▪︎Associating places/seasons/food with people

If you're looking for diversifying your reading experience, please add Bellatin to your list.

@deepvellum is publishing a new book by him in September and I can't wait.

[Carlos · Rating 2 out of 5]

Bellatin logra emular muy bien el estilo de un tipo de literatura japonesa. La historia de la vida romántica de una joven es narrada con el usual detalle prestado a su vida familiar, la dicotomía entre las tradiciones y la modernidad, el rumoreo de escándalos y las decisiones forzadas por una realidad inmisericorde. Aunque Bellatin innova en ciertos aspectos, como el salto entre el pasado y el presente/futuro, o en la incipiente aspiración profesional de la protagonista, estos elementos están subsumidos a la fidelidad hacia el estilo japonés en mente.

[Valerie · Rating 4 out of 5]

i’ve seen some reviews call this book quirky and honestly, that’s the best way to describe it.

this book has an interesting way of telling the timeline of the story and you have to remind yourself where you are. past? present? future? this also brings up a lot of questions like “why did that happen” or “what happened” and all of those questions get answered as you keep reading.

at first, i thought it was a story about a woman reflecting on the death of her husband but this turned into not only that, but of the revenge that underlines it all.

thank you to heather cleary for translating this book.

[Tom · Rating 5 out of 5]

Mario Bellatin is an author new to me but one who apparently has a least six previous books available in English translation. I’ll now make a point of tracking them down. Mrs. Murakami’s Garden exemplifies understated narration that allows the rhetorical effect of implication to knead each reader’s imagination into picturing the emotional ugliness implied. And this restrained, understated narration is a trait of much Japanese literature I’ve read. So in terms of simulating the rhetorical tone of (some) Japanese literature, Garden is a stunning success, especially in terms of (a) a Mexican writer imitating (b) a trait of Japanese literature that is (c) successfully conveyed from Japanese via Spanish into English.

In addition to that rhetorical nicety is the subtle twist that turns the protagonist, Izu, from liberal to conservative, yet pariah to all. The transformation is morally horrifying, even though nobody fundamentally changes—only our perceptions of them change because of where the logical conclusions of their worldviews lead them. Playing the long game is Mr Murakami’s standpoint, with sadistic humiliation as its goal.

In weird contrast to the cruelty of the end narrative are the author’s “Addenda” and the translator’s “Note,” which are brief exercises in absurdity. Together they seem to annul slow-burn seriousness of the story; but I suspect there are dots I’m failing to connect.

[Paula Vergara · Rating 3 out of 5]

Yo había leído de este autor "Salón de Belleza" y me encantó, pero esta novela es una historia escrita "al estilo asiático" y de alguna manera ironiza sobre el exceso de descripción intimista y luego no nos cuenta eventos importantes y que nos deja abrumados por nuestra mentalidad occidental que se obsesiona con el cierre de la historia, preguntándonos y bueno... ¿qué pasó?. Bien, entiendo el deseo de ironizar frente a tendencias de moda por la lectura asiática que puede ser exagerada en algunos casos, pero escribir una novela para eso... no hubiese bastado un cuento publicado en un periódico. Amelie Nothomb hace una crítica ácida muchísimo mejor con "Estupor y temblores" sobre la cultura japonesa. Resumen: Sentí que fue un libro que no me aportó nada. No es muy largo, gracias por eso, y por un rato te atrapa hasta que te das cuenta que no va hacia ningún lado.

[Antonio Rubio · Rating 3 out of 5]

Estoy un poco confundido. La historia es interesante y creo que, salvo Elizondo, ningún otro escritor ha logrado cristalizar esa influencia oriental como Bellatin aquí. Sin embargo, la manera de narrar me parece algo descuidada sobre todo en la segunda parte. Las notas a pie son innecesarias en varias ocasiones: si me interesara saber qué es el haikú, la novela debe motivarme a buscar el significado de esa palabra en un diccionario, no distraerme con notitas. Los personajes, salvo quizá Izu y en algún momento su madre, son aburridos y carecen de personalidad: me cuesta trabajo distinguirlos entre sí.

[Jon · Rating 5 out of 5]

A translation of a translation? There is a lot of funny business going on with authorial metaphysics towards the end of this novel, but putting that aside this is a carefully written book that deserves to be read carefully. The delicate web of ambiguity (so to speak) which is woven over this subtle tale of revenge I find to be vastly more interesting. Do you need to consider the author to find meaning in ambiguity? Why the distraction?

[Zach Werbalowsky · Rating 4 out of 5]

This book bends the internal time to its will. Moving through past and present, characters popping in and out. We see a picture of Mrs. Murakami (Izu) emerge in a non linear motion. An interesting read, if not a bit above my head. But it is a novella, not taking more than a day.

[Mihwa · Rating 3 out of 5]

This seemingly straightforward novella plays some tricks on the reader, and the interesting parts have almost nothing to do with the characters or plot. It's a quirky read.

[Moofish · Rating 3 out of 5]

A short novella that uses the deconstruction of an art garden to interrogate the deconstruction of one's own identity through literature--the narrator sprinkles in footnotes throughout that gradually become less explanatory and more about shedding doubt on the veracity of the narrator's cultural knowledge. The prose is unaffected, distant, and objective. Not much interiorizing, mostly a catalogue of slightly off-kilter characters interacting with art, Japan, and each other in slightly off-kilter ways. The narrator's Japan is almost whimsical, with many invented customs only further shadowing the factual core of the novella. But the narrator is clearly knowledgeable of the unimagined: he references Tanizaki with ease, he spins a yarn about an unnamed Nobel Laureate (Yasunari Kawabata) who can barely make it into the dining room of a restaurant and must eat dejectedly and pitifully in the entryway. The novella progresses through gesture and implication as the narrative and romantic strands begin fraying. This is to say the novella is commendable in its feel for the logic of Japanese literature. The main thematic critique here--the instability of identity formed mostly through distant, aesthetic consumption--is a bit too literal to truly worm into my brain here. You see this imagistically through the literal deconstruction of the garden and formally through the deconstruction of the bounds of knowledge themselves (the footnotes, the ambiguity), it's a deliberate and skillful work, but very ephemeral for my taste. Weirdly enough, this novella might have been a bit *too* legible?

[Reisse Myy Fredericks · Rating 5 out of 5]

An extremely singular (and hilarious) reading experience predicated on a critique of translational convention. The narrative itself feels secondary to the form, wherein commonly accepted Japanese terms (e.g., sushi, tatami, haiku) remain conspicuously italicized and are further estranged through Bellatin’s absurdist definitions of otherwise familiar words.

Likewise, his footnotes and epilogue parody academic structures: here, his own research is deliberately made to lead nowhere. A Latin American writer constructing a consciously “Orientalist” fiction in this way offers a fascinating experiment in world-building and translation alike, revealing how Japan is so often imagined, mediated, and mythologized through Western habits of reading.

I’m still searching for the vocabulary to fully articulate what Bellatin accomplishes here, but the project reminded me of Roberto Bolaño, as well as Valeria Luiselli’s “The Story of My Teeth” and the recent International Booker Prize winner “Taiwan Travelogue.” Kristina Carlson’s “Eunuch” also comes to mind.

[Mario Amaya · Rating 5 out of 5]

Otra magnífica novela de este señor quien, creo, entiende que si algo no tiene calidad literaria lo mejor es no dejarlo ver la luz. El relato se construye de forma espontánea, relatando eventos de manera natural, con una prosa exquisita y dinámica, como quien lee una variación de la prosa bolañiana. El narrador se vale de un evento, a priori, menor como lo es la muerte del esposo de la protagonista, la cual deja como consecuencia la necesidad de destruir un jardin. Esta pequeña anécdota será suficiente para comenzar a contarnos la vida de ella, cómo conoció a su esposo, los orígenes de éste y muchos otros detalles que una vez contados sirven como la médula de una novela entretenida, bien concebida, que se sostiene con su propio peso.

[Alan M · Rating 3 out of 5]

Rather an odd little book, this. Not at all sure that I quite grasped the intention behind the 'story'. It seems like a simple tale of a woman looking back on her life and marriage after the death of her husband, but the footnotes - and footnotes which then refer to other notes at the end of the book - suggest an editorial framing that may question the superficial meaning of the plot.

This was my first foray into the world of South American author Mario Bellatin, and it just left me a little flat.

[K's Bognoter · Rating 3 out of 5]

Mexicos enarmede litterære sørøver, Mario Bellatin, leger i Mrs. Murakami’s Garden med genrerne, med læseren og i det hele taget med den litterære bog som konstruktion. Det er som altid hos Bellatin ganske fermt gjort, men ikke helt på niveau med hans bedste udgivelser.
Læs hele min anmeldelse på K's bognoter: https://bognoter.dk/2021/04/06/mario-...

[Fanja Evers · Rating 4 out of 5]

Plus un 3,5/5 étoiles tout le long, mais l'additif à l'histoire en fin de livre m'a franchement réjouie !^^
En tout cas un roman japonais par un auteur mexicain d'origine péruvienne aux forte influences borgésiennes, ça vaut le détour.

[Claudette Germain · Rating 3 out of 5]

An odd little book and the addenda notes strange that made me thinking “is it a story based on fact or fiction?” It doesn’t really matter, as for the time I was read it, I was in Izu’s world...

[Melissa McElhose · Rating 5 out of 5]

So much subtext. Absolutely exquisite.

[Gráinne · Rating 3 out of 5]

Interesting and so many questions for the main character Izu. Such contrary and self-destructive behaviour.

[Amber]

A very quick read. Difficult to describe the point of it.

[Travis Rowe]

I was clearly not paying close enough attention when I started reading this book. I only had about 20 pages left when I had a 'Wait... What?' moment. Will need to re-read

[Carmen Campos Serrano · Rating 3 out of 5]

No he sabido encontrarle el sentido

[Mary]

Be sure and read the translator's notes at the end of the story!