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又怎样
推理小說作者坂井正夫於七月七日晚間七點，於自宅服毒身亡。
室內反鎖形成密室，事件並未造成社會轟動，僅僅被當作厭世自殺處理。
平素委託坂井處理出版雜務的書籍編輯中田秋子，事實上是坂井的戀人。秋子對於之前在坂井住處偶遇的神秘美女耿耿於懷，加上坂井死前提過，自己將會收到鉅款，秋子不禁懷疑這一切是否有不為人知的隱情。
另一方面，報導作家津久見伸助應雜誌社之邀，欲將曾是同人雜誌夥伴的坂井之死寫成報導，正在進行調查時，坂井好不容易發表的作品，竟爆發抄襲某知名作家的嫌疑，津久見開始追查與坂井素有嫌隙的編輯柳澤邦夫，沒想到卻發現柳澤的妹妹因坂井而死，柳澤有充分殺害坂井的動機……
究竟坂井之死的真相為何？
秋子與津久見抽絲剝繭後，又將從坂井身上發掘出怎樣的秘密？
麦家、鹦鹉史航、马伯庸、雷米、周浩晖 都推崇的作家：
近年天涯唯一点击量过千万的推理大神、天涯十佳作者，紫金陈
最新最霸气最值得期待的系列作品，网上读不到的，“推理之王”第1部
连环杀人，借尸布局，他说杀人是为了救人，你信吗？
冷血罪行背后，却是一颗被爱和恨啃噬了十年的心。
曾经至真至善，如今至忍至狠，看一个地狱中的男人，如何从业火中救赎！
不纯属虚构，勿对号入座！
不能一次读完，请来抓我！
18岁以下，请在家长陪同下阅读
繁华都市，命案频发。凶案现场，罪犯总是故意留下一枚指纹和一张字条——“请来抓我”，除此之外，没有丝毫破绽。 面对如此高调的连环杀手，专案组成立四次又解散四次，毫无头绪，只能求助于数理逻辑专家严良，这桩悬案，疑难如一道无解方程，他该如何着手解密？精心布置这一场无证之罪的真凶，为何总是故意留下线索？这是一场巨大的阴谋还是一个陷阱，亦或...
(展开全部)
年資尚淺的檢察官沖野啟一郎終於如願以償，能和研習時的恩師最上毅一起工作，最上對案件的直覺和心證，每每讓沖野驚訝萬分。然而，在最新的案件中，沖野卻發現自己似乎對最上的偵辦方向和操作感到困惑，而最上，甚至光憑零碎不全的線索，便完美細膩地重組了案發過程……
→直木奖获奖作家桐野夏生的推理力作：战争是一个怪物，它告诉我们，除了活着其他又能怎样？
————————
【内容介绍】
→在日本林芙美子是一位备受争议的女作家，直到现在她的经历仍会勾起无数创作者的兴趣。本书虽以林芙美子的第一人称视角讲述，却是桐 野夏生在研究 林芙美子的生平后，以推理小说手法创作的长篇小说。情节复杂深刻，又充满悬念。
一切都从林芙美子的丈夫绿敏藏在油画背后的一份文稿开始……
在战争期间，许多作家被日本政府征用，被迫为日本的侵略战争写歌功颂德的文章，林芙美子也在其中，她被派往遥远的爪哇。
在这样危险而残酷的旅途中，林芙美子渐渐发现政府的谎言和战争的真面目，她和情人谦太郎之间也爆发了始料不及的危机。
这份藏匿的文稿记录了这段经历，然而随着林芙美子和绿敏的先后离世，它究竟是小说还是真实的回忆录，就成了一个永远的秘密。
室內反鎖形成密室，事件並未造成社會轟動，僅僅被當作厭世自殺處理。
平素委託坂井處理出版雜務的書籍編輯中田秋子，事實上是坂井的戀人。秋子對於之前在坂井住處偶遇的神秘美女耿耿於懷，加上坂井死前提過，自己將會收到鉅款，秋子不禁懷疑這一切是否有不為人知的隱情。
另一方面，報導作家津久見伸助應雜誌社之邀，欲將曾是同人雜誌夥伴的坂井之死寫成報導，正在進行調查時，坂井好不容易發表的作品，竟爆發抄襲某知名作家的嫌疑，津久見開始追查與坂井素有嫌隙的編輯柳澤邦夫，沒想到卻發現柳澤的妹妹因坂井而死，柳澤有充分殺害坂井的動機……
究竟坂井之死的真相為何？
秋子與津久見抽絲剝繭後，又將從坂井身上發掘出怎樣的秘密？
麦家、鹦鹉史航、马伯庸、雷米、周浩晖 都推崇的作家：
近年天涯唯一点击量过千万的推理大神、天涯十佳作者，紫金陈
最新最霸气最值得期待的系列作品，网上读不到的，“推理之王”第1部
连环杀人，借尸布局，他说杀人是为了救人，你信吗？
冷血罪行背后，却是一颗被爱和恨啃噬了十年的心。
曾经至真至善，如今至忍至狠，看一个地狱中的男人，如何从业火中救赎！
不纯属虚构，勿对号入座！
不能一次读完，请来抓我！
18岁以下，请在家长陪同下阅读
繁华都市，命案频发。凶案现场，罪犯总是故意留下一枚指纹和一张字条——“请来抓我”，除此之外，没有丝毫破绽。 面对如此高调的连环杀手，专案组成立四次又解散四次，毫无头绪，只能求助于数理逻辑专家严良，这桩悬案，疑难如一道无解方程，他该如何着手解密？精心布置这一场无证之罪的真凶，为何总是故意留下线索？这是一场巨大的阴谋还是一个陷阱，亦或...
(展开全部)
年資尚淺的檢察官沖野啟一郎終於如願以償，能和研習時的恩師最上毅一起工作，最上對案件的直覺和心證，每每讓沖野驚訝萬分。然而，在最新的案件中，沖野卻發現自己似乎對最上的偵辦方向和操作感到困惑，而最上，甚至光憑零碎不全的線索，便完美細膩地重組了案發過程……
→直木奖获奖作家桐野夏生的推理力作：战争是一个怪物，它告诉我们，除了活着其他又能怎样？
————————
【内容介绍】
→在日本林芙美子是一位备受争议的女作家，直到现在她的经历仍会勾起无数创作者的兴趣。本书虽以林芙美子的第一人称视角讲述，却是桐 野夏生在研究 林芙美子的生平后，以推理小说手法创作的长篇小说。情节复杂深刻，又充满悬念。
一切都从林芙美子的丈夫绿敏藏在油画背后的一份文稿开始……
在战争期间，许多作家被日本政府征用，被迫为日本的侵略战争写歌功颂德的文章，林芙美子也在其中，她被派往遥远的爪哇。
在这样危险而残酷的旅途中，林芙美子渐渐发现政府的谎言和战争的真面目，她和情人谦太郎之间也爆发了始料不及的危机。
这份藏匿的文稿记录了这段经历，然而随着林芙美子和绿敏的先后离世，它究竟是小说还是真实的回忆录，就成了一个永远的秘密。
392 pages, Paperback
First published January 1, 2010
12 people want to read
About the author
Natsuo Kirino
96 books2,804 followersNATSUO KIRINO (桐野夏生), born in 1951 in Kanazawa (Ishikawa Prefecture) was an active and spirited child brought up between her two brothers, one being six years older and the other five years younger than her. Kirino's father, being an architect, took the family to many cities, and Kirino spent her youth in Sendai, Sapporo, and finally settled in Tokyo when she was fourteen, which is where she has been residing since. Kirino showed glimpses of her talent as a writer in her early stages—she was a child with great deal of curiosity, and also a child who could completely immerse herself in her own unique world of imagination.
After completing her law degree, Kirino worked in various fields before becoming a fictional writer; including scheduling and organizing films to be shown in a movie theater, and working as an editor and writer for a magazine publication. She got married to her present husband when she turned twenty-four, and began writing professionally, after giving birth to her daughter, at age thirty. However, it was not until Kirino was forty-one that she made her major debut. Since then, she has written thirteen full-length novels and three volumes of collective short stories, which are highly acclaimed for her intriguingly intelligent plot development and character portrayal, and her unique perspective of Japanese society after the collapse of the economic bubble.
Today, Kirino continues to enthusiastically write in a range of interesting genres. Her smash hit novel OUT (Kodansha, 1997) became the first work to be translated into English and other languages. OUT was also nominated for the 2004 MWA Edgar Allan Poe Award in the Best Novel Category, which made Kirino the first Japanese writer to be nominated for this major literary award. Her other works are now under way to be translated and published around the world.
After completing her law degree, Kirino worked in various fields before becoming a fictional writer; including scheduling and organizing films to be shown in a movie theater, and working as an editor and writer for a magazine publication. She got married to her present husband when she turned twenty-four, and began writing professionally, after giving birth to her daughter, at age thirty. However, it was not until Kirino was forty-one that she made her major debut. Since then, she has written thirteen full-length novels and three volumes of collective short stories, which are highly acclaimed for her intriguingly intelligent plot development and character portrayal, and her unique perspective of Japanese society after the collapse of the economic bubble.
Today, Kirino continues to enthusiastically write in a range of interesting genres. Her smash hit novel OUT (Kodansha, 1997) became the first work to be translated into English and other languages. OUT was also nominated for the 2004 MWA Edgar Allan Poe Award in the Best Novel Category, which made Kirino the first Japanese writer to be nominated for this major literary award. Her other works are now under way to be translated and published around the world.
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Displaying 1 of 1 review
February 8, 2021
An old cliche about war states that it is long periods of boredom punctuated by brief moments of sheer terror. Based on recently discovered wartime notes written by novelist Fumiko Hayashi (https://en.wikipedia.org/wiki/Fumiko_...), "Nani ka Aru" reproduces this in the form of a war memior that opens a window on the relationships between journalists, novelists and the Japanese war propaganda bureau.
This review is of the 2010 Japanese pocketbook edition.
In "Nani ka Aru," Hayashi records her memiors during a short span in June of 1943. She has just returned from an eight-month stint in Singapore, Malaysia and Indonesia. Conscripted by the Japanese military government together with other women writers, Hayashi's assignment was to write positive reports about life in its occupied territories. Prohibited from keeping notes, Hayashi put her recollections on paper while they are still fresh.
Intended to be complete recollections, portions of "Nani ka Aru" are sometimes painfully detailed, such as a recounting of all of members of her contingent of writers together with their affiliations.
Hayashi is a free spirit not all that troubled by rumors of her extramarital affairs. In a 1937 stint as a Mainichi reporter following the Japanese invasion of Wuhan, she jumps to the Asahi Shimbun and discovers a taste for being on the front lines in battle. The heart of the novel is her love for Kentaro Saito, a reporter for the Mainichi Shimbun. But this isn't clear in the early chapters.
The title "Nani ka Aru" poses a riddle about the unfolding story. Directly translated as "Something is There," the reader suspects some form of mystery to be uncovered. This hook is set by an early scene set at a stadium in which a stranger tells her that the playing ground hides a mass grave of overseas Chinese who were massacred by the Japanese military. Later in the novel an alternate translation of the title becomes apparent, "Something Alcoholic." Hayashi's lover Saito has decended into alcoholism. Here, instead of being the verb "to be," 'aru' is an abbreviation of 'arukohru' meaning 'alcohol.' The reason for his alcoholism, the real plot of the novel, and Hayashi's main role in Japan's propaganda machinery then begin to reveal themselves. The final chapter is an eyebrow raiser in which Hayashi resumes her free spirited life in wartime Japan.
This review is of the 2010 Japanese pocketbook edition.
In "Nani ka Aru," Hayashi records her memiors during a short span in June of 1943. She has just returned from an eight-month stint in Singapore, Malaysia and Indonesia. Conscripted by the Japanese military government together with other women writers, Hayashi's assignment was to write positive reports about life in its occupied territories. Prohibited from keeping notes, Hayashi put her recollections on paper while they are still fresh.
Intended to be complete recollections, portions of "Nani ka Aru" are sometimes painfully detailed, such as a recounting of all of members of her contingent of writers together with their affiliations.
Hayashi is a free spirit not all that troubled by rumors of her extramarital affairs. In a 1937 stint as a Mainichi reporter following the Japanese invasion of Wuhan, she jumps to the Asahi Shimbun and discovers a taste for being on the front lines in battle. The heart of the novel is her love for Kentaro Saito, a reporter for the Mainichi Shimbun. But this isn't clear in the early chapters.
The title "Nani ka Aru" poses a riddle about the unfolding story. Directly translated as "Something is There," the reader suspects some form of mystery to be uncovered. This hook is set by an early scene set at a stadium in which a stranger tells her that the playing ground hides a mass grave of overseas Chinese who were massacred by the Japanese military. Later in the novel an alternate translation of the title becomes apparent, "Something Alcoholic." Hayashi's lover Saito has decended into alcoholism. Here, instead of being the verb "to be," 'aru' is an abbreviation of 'arukohru' meaning 'alcohol.' The reason for his alcoholism, the real plot of the novel, and Hayashi's main role in Japan's propaganda machinery then begin to reveal themselves. The final chapter is an eyebrow raiser in which Hayashi resumes her free spirited life in wartime Japan.
Displaying 1 of 1 review