“Then I found myself at the edge of an open field that sloped gently above me – a field covered with boxlike objects. I reached out to touch the nearest one: a refrigerator.”
Some of my favourite novels (Bolaño’s The Savage Detectives; Ridgway’s Hawthorn and Child) and some of my favourite story collections (Bennett’s Pond; Corin’s One Hundred Apocalypses) are not really novels or story collections at all, but a secret third thing – a shattered mosaic. When it exists within a constellation like this, a single short story accumulates a depth of meaning that defies the form’s slightness. Ogawa’s Revenge works in this way: an image – a carrot, say – gathers an uncanny power over the course of the book, such that by the time it appears in the final story, ‘Poison Plants’, just the mention of the vegetable is chilling. Another analogy for Revenge might be San Jose’s Winchester Mystery House: a testament to death and madness where architecture defies logic and a trap door is never far away.
Collected in Revenge, Vintage, 2013