On Barry Eisler’s A Clean Kill in Tokyo

A Clean Kill in Tokyo Cover

I bought Barry Eisler’s A Clean Kill in Tokyo on a whim when it was recently on sale at Audible as part of the “Series Sale”, where they put on sale the first two or three books that part of a series. (Not a bad idea to hook people into eventually buying or using their credits on the remaining books.) I had never heard of Eisler, and at the risk of exposing my innate snobbery, I would normally never give these books the time of day, but the Tokyo setting and the “half-Japanese, half-American” protagonist had me intrigued. I was also not sufficiently put off by the quality of the narration afforded me by Audible’s sample, and seeing as they were priced at around $6 each, ended up buying the first three books in the series.

Eisler turned out to be more than competent in reading his own work, playing up the hard-boiled nature of his prose to good effect. I do admit to Googling Eisler before I hit the “Buy” button, and reading the phrase “…worked in Japan for Matsushita” on his Wikipedia page was enough to give me hope he wouldn’t be making some cringe-worthy pronunciation mistakes or “Japan is so weird”-ing Japan.

I instantly found the book a very likable experience. The book is written in the first person, and the main character (assassin for hire John Rain) is sufficiently jaded and heartless for my liking, wracked by demons caused by his upbringing — being bullied as a kid out of his element in small-town America after his father was killed when he was a child — or the Vietnam War, where he did appropriately nasty covert shit. (According to Eisler’s bio, he spent three years with the CIA training in covert activities before after university.) Yet he also has his assassin’s code (no hits on women or children, for example), loves jazz, and lets himself get involved with the daughter of one of his targets whose assassination on the Yamanote Line opens the novel.

The book’s narration is suffused with Rain’s inner thoughts and a running commentary on anything and everything seemingly. It feels a bit like Holden in A Catcher in the Rye, or Max Payne in the Rockstar video game series. The scene where he’s angling to accidentally run into jazz pianist Midori so that she doesn’t become wise to the fact that he’s been following her all this time, and their subsequent conversation, is one that particularly stands out. 

The book also goes fairly deep into the arcane politics of post-war LDP-dominated Japan, the rampant corruption and back-room dealing, and the intertwining of industry, mainly construction, the government, and the yakuza. While I understand the rough outlines of all that to know that Eisler knows of what he writes, a lot of it is so convoluted that it was hard to follow (the audiobook format is a bit to blame here I think). Eisler also delves far more into the shadier parts of American and CIA involvement in Vietnam that I would have expected, and having read my fair share of Vietnam War histories, this too felt spot on. 

The book is so well grounded in this political and historical milieu that it makes you start to wonder if what ought to be just plot points so the book stays in genre — that is, assassinations of government ministers meant to look like natural deaths, or the murdering of American print journalists so they can’t reveal any of the corruption (which of course the Japanese press wouldn’t touch) —  could actually be going on in today’s Tokyo. (On his website Eisler points to a New York Times story about devices that attack a target’s pacemaker so that the death looks natural. Yikes!)

Eisler ends the book with an audiobook-exclusive “author’s note” of sorts, and it’s delightful and not something I’ve ever heard before. He acknowledges that in two instances he took license with the location of a place, and directs us to his website for more ephemera about Tokyo and his books. His site is one of the better author sites I’ve seen, I have to say, with extras like “John Rain’s Top Ten Jazz Albums You Might Not Have Heard Of” and “Personal Safety Tips from Assassin John Rain”, as well as photos of Eisler from his Tokyo days. He also has a very in-depth page of errata which warms my heart for some unexplained reason. 

Highly recommended. I’m looking forward to starting the next John Rain book in the series soon.

Getting hooked on audiobooks

headphonesAny geek like myself who listens to podcasts has probably heard the advertisements for Audible.com, the Amazon property that sells audiobooks. Their ads seem to have become a fixture on these podcasts, naturally enough since people who listen to podcasts are likely to be the most predisposed to listening to books narrated for them.

After remaining mostly oblivious to these ads — indeed fast-forwarding past these same-sounding ones most of the time — they eventually tempted me enough to sign up for a trial Audible membership. Now, some three months later, it’s hard for me to imagine letting my membership lapse, so hooked have I become on audiobooks.

I had not only been oblivious to the ads but to the audiobooks themselves. Once in a while I would see a passing mention on a blog or somewhere to “listening to The Da Vinci Code while traveling cross-country” and similar, but those little sparks never took alight. And podcasts — well, I’ve been listening to those from not much longer after that word was birthed (2004 according to Wikipedia). But to listen to a book? It simply never occurred to me, or if it did, it never seemed like something I could, or would want to, do. Now, I have that how could I have not known about this before feeling commonly experienced when becoming attached or obsessed with something that heretofore barely registered in the consciousness.

Now, I’m a book lover but not necessarily a reading lover — I read more slowly than molasses and with an attention span prone to distractions that gets worse as I get older — so audiobooks solve or alleviate a couple of problems I experience with physical books:

Convenience

My commute is a short one (door-to-door, 35-40 minutes), and involves two walks (home-to-station, station-to-office), three different trains, and three shortish waits on platforms. It’s a stop-start journey not conducive to reading a book (the printed kind). Also, some of those trains are too crowded with fellow commuters to allow one to hold a book comfortably and you can forget about holding anything other than a slim-ish paperback at that. So, roughly 20-plus minutes of distracted, stop/start book reading versus 35-40 minutes of more or less seamless audiobook listening — there’s no contest really, the audiobook wins hands down.

Space Saving But Not Necessarily Cost Saving

Audiobooks also have great potential to help me cure — or maybe curb is the better word — my predilection for buying books, books I often end up not reading. I recently learned that there is a Japanese word for this affliction, tsundoku (積ん読), which Sanseido’s Wisdom dictionary defines as “buying books and just piling them up without reading”. (On a side note, Japanese does seem to contain some very specific words and phrases that fit me to a tee — mikka bouzu (三日坊主) is another.)

Japanese photo booksNow you would think that being in Japan without easy access to English-language books would have reigned in this bad habit, but the reality is that when I’m on vacation back in the States, or through various “book fairs” here where book importers sell-off remaindered titles for very reasonable prices, not to mention the availability of any book through Amazon Japan (with free shipping no less), my unread book collection rivals the one I (shudder) got rid of when I moved here 11 years ago from San Francisco. And, being an online purveyor of Japanese photo books, I now have an equally impressive collection of photography books the shelves are quite literally heaving.

That said, the audiobook listener is not immune from the dangers of having eyes bigger than one’s stomach. Because of the way the Audible membership plan I’m on works out, I get one “credit” per month to spend on any book I choose, no matter the price. (For this, I spend $14.95 per month as a membership fee, so it’s not a free credit as might be implied.) As it seemed to take me about two weeks to listen to a 10-14 hour book — judging by the frequency with which a few of the Audible reviewers that I follow post reviews, it would seem that I’m a “slow” listener — initially I used a credit to get one book and spent money to purchase a second one. I thought this would help prevent me from becoming an audiobook tsundoku as well. Unfortunately, a massive April $9.95 sale shot that plan to hell, and I now have about ten audiobooks on my hard drive that I haven’t listened to. Now, at around 100-150 MB each, this is not a big problem, space-wise. The bigger problem is that, just as with the unread printed books I have, those I haven’t gotten to yet have lost their new car smell, even more so as they’ve essentially been reduced to a file name.

Despite their benefits — or because of them? — I still have my doubts about audiobooks. Those doubts can be summed up by the thought, something this good can’t be healthy. As with a lot of conveniences, I wonder if I’m not somehow missing something. There is a certain ephemerality about an audiobook, that once a passage has passed through my ears it’s gone. Though I haven’t tried, I can’t imagine scrubbing through one to find said passage, let alone to quote from it. For someone old enough to remember blackened hands after reading a newspaper, or the gut-wrenching disappointment upon discovering a scratch in his LP, or the ca-ching of a carriage return on a typewriter, tangible things still hold an incredible amount of attraction for me, even as slowly but surely I have replaced those things with RSS feeds, mp3s, and a writing app on my iPad. Audiobooks fall within this bittersweet pattern.

Somewhat sillier, I struggle for how to refer to this new (to me) way of “reading”, hence the scare quotes around that very word. Can I rightly say in conversation “Oh, I’ve read that book” when in fact no actual reading was involved? What kind of looks would I get if I said to someone, “Oh, I really enjoyed listening to that book.”? Will my conversation always be cluttered with qualifiers like “Well, actually I didn’t read it, I listened to it”? A semantically troubling worry, but one that also betrays a fear that the other party would view “I listened to the audiobook version” as only slightly less offensive than “I read the Cliffs Notes for it.”

One definite casualty of this newfound interests is that I no longer have time (or much interest, frankly) in podcasts, and have ceased listening to any of them sans one (the Guardian’s Football Weekly). So I’m no longer as up-to-date on the various Apple and other geekery I used to get via various 5by5 podcasts, the assorted zombie ephemera gleaned from any of three different Walking Dead podcasts I used to listen to, nor as up-to-date on Major League Baseball as ESPN’s daily baseball podcast used to keep me. Oh well, I’ll survive.

Some Recommendations

I won’t go through all the audiobooks I’ve read (if you’re curious, you can see a list of them at Library Thing), but in case you are looking to take the plunge, I can recommend the following:

Heft, by Liz Moore
This has been the most enjoyable audiobook I have thus far listened to, and indeed I would say that this is a great example of what an audiobook can be. The book features two different narrators, Kirby Heyborne and Keith Szarabajka, for the two major characters in the book who speak in the first person, and each character is so brilliantly portrayed by their respective narrator that at times this feels more like a radio play than an audiobook. Of all the books I’ve listened to so far, this has been by far the most riveting. It also happens to be about themes and situations that rub very close to the bone. It’s almost unremittingly sad and yet uplifting too.

Cooked by Michael Pollan
This is Pollan’s newest book, and he himself reads it. I had read The Omnivore’s Dilemma a few years ago, and loved the way Pollan could discuss the politics of food without ever becoming strident, and Cooked is no different. His narration is very easy-going, yet still manages to allow his passions to come to the fore. Surely not all authors make good readers of their own material, but Pollan most definitely is one.

The End of the Affair, by Graham Greene
This 1951 Greene novel is read by actor Colin Firth. While I had some problems with the novel — I’m not a big fan of overly religious themes — what makes this audiobook is actor Colin Firth’s narration. If every book requiring a British male voice was read by Firth, I would die a very happy audiobook listener.

The Road, by Cormac McCarthy
This bleak but incredibly heartfelt novel is made all the more so by Tom Stechschulte’s brilliant narration. Nothing much happens story-wise — even more so for me, having seen the film adaptation first — but the whole thing is riveting. Of course McCarthy is responsible for much of that, but Stechschulte deserves some credit as well. His narration of McCarthy’s early novel Child of God is equally brilliant. What I said above about Firth doing every British male voice I could also say about Stechschulte for American male voices.

Of the 10 books I’ve read (er, listened to) so far, I’ve only experienced one dud, Barbara Tuchman’s The Guns of August, narrated by John Lee. While Lee is certainly an accomplished narrator, he decided to read any quote attributed to a German in a faux-German accent, any quote from a Frenchman in a faux-French accent, and so on. It really was B-movie stuff, and detracted horribly from any pleasure I might have gained from the book (and Tuchman uses a lot of direct quotes from the various combatants). That, and the fact that the book was just far too detailed to follow along in audio format, made this a less than enjoyable experience, one I couldn’t wait to end. The experience gives me pause when considering other history books, which is too bad since the genre is one of my favorites.

Travels near and far

Cover of New Yorker Issue No. 3680Yesterday at Book Off I somewhat fortuitously — for I hadn’t even noticed the “foreign books” shelves until I was in the checkout line — picked up for 100 yen an old (2 years ago) edition of The New Yorker — the “Winter Fiction” edition. My commute is a series of short train rides not really conducive to anything more than staring out the various windows — not a bad thing of course, but I’m getting to the point where new visual discoveries are infrequent. As a consequence of my commuting pattern, my reading activity has gone way down. I thought this winter fiction would be sufficiently bite-sized to fill the reading void a bit.

On the way to work I read “The Bible” by Marguerite Duras. I don’t have much intelligent to say about the story itself except that I liked it, and I marveled that I could feel as if I knew the female character completely in the space of two pages (the male character less so, but he was more a symbol of something, a foil for a shoe store clerk). I mentally dragged my highlighting pen over this passage:

In a sense, she was lucky; she told herself that she learned things when she was with him. But those things brought her no pleasure. It was as if she had already known them, so small was her need to learn them.

But more than the story itself I found myself thinking about the short story, and how much I love the form. Short stories are like traveling on a puddle-jumping airplane: when the journey is over, you think “wow that was quick” but all the same, you are in a different place than when you started.

Short stories appeal to my sense that it is impossible to tell the whole story, so why even try.

On the way home I read (or rather started — I finished it at home) “My Father’s Suitcase,” by Orhan Pamuk, the Turkish novelist. This isn’t a short story but rather the text of a 2006 Nobel Lecture (available online here). Though a speech, it reads like an essay — another beloved form.

This piece is wonderful and beautiful in so many nuanced ways — about father and son, and about writing, and books. A paragraph toward the end about why he writes, too long to quote in full here, could easily stand in for my own sentiments, with the change of a few words here and there:

I write to be alone. Perhaps I write because I hope to understand why I am so very, very angry at all of you, so very, very angry at everyone….I write not to tell a story, but to compose a story. I write because I wish to escape from the foreboding that there is a place I must go but – just as in a dream – I can’t quite get there. I write because I have never managed to be happy. I write to be happy.

Earlier, Pamuk writes about journeys and traveling:

The writer who shuts himself up in a room and first goes on a journey inside himself will, over the years, discover literature’s eternal rule: he must have the artistry to tell his own stories as if they were other people’s stories, and to tell other people’s stories as if they were his own, for this is what literature is. But we must first travel through other people’s stories and books.

Physically I traveled there and back. My material self was grateful for the security of the home I left in the morning and returned to in the evening, and for the salary earned in between.

Spiritually I got on a one-way train this morning and for this I’m grateful to the writers in question, and for coming to them via an American magazine found in a Japanese bookstore and costing less than a dollar.