Selamat Datang di Museum Penyiksaan. Keempat cerita yang ada di dalam buku ini ditulis oleh penulis-penulis perempuan terkemuka baik di Jepang maupun di dunia. Selamat Datang di Museum Penyiksaan karya Yoko Ogawa, Hilang karya Hiromi Kawakami, Elevator karya Kono Taeko, dan Kobaran Api karya Yuko Tsushima, memiliki dan menggambarkan dunianya masing-masing—dunia yang aneh, penuh misteri, dan terkadang tak terpahami, dunia yang menimbulkan kecurigaan sekaligus decak kagum kepada penulisnya.
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.
Buku ini tipis aja isinya cm empat cerita tapi disampaikan dengan padat & intens. Ada kisah soal perempuan yg bertetangga dgn unit TKP pembunuhan, ia tak merasa itu hal yang mengerikan namun membuatnya heran. Kenapa ia tak pernah tahu ada pembunuhan di lantai atasnya? padahal ia hidup disitu setiap hari, apakah ia se-abai itu pada sekitarnya? Di bagian museum penyiksaan lebih menyoroti soal bagaimana ketakutan yang ia rasakan berubah menjadi rasa penasaran, seperti apa orang-orang yang sdh mengalami alat-alat ini? apa mrk mati, hidup tapi trauma atau bagaimana?
Kesan saya buku ini mencoba mengantarkan perspektif soal rasa takut pada perempuan yang tidak selamanya datang dari lingkungan sekitarnya yang mengerikan tapi juga dari dalam dirinya sendiri. Ketika mereka larut pada rasa penasaran, keheranan, rasa ingin tahu & pikirannya sendiri.
Cerita yang dibawakan oleh empat penulis perempuan asal Jepang terasa menarik dengan mengangkat aspek kehidupan sehari-sehari dari tokoh utama perempuan. Sisi-sisi perasaan yang terpendam dan akhirnya menguap diceritakan dengan baik oleh para penulis.