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The Cafeteria in the Evening and a Pool in the Rain
Shortly before her marriage, a young woman meets a child and his father, whom she discovers one evening immersed in the contemplation of a school cafeteria. When the man tells her why the image of a dining hall in the evening evokes for him the memory of a swimming pool in the rain, melancholy sets in like a bond she will never be able to break...
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First published March 1, 1991
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About the author
Yōko Ogawa
138 books5,436 followersYōko Ogawa (小川 洋子) was born in Okayama, Okayama Prefecture, graduated from Waseda University, and lives in Ashiya. Since 1988, she has published more than twenty works of fiction and nonfiction. Her novel The Professor and his Beloved Equation has been made into a movie. In 2006 she co-authored „An Introduction to the World's Most Elegant Mathematics“ with Masahiko Fujiwara, a mathematician, as a dialogue on the extraordinary beauty of numbers.
A film in French, "L'Annulaire“ (The Ringfinger), directed by Diane Bertrand, starring Olga Kurylenko and Marc Barbé, was released in France in June 2005 and subsequently made the rounds of the international film festivals; the film, some of which is filmed in the Hamburg docks, is based in part on Ogawa's "Kusuriyubi no hyōhon“ (薬指の標本), translated into French as "L'Annulaire“ (by Rose-Marie Makino-Fayolle who has translated numerous works by Ogawa, as well as works by Akira Yoshimura and by Ranpo Edogawa, into French).
Kenzaburō Ōe has said, 'Yōko Ogawa is able to give expression to the most subtle workings of human psychology in prose that is gentle yet penetrating.' The subtlety in part lies in the fact that Ogawa's characters often seem not to know why they are doing what they are doing. She works by accumulation of detail, a technique that is perhaps more successful in her shorter works; the slow pace of development in the longer works requires something of a deus ex machina to end them. The reader is presented with an acute description of what the protagonists, mostly but not always female, observe and feel and their somewhat alienated self-observations, some of which is a reflection of Japanese society and especially women's roles within in it. The tone of her works varies, across the works and sometimes within the longer works, from the surreal, through the grotesque and the--sometimes grotesquely--humorous, to the psychologically ambiguous and even disturbing.
A film in French, "L'Annulaire“ (The Ringfinger), directed by Diane Bertrand, starring Olga Kurylenko and Marc Barbé, was released in France in June 2005 and subsequently made the rounds of the international film festivals; the film, some of which is filmed in the Hamburg docks, is based in part on Ogawa's "Kusuriyubi no hyōhon“ (薬指の標本), translated into French as "L'Annulaire“ (by Rose-Marie Makino-Fayolle who has translated numerous works by Ogawa, as well as works by Akira Yoshimura and by Ranpo Edogawa, into French).
Kenzaburō Ōe has said, 'Yōko Ogawa is able to give expression to the most subtle workings of human psychology in prose that is gentle yet penetrating.' The subtlety in part lies in the fact that Ogawa's characters often seem not to know why they are doing what they are doing. She works by accumulation of detail, a technique that is perhaps more successful in her shorter works; the slow pace of development in the longer works requires something of a deus ex machina to end them. The reader is presented with an acute description of what the protagonists, mostly but not always female, observe and feel and their somewhat alienated self-observations, some of which is a reflection of Japanese society and especially women's roles within in it. The tone of her works varies, across the works and sometimes within the longer works, from the surreal, through the grotesque and the--sometimes grotesquely--humorous, to the psychologically ambiguous and even disturbing.
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Displaying 1 - 19 of 19 reviews
June 27, 2019
This review contains my thoughts about the meaning behind this story. It is dedicated to those who have read this short story, and would like to think deeper about its significance.
The narrative of the man largely parallels what the main character is going through in her life. During the first encounter, the man discerns that the main character is going through some form of "anguish". This is despite the main character not willing to admit it herself; but by leaving the question hanging in the air, the answer is implicit, even if she doesn't go into the details. The main character's anguish relates to her impending marriage with an older man which doesn't seem promising, because of various factors including society's rejection of that notion. It seems that in some weird way, this prompts the man to find a way to help the main character resolve her anxiety in the later encounters.
On the third occasion where they meet, the man reveals his own anxiety in his childhood. These relate to his bad experience at the pool, coupled with the traumatizing sight of the way food is being prepared at his school cafeteria. But he also reveals how he got over his own anxiety when his grandfather took him to the secret place where there's this old chocolate confectionery. It's not mentioned explicitly, but I believe he got over his eating disorder after feeling desire to eat chocolate again. It's significant that his traumatizing experience with the cafeteria occurred prior to the afternoon. This is in contrast to the reference to the cafeteria in the evening - during the gap between afternoon and night is when he symbolically gets over his anxiety, hence him referring to it making think of his long rite of passage.
I'm not sure of the second encounter's significance, so I'm extrapolating here. I think that despite how watching the cafeteria makes him recount bad memories, he still sticks through it because of his child's absurd fascination with cafeterias when the child is in a bad mood. And this symbolises how the child has become the replacement for the old chocolate confectionery here - something to hold on to, despite the anxiety. At the same time, it helps that the cafeteria has since evolved to become more hygienic compared to the past, which Ogawa seems to spend quite a lot of time elaborating on during the second encounter. It helps to serve as a contrast to the man's bad memories in his past, and remind him of how times have changed since then. So after these encounters with the man, the main character finally gets over her anxiety. She realises that her equivalent of the chocolate confectionery is her attachment to her husband-to-be, as symbolized by the telegram message "Good Night".
Again, it's unclear who the man and the kid are. It is similarly unclear why the man and the kid showed up at the main character's door in the first place. It's apt to quote the man here (although he said it in a different context): "Perhaps it's some strange complex circuit that's impossible for us to imagine"; and the main character too ("The fact that I didn't [ask them to leave] probably had something to do with the peculiar aura they seemed to emit). I think that fate caused them to meet each other at this particular point of time, which helped the main character to get through her own anxiety and solidify her decision to marry her husband.
This story may be short, but it's one of the stories which prompts the reader to think deeper about what the different intricacies really mean. It was an enjoyable read.
The narrative of the man largely parallels what the main character is going through in her life. During the first encounter, the man discerns that the main character is going through some form of "anguish". This is despite the main character not willing to admit it herself; but by leaving the question hanging in the air, the answer is implicit, even if she doesn't go into the details. The main character's anguish relates to her impending marriage with an older man which doesn't seem promising, because of various factors including society's rejection of that notion. It seems that in some weird way, this prompts the man to find a way to help the main character resolve her anxiety in the later encounters.
On the third occasion where they meet, the man reveals his own anxiety in his childhood. These relate to his bad experience at the pool, coupled with the traumatizing sight of the way food is being prepared at his school cafeteria. But he also reveals how he got over his own anxiety when his grandfather took him to the secret place where there's this old chocolate confectionery. It's not mentioned explicitly, but I believe he got over his eating disorder after feeling desire to eat chocolate again. It's significant that his traumatizing experience with the cafeteria occurred prior to the afternoon. This is in contrast to the reference to the cafeteria in the evening - during the gap between afternoon and night is when he symbolically gets over his anxiety, hence him referring to it making think of his long rite of passage.
I'm not sure of the second encounter's significance, so I'm extrapolating here. I think that despite how watching the cafeteria makes him recount bad memories, he still sticks through it because of his child's absurd fascination with cafeterias when the child is in a bad mood. And this symbolises how the child has become the replacement for the old chocolate confectionery here - something to hold on to, despite the anxiety. At the same time, it helps that the cafeteria has since evolved to become more hygienic compared to the past, which Ogawa seems to spend quite a lot of time elaborating on during the second encounter. It helps to serve as a contrast to the man's bad memories in his past, and remind him of how times have changed since then. So after these encounters with the man, the main character finally gets over her anxiety. She realises that her equivalent of the chocolate confectionery is her attachment to her husband-to-be, as symbolized by the telegram message "Good Night".
Again, it's unclear who the man and the kid are. It is similarly unclear why the man and the kid showed up at the main character's door in the first place. It's apt to quote the man here (although he said it in a different context): "Perhaps it's some strange complex circuit that's impossible for us to imagine"; and the main character too ("The fact that I didn't [ask them to leave] probably had something to do with the peculiar aura they seemed to emit). I think that fate caused them to meet each other at this particular point of time, which helped the main character to get through her own anxiety and solidify her decision to marry her husband.
This story may be short, but it's one of the stories which prompts the reader to think deeper about what the different intricacies really mean. It was an enjoyable read.
This entire review has been hidden because of spoilers.
January 6, 2020
soft, ethereal, lovely. the calmness of a quiet song playing on a rainy night, coming from nowhere yet from everywhere around you
October 17, 2022
Listened to the story on The New Yorker Fiction podcast. Lovely.
November 10, 2025
2 récits très calmes et paisibles à l’image de la littérature japonaise que j’ai eu l’occasion de lire jusqu’à présent. Cette univers propice à la réflexion nous amène vers la mémoire, la nostalgie et leurs pouvoirs.
J’ai apprécié le style d’écriture et la sérénité qui s’en dégageait.
Parfait pour ceux qui recherchent une lecture concise et apaisante.
J’ai apprécié le style d’écriture et la sérénité qui s’en dégageait.
Parfait pour ceux qui recherchent une lecture concise et apaisante.
December 5, 2024
nobody short story’s like ogawa short story’s
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November 10, 2022Text at https://www.newyorker.com/magazine/20...
Audio at New Yorker Fiction podcast Oct 1st 2022
I just listened to Yōko Ogawa's story The Cafeteria in the Evening and a Pool in the Rain on the New Yorker Fiction Podcast Oct 1st 2022 . The podcast audio is read by Madelaine Thien. For me here voice took a little getting used to, I found it too soft, airy, and had to grind my teeth a bit, but I persevered and acclimatized enough to enjoy the story. What was excellent was the discussion Thien and the podcast host Deborah Treisman had about the story afterwards. One to recommend I think.
Audio at New Yorker Fiction podcast Oct 1st 2022
I just listened to Yōko Ogawa's story The Cafeteria in the Evening and a Pool in the Rain on the New Yorker Fiction Podcast Oct 1st 2022 . The podcast audio is read by Madelaine Thien. For me here voice took a little getting used to, I found it too soft, airy, and had to grind my teeth a bit, but I persevered and acclimatized enough to enjoy the story. What was excellent was the discussion Thien and the podcast host Deborah Treisman had about the story afterwards. One to recommend I think.
August 11, 2022
lovely stories but not my favorite by the author.
January 5, 2023
This is currently my favorite story in the world.
“Do I absolutely have to answer? I’m not sure I see any link between you and me and your question. I’m here, you’re there, and the question is floating between us—and I don’t see any reason to change anything about that situation. It’s like the rain falling without a thought for the dog’s feelings.” I looked down, running my finger over the spots of paint on my clothes.
To listen to Madeleine Thien read this one is a fairly rapturous experience. I do it all the time:
https://www.newyorker.com/podcast/fic...
“Do I absolutely have to answer? I’m not sure I see any link between you and me and your question. I’m here, you’re there, and the question is floating between us—and I don’t see any reason to change anything about that situation. It’s like the rain falling without a thought for the dog’s feelings.” I looked down, running my finger over the spots of paint on my clothes.
To listen to Madeleine Thien read this one is a fairly rapturous experience. I do it all the time:
https://www.newyorker.com/podcast/fic...
October 28, 2019
This was really good. I love Ogawa's writing, it is so vivid. I genuinely felt the darkness and atmosphere of the rainy day. I found the story interesting as well. Looking forward to reading more of her books
April 25, 2025
Rating: 3,5. Dois contos muito fluidos, evanescentes, poéticos. Contrariamente ao habitual a nota excêntrica ou fantástica não é muito vincada. O segundo, "Un Thé qui ne Refroidit pas", parece-me muito mais conseguido do que aquele que dá o título ao livro.
September 20, 2019
une douceur à lire
June 4, 2023
liminal slay
July 8, 2024
‘Nhà ăn chiều tối và hồ bơi trong mưa.’
Bản dịch mượt mà, câu chuyện dịu dàng.
Bản dịch mượt mà, câu chuyện dịu dàng.
July 18, 2024
It was comforting. A perfect read on a pleasant evening.
April 29, 2025
1. Le Réfectoire Un Soir Et Une Piscine Sous La Pluie
I found this short story interesting, but I feel like Ogawa rushed the ending, as it ends very abruptly, which could be intended. It tackles the indelible mark that childhood shame and fear leave, even after decades.
2. Un Thé Qui Ne Refroidit Pas
In her signature style, Ogawa tells a tale where the notion of time is blurred. Remembrance and memory are once again at the core of the short story-through death, love and secretive envy.
I found this short story interesting, but I feel like Ogawa rushed the ending, as it ends very abruptly, which could be intended. It tackles the indelible mark that childhood shame and fear leave, even after decades.
2. Un Thé Qui Ne Refroidit Pas
In her signature style, Ogawa tells a tale where the notion of time is blurred. Remembrance and memory are once again at the core of the short story-through death, love and secretive envy.
May 4, 2022
de nuevo, todo es poesía
May 26, 2017
Deux nouvelles très sympathiques qui permettent de découvrir l'auteur même si, n'ayant lu que ces nouvelles, je pense que ce ne soit pas les meilleurs écrits de Yôko Ogawa. Néanmoins, j'ai énormément envie de découvrir cette auteure!
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July 27, 2011beau.... calme....... doux.... tendre.....
Displaying 1 - 19 of 19 reviews