Customer Reviews

Out

5 star:		(85)
4 star:		(41)
3 star:		(13)
2 star:		(5)
1 star:		(6)

 

 

Masako, Yayoi, Yoshie, and Kumiko work the night shift at a boxed lunch factory in a characterless Tokyo suburb. Each has her reason for working at night and earning a little extra money: Masako's husband and son have grown so distant that she finds it less painful to be away from them as much as possible. Yayoi has small children and a spendthrift husband. Widowed Yoshie cares for an invalid mother-in-law and a teen daughter in the throes of rebellion, and young Kumiko`s taste for luxury has put her deep in debt. They are ordinary women living in a dull suburb with boring jobs and dead-end lives who manage to find the gallows humor in their situation.. Yet before Out is over, one of them will have murdered her husband, two will embark on a sickening business venture, and one will be dead.

Author Natsuo Kirino won Japan's top mystery award for this novel, which smashes the perception of Japan as a society of either anal, work-focused drones or trendy Ginza teens. These women live surprisingly close to the underworld, and they find that violence and seedy glamour are closer than they think. "Out" is dark, violent, and psychologically astute--the very definition of noir. This is Kirino's first book to appear in English, and apparently her other award-winner will be published in English soon. This novel is highly recommended for readers who like to explore the dark side of a different culture.

Having read this book in the original Japanese, i was curious about the translation. Some called it bland while others said it was "excellent" and even Amazon's own reviewer calls it "unobtrusive". Well, it does not appear that any of these opinions were rendered by people who could compare it to the original so perhaps my two cents here will not be a total waste.
In my opinion, the English translation of "Out" is a work unto itself. I wouldn't even call it a translation; more like an "interpretation". many things which are stated in Japanese are not stated in English. I mean things like, you know, nouns, verbs, adjectives, perhaps entire sentences... it's not like these are subtle nuances.
I think this was deliberate on the part of the translator, whose obvious aim was to create a very smooth, readable product in English. i think he has succeeded in that respect. I think the publisher's marketing arm should be quite happy with its unobtrusiveness.

However, i'm not so sure that i agree with that approach to translation. maybe if you're translating poetry or something whacked out like Finnegan's Wake, you have no choice but to take some serious poetic license. But geez, this is a novel. There is a lot of descriptive language--Kirino's Japanese is much more challenging than, say, Murakami Haruki (himself a translator) or Suzuki Koji (he of The Ring fame). So, i agree that it would not be easy to do a straight-up translation and make it seem like it was originally written in English. But to me, that's half the fun. why do we need to pretend it needs to sound like it was written in English to begin with?

If there are subtleties (grammatical, cultural, etc.) which are too convoluted to convey in a normal English sentence, would it really hurt the book's sales figures that much to throw in a footnote or two? Perhaps endnotes if that is asking too much? I have read Korean translations of several of Kirino Natsuo's books and they all contain translator's notes. These notes provide valuable information to the reader of the translation. The fact that they are present in the Korean translations but absent from the English translations indicates to me that certain American publishers tend to look down on their readership. They seem to believe their readers do not have a sufficiently long attention span to read even the slightest footnote, as if such notes would be awkward and out of place, overly "scholarly".

In recent years works by the likes of Dostoevsky, Kafka and Natsume Soseki have been retranslated because the old standbys were overly interpretive and people reading the translations actually wanted to know what these guys were saying. Obviously something is always lost in the translation; i just don't think it has to be this much.

As Edgar Allen Poe and Rod Serling both demonstrated, the best horror stories take place in the most mundane settings, involving the most ordinary people. Natsuo Kirino's OUT brilliantly follows this dictum, presenting a chilling tale of murder and dismemberment under the most ordinary of circumstances. The result is a gripping page-turner that turns victimizers into victims and ultimately probes the darkest corners of the Japanese psyche.

OUT begins with four typical Japanese women who work the night shift together at a box lunch factory. Masako Katori is a middle-aged, former office worker locked into a loveless marriage to a self-isolating husband and an intentionally mute teenage son. Yoshie Azuma is a widow in her late fifties, burdened with the care of an incontinent mother-in-law and two self-centered daughters. Kuniko Jonouchi is an overweight and materialistic young woman whose live-in "husband" has just abandoned her and her small mountain of credit debt. Yayoi Yamamoto is a pretty young mother of two children and wife to a gambling, skirt-chasing husband who has blown their life savings at the baccarat tables of a club owned by Mitsuyoushi Satake, a small-time hood with a horrifying secret past.

It is Yayoi who triggers events by strangling her husband in a fit of rage. Realizing what she has done, she calls Masako for help, and they jointly decide to hide the murder and get rid of the body. Their solution eventually sucks Yoshie and Kuniko into their plot, and Satake is fingered by the police as the most likely killer of Yayoi's husband. Satake loses both of his clubs as a consequence and sets out on a course of revenge. The four women's lives head into a free falling death spiral as they are unwittingly drawn into one another's lives and into the yakuza underworld. Desperation leads them to more and more shocking actions, resulting in two of their deaths and a chilling battle of wits, culminating in a sado-masochistic climax.

Kirino's writing is serviceable for this type of book, not rich in imagery or description but well-paced, focusing on actions and character motivations. She maintains her characters' sense of desperation and builds her story to a suspenseful climax, leaving the reader guessing how her main characters will respond to events. Kirino is most successful in tracing Masako's discovery of hidden strengths as well as her descent into horrifying depravity. We identify with Masako, leaving us wondering just how dark might be the deepest corners of our own souls.

OUT struck me as a particularly Japanese novel, following that culture's peculiar fascination with ritualistic murder and masochistic infliction of pain evidenced by writers like Mishima, movies like IN THE REALM OF THE SENSES, and even the recent spate of pop horror movies like THE RING. America's dark side tends toward mass murderers and serial killers, most of whom are regarded as social misfits or freaks (such as Jeffrey Dahmer, or Hannibal Lechter). The power of Kirino's OUT lies in the very ordinariness of its four female protagonists.

I bought OUT as an airplane read before an 18-hour flight; it proved to be an excellent choice for some badly needed escapism. I am hardly an expert on crime novels, but I recommend this book highly as a good read and a bleak look at the underside of modern Japanese life and culture.

Four women, co-workers on the night shift at a box lunch factory on the outskirts of Tokyo, form an unlikely friendship based on their mutual desperation -a dissatisfaction with their inattentive, unresponsive husbands and disaffected children, strained economic situations and emotional isolation. When Yayoi Yamamoto, a young wife and mother kills her abusive, philandering spouse, the four come together voluntarily to perform a most grisly act. They dismember the body to facilitate disposal. Although of disparate ages and characters, the women become quite bound to one another through an increasing web of conspiracy, self-interest and suspicion. A series of indiscretions and careless mistakes expose them all to unforeseeable dangers.

"Out" is so much more than a psychological thriller or a formulaic crime novel. This is fiction that surpasses genre. Although plot driven, much of the story is dependent on character development and change. The characters are portrayed so vividly, even the minor ones, that the reader cannot help but form a strong attachment to them. It really does not matter, ultimately, if the connection is positive or not - one still looks forward to following the various personages forward to their individual destinies. Masako Katori, shrewd and extremely intelligent, is the definite leader among the women and an absolutely fascinating figure. Although she has perfected a cold, detached veneer with which she presents herself to the world, inside she is despondent and in turmoil. Increasingly alone and alienated from her husband and teenage son, she longs for "freedom." "It had started with something in her. Her hopelessness and a longing for freedom had brought her to this point." Masako is looking for a way "out" of her claustrophobic life.

This is definitely a novel noir, with a substantial dose of S&M thrown into the mix. obviously not for the faint of heart. I became absorbed in the story almost instantly, only to have my interest wane after the murder is committed. My attention span was at fault here, not the author's writing. Fortunately I stayed with it because the second half of the novel is even better than the first, I think - really riveting! This is some of the best and most unusual writing I have encountered in some time. It is also very disturbing. Since I do not speak Japanese I can only judge by the translation, and for me the stark, gritty prose really accentuates the building tension in the narrative and the oppressiveness of the environment. I found myself thinking about "Out" long after I had turned the last page.

Ms. Natsuo provides a rare glimpse into the bleak subculture of many lower middle class Japanese workers who live on the margins of society, worlds away from the lights and glitter of Tokyo's Ginza district. Readers also gain access to the grim Japanese underworld. I should note that there is wonderful dark humor throughout to alleviate the oppressive quality of the storyline.

Although Natsuo Kirino is considered one of the best mystery writers in Japan, multiple award-winning novel "Out" is Ms. Kirino's first book to be published in English. It has also been made into a Japanese motion picture.
JANA

I approached this book with reservations. I had read very good reviews about it but I also read that much of its impact was from the atmosphere it creates and not simply from the plot. Usually this would not be a concern but as I have read some Japanese novels that were unbelievably esoteric, it raised a red flag. Also, I heard that there were heavy themes of women's "second class" status and "women's empowerment" throughout the book, which are usually code phrases for women who may be in tough spots, but often no worse than many men, and who respond by being as nasty as possible to men and are thereafter applauded for behavior for which a man would be trashed. I decided to buy the book with a gift certificate figuring I had nothing to lose and that the book would be either very bad or very good. It was very good.

The book is actually not a mystery but rather a crime novel. I dislike reviews that reveal significant plot twists, so let me assure any reader that I am not revealing anything noteworthy when I say the murder occurs early, we know it is the wife who did it, we know why and we know her friends on the night shift help dispose of the body. The mystery is whether they will be caught and how the crime affects the women, all of whom are indeed in tough personal spots. The murder acts as a catalyst for drawing their individual personal difficulties into the foreground and creating the types of conflict and tension that genuinely makes readers wonder what they would do in such situations.

Kirino does an excellent job of developing the plot. Loose ends are not only resolved but often the reader does not know something is a loose end until it arises a second time at the worst possible moment to push a character even further into a corner. The characters are well drawn and the reader can relate to them easily. Though, on one of the few drawbacks of the book, the actual language employed by the author is often a bit too clinical for a book of this type. Such language, almost technical in nature, is not so overpowering as to detract from the plot, the characters or the gloomy atmosphere created, but it was noticeable, especially in a novel with so many strengths going for it.

I find it difficult to say which was most powerful - the solid plot, the strong character development or the dark atmosphere about a side of Japan not seen in the travel brochures. What I can say is that the combination made for an excellent book that is well worth recommending.

You may want to avoid eating before or while reading this thriller. Aside from that caveat, the only other recommendation is to set aside two days because you will not be able to put "Out" down. It draws in the reader with its letter-perfect character descriptions and tightly-constructed plot. Kirino's novel was originally published in Japanese under the same title in 1997. It was a cause celebre selling 300,000 copies and won Japan's top mystery award in 1998. Prior to that, Kirino won the Naoki Prize with "Yawarakana Hoho" (Tender Cheeks).

This hard-boiled novel examines the interrelationships between four women factory workers, who are drawn into covering up the murder one of them commits. This leads to more intrigue and, ultimately, the central premise of the novel: what would you do in similar circumstances? Would you reject a friend's entreaty? If yes, why and how? If no, could you take part in the horror--and then go back to your previous life? The main character is the brilliant but ordinary-seeming Masako Katori, who works the night shift in a factory. When a co-worker murders her husband, Katori steps forward and enlists the help of two other women in covering up the crime. Katori lives with and takes care of her sexless and depressed husband and her sullen teenage son who no longer speaks to her.

To pigeonhole "Out" as a detective novel does no justice to it. For those who have lived in Japan for many years--or for those who only have the vaguest idea of Japan--this is stunning portrayal of the anomie of modern Tokyo. The portrayals of a Brazilian immigrant, a Yakuza nightclub owner, a Chinese hostess, the working class police detectives, and of course the women themselves are spot-on. Brilliant.

"Out" by Natsuo Kirino is one of the best books I've ever read (and I've read A LOT). You all know what the book is about since Amazon.com described the plot well... This is one of the most realistic and amazing books you'll ever read. The book characters are incredible - from the main character Matsuo to smaller character like Brazilian Kozao. I've never ever read a book with the writer having such an astonishing understanding of the charaters' psychology. They are so vivid, and so real, that you feel like you know them. I was able to like and indentify with every single one of the characters - from the "possitive" ones to the "negative" ones (if there's such a thing in this book, where the limits are not that clear). All the characters are so different, yet have one thing in common - each of them are trapped in a world of pain, pobery, suffer or just boredom, and they're seeking of a way OUT, trying to change their life upside down. Another thing they all have in common is the loneliness, which is so deep... The book is a real page-turner, the definition of a thriller. Just when you think that things have calmed down, and rather stabled, the writers shocks you - again and again and again, untill the very last chapter. I will definetely read every book Natsuo Kirino writes, the woman is a genius, and to me, she's one of the greatest writers of this generation - for this book alone! The book shows you how a group of rather "ordinary" (but just on the outside!) people get change completely, how dangerous giving up might be, and how there are some things, other than greed for money control our lifes and turn into a dangerous obsession.

I won't discuss the plot and characters because that's already been done. I just have some comments about the themes of the book.

I disagree with many reviews I've read that believe that the central theme of this novel has to do with the empowerment of oppressed Japanese women. No one in this book has a happy, fulfilling life; the men are just as isolated and beat-down by society as the women. I think the book is a commentary on the human condition, kind of Freudian, like having to live in a civilized, ordered society is by definition boring and unfullfilling. So people in any culture seek ways "out". In this case, it happens to be four women who are products of the world they inhabit. The book switches points of view every few pages and this enables the author to delve deeply into the damaged psyches of the characters. I think this is the book's strongest suit. As others have noted, the plot twists are predictable, and the violence seems cliche'ed at times.

The other topic of interest to me that is prevalent in the book is the intersection of sex, violence, love and hate. And death. Again I don't believe that this is a uniquely Japanese fascination as others have written. There have been plenty of sadistic killers in mystery and horror fiction. The one in this book was convincingly drawn and a tiny bit sympathetic, again, because of how living in modern society damaged him.

Last thing, I don't know if any other readers agree with me, but I thought that the book had black comic and satiric elements.

I do highly recommend the book, it moves quickly and there is almost nothing to spare. But it is not for those with delicate sensibilities.

OUT begins innocently enough, introducing readers to four very different women who have only two things in common: their jobs on the night-shift at a boxed lunch factory in Tokyo, and their desire to escape from the drudgery and meaninglessness of their lives. They are Yoshie, an aging widow whose income supports an ailing mother-in-law and two ungrateful daughters; Kuniko, who's overweight and dangeroulsy materialistic and not as young as she says she is; Yayoi, a young mother with an abusive husband who's gambled away their savings; and Masako, the heart of the novel, a former high-powered career woman who now lives in solitude with an unresponsive husband and son. The women coexist in a drab factory, at a job that offers them no hope of increased salary or promotion. They go through the motions in quiet turmoil over their circumstances.

And then, everything changes: One of the women kills her husband on a whim and seeks the help of her coworkers to dispose of the body. From the moment they agree to help their co-worker, the lives of the four women spiral out of control, into a man's world of danger, intrigue, power and money -- a world that can liberate them from their mundane lives...if it doesn't destroy them first.

OUT is one of the most atmospheric, disturbing novels I've ever read. The imagery is startling and violent, and the characters are exquisitely drawn. Kirino succeeds better than any author I've read -- Japanese or otherwise -- at creating tension in her narrative. OUT is a harrowing tale, completely unexpected and unflinchingly intense. With expert pacing, Kirino reveals the underbelly of Japan -- a darker, more violent Japan that we Americans rarely see in the country's exported products. She reveals a society where money rules, where women are very much second-class, where the yakuza and loan sharks control all the major industries, where desperation permeates everyday life. And yet, while OUT has a lot to say about Japanese culture, it has even more to say about friendship, about loyalty, and about human nature itself. Kirino reveals the motivations behind her characters' actions in ingenious ways, as all four of her creations search for a way OUT of their individual circumstances. And kudos to Stephen Snyder for a brilliant, breathtaking translation!

OUT will make you shiver, make you squirm, and make you think. It's an unforgettable reading experience. Here's hoping we see many more of Natsuo Kirino's books on our shores!

I very much enjoyed this novel, and not just because of its intriguing plot and strong characters, although those are elements I always look for in a good read.

Beyond that, Out presents a distinct twist on the usual crime novel. First of all, its descriptions of urban blight in the neighborhoods of Tokyo and the bleak lives led by the women who live there are haunting and portrayed in a way that allowed me to identify with the characters even though I have never visited Japan and don't know much about its culture. I came to genuinely care about the characters, even though they are not particularly lovable and, in fact, do some clearly evil things.

And there are some dark moments of humor that caught me off guard but provided some relief at points in the plot where the suspense had become a bit too intense. I don't want to give away the plot, so if you plan to read this book and don't want to know too much about the story, stop reading here.

In a nutshell, a small group of women who work the night shift in a depressing factory end up, through a series of incremental circumstances, butchering dead human bodies for money. Odd as it sounds, their actions are at times quite comical, even though this is most certainly not a humorous novel. The author writes with such nuanced descriptions that I could easily picture the most unlikely activities being done by characters who turn out to be quite surprising, and that adds a sort of perverse twist to the story line that kept me captivated as I sat up late at night turning the pages.

I believe that the translator may deserve as much credit as the author for the success of this novel in English. It seems to me that the subtlties of the setting, tone and characters must have been very precisly rendered by the translator, since I had no trouble at all identifying with certain characters and intensely disliking others. One of the women who is quite unlovable, Kuniko, ended up elicting a certain degree of sympathy from me in the end, which I thought was quite an accomplishment given that this character's personality is truly distasteful. I would say that this is an accomplishment of both the author and the translator, since Kuniko is obviously intended to put readers off and serve as a foil of sorts for the heroine (or perhaps more aptly, anti-heroine), Masuko.

So, if you want to read a crime novel that is a cut above most and that truly engages the reader by raising some serious questions about poverty, gender and power, Out is for you.