If you thought Misery was dismayingly violent, Audition isn't for you. Read this when you have time to finish it in one sitting.Ī warning for readers not familiar with Ryu Murakami, however, is in order. Murakami is one of the few writers where the reader accepts that it's entirely possible that all characters will die. You know who the bad guy is and who the victim is for the entire book and yet are driven to turn the next page and the next in order to see exactly how this will play out and if anyone will survive. Every character is fully realized and authentic. He doesn't introduce distractions or humor to let the reader breathe. It's not a case of if she'll flip out but when and how. Actually, every scene after they meet seems perilous, even when Yamasaki isn't present. I shook my head multiple times in disbelief until he redeemed himself (view spoiler) Įvery scene between Aoyama and Yamasaki is dripping with suspense. The only thing that matters is that they meet and Aoyama allow his besottedness to blind him to common sense and Yoshikawa's reasonable cautionary advice.
The elaborate set-up of fake auditions Aoyama and his best friend, Yoshikawa devise seems to forecast that the cause of Yamasaki's ultimate vengeance will be the morally questionable nature of the auditions, but the initial manner of Aoyama's and Yamasaki's introduction turns out to have zero relevance to subsequent events. From maybe the tenth page forward, it's clear that no good will come of the obsession Aoyama, a Tokyo-based, widowed documentary film-maker and father to Shige, his teen son, develops for Yamasaki, the lovely, elegant and single former-ballet dancer with a troubled childhood. The elaborate set-up of fake auditions Aoyama and his best friend, Yoshikawa devise seems to forecast tha Murakami doesn't believe in boundaries, so if you expect an author to pull his punches, keep on moving past Audition. Murakami doesn't believe in boundaries, so if you expect an author to pull his punches, keep on moving past Audition.
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