Andris Newman about putting “broken” in a culture that is not his own

Andreas Newman broke. Macmillan

Andres Newman’s new novel, “Break”, spans more than six decades, five time zones, and four affairs of love. It is one of the most ambitious books I have read recently; the author addresses gender, love, environmental, translation and international relations issues in less than 350 pages. The only constant, throughout this narrative around the world, and travel through time is the central character: a Japanese businessman named Yoshi Watanabe, a survivor of the atomic bomb in Hiroshima.

Newman tells the story of Watanabe from five different perspectives. One of them, an omniscient narrator, describes a few days in the life of the protagonist, after the earthquake that devastated Japan in 2011. These chapters permeate the accounts of the first person of the four former Watanabe characters, spread throughout the world. “Instead of noticing female characters and describing them (and worse, explaining!) From a male’s point of view, I found it interesting to try to reverse it: a silent and mysterious man who is remembered, imagined and told by several powerful and female women that Newman told Observer” in other words, the writer is a man, From a woman’s perspective, he writes about another man from a completely different culture from his own. This choice may be Newman’s most ambitious – and most dangerous – ambition of all.

See also: With Chests And Eggs, English readers get a chance to fall to Mieko Kawakami

The novel, which revolves around immigration often, opens appropriately at Tokyo Subway Station. Watanabe is underground, heading home for the day, when an earthquake struck the city and prompted him to reconsider his conditions. Newman writes: “The earthquake breaks the present, shatters the perspective, and changes the motherboards.” We also discovered that it has troublesome repercussions: the 2011 event triggered a deadly tsunami and crisis at the Fukushima power plant.

During the following chapters, we know that an Argentinian journalist (possibly standing in the place of the same writer born in Buenos Aires himself) is trying to contact Watanabe to find out his story. Meanwhile, the protagonist begins a road trip towards the site of the nuclear disaster in Fukushima. He provides little clues as to his motives, yet the reader begins with the assumption that he is finally trying to compute the nuclear tragedy in his childhood.

Four chapters pierce these materials. First, a French woman named Violet recalls her young novel with Watanabe, among the Parisian cafes and talks about the war in Algeria. From New York, Lowry describes how Watanabe was tempted to participate in antiwar activity and watch the Watergate scandal unfold. Mariela, in Buenos Aires, talks about the deteriorating dictatorship and Argentine economy. The latest romance in Watanabe, is with a Madrid woman named Carmen, against the backdrop of the Atocha station bombings in 2004. “In a way, the whole novel is contemplating the stages and changes of our loving experience as we get older, Newman said. It is also, at the same time, A brief history of Western turmoil.

Although detailed for all these wars, coups and attacks, Newman chose the Fukushima disaster as the main tragedy in his novel. Ostensibly, it seems an odd choice for the Argentine novelist to focus a book on something that happened in Japan in 2011. However, after reading about how to shut down the power plant and release radiation in the surrounding area, the author felt very strongly about the incident. He was shocked, he said, of what most human cultures look “with the same ability to rebuild and self-destruct.” After the earthquake, it was moved to read that the planet’s axis had changed by a few centimeters. He said: “This showed how nothing happened in only one place, and how every meaningful human event can expand.”

Newman’s philosophical interests also extend to Japanese art. Throughout the book, kintsugi mentions the practice of mending broken pottery with crushed gold. This method detects faults instead of hiding them. “Anything that has survived the damage can be considered more valuable and beautiful,” he said. He believes this provides a message of hope, “about our ability to rebuild the present and look to the future, without ever denying our past.” In breakage, he tries to apply this concept to “people, love and politics”.

This sense of rebuilding also helps explain its creation to multiple perspectives. Newman said he believed that both imagination and travel “are two critical human experiences that allow us to broaden our identities … They do not simply confirm our borders, but rather challenge them.” In a book called Fracture, which includes many different states of political, personal, and geological rupture, it is only appropriate that the narration itself be cracked and readjusted.

Newman realizes the potential pitfalls of writing about demographically different characters about him. This approach cannot be naive or spontaneous. In this case, it definitely took a long, thorough and respectful research, before I felt I could start writing. Rebecca Solnett, whose article, “The Mother of All Questions”, summoned that the goal of reading might be to go beyond your own experience and explore how it is.

Readers themselves will decide how well Newman overcame his own experience, capturing Watanabe and the four very different women who help shape the features of his life. Will the central character, who never talks about his desires, become a complete human in the mind of the reader? Or did Newman leave space for readers to imagine themselves in shock, romance and travel? The author said: “I think that trying to be at least others and putting ourselves in others’ positions is at the heart of technical expertise.”

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