Der zerbrochene Schmetterling

by Yōko Ogawa, Ursula Gräfe (Translator), Kimiko Nakayama-Ziegler (Translator)

Jeden Tag sitzt Aya auf der Tribüne eines Schwimmbades und beobachtet, wie Jun vom Zehnmeterturm Kunstsprünge vollführt. Die beiden sind zusammen im Waisenhaus aufgewachsen und einander so nah, wie nur Geschwister es sein können. Doch dann tritt plötzlich etwas Fremdes an die Stelle des Vertrauten, ein mächtiges, quälend schönes Begehren, das Aya bald nicht mehr kontrollieren kann.
Stets sind es Beziehungen unter falschen Vorzeichen, anhand derer Yôko Ogawa die unergründliche Triebkraft menschlicher Empfindungen beschreibt: die lähmende Fremdheit, die eine Schwangere plötzlich ihrem Mann gegenüber empfindet, die Zuneigung zum Bruder, die sich erst im Moment des Abschiednehmens offenbart, oder die subtile Lust, mit der ein unglücklich verliebtes Mädchen einen Säugling quält. Mit der schwebenden Leichtigkeit ihrer Sprache verwischt Yôko Ogawa die Grenze zwischen Illusion und Wirklichkeit und lässt eine Welt voller Magie und naiver Gewalt entstehen.

Genres: Japan

192 pages, Hardcover

First published August 20, 2007

About the author

Yōko 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.