After the quake blind willow, sleeping woman dance dance dance



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Air Chrysalis
. Ideas were welling up inside him like life-forms stirring in a 
primordial sea. 
This way, I’m no different from Komatsu
, he thought. 
Nothing has 
been formally settled, and already my feelings are headed in that direction on their 
own

At ten o’clock he went to Shinjuku and bought a Fujitsu word processor with his 
credit card. It was the latest model, far lighter than earlier versions. He also bought 
ink ribbon cartridges and paper. He carried everything back to his apartment, set the 
machine on his desk, and plugged it in. At work he used a full-sized Fujitsu word 
processor, and the basic functions of this portable model were not much different. To 
reassure himself of its operation, he launched into the rewriting of 
Air Chrysalis

He had no well-defined plan for rewriting the novella, no consistent method or 
guidelines that he had prepared, just a few detailed ideas for certain sections. Tengo 


67
was not even sure it was possible to do a logical rewrite of a work of fantasy and 
feeling. True, as Komatsu had said, the style needed a great deal of improvement, but 
would it be possible for him to do that without destroying the work’s fundamental 
nature and atmosphere? Wouldn’t this be tantamount to giving a butterfly a skeleton? 
Such thoughts only caused him confusion and anxiety. But events had already started 
moving, and he had a limited amount of time. He couldn’t just sit there, thinking, 
arms folded. All he could do was deal with one small, concrete problem after another. 
Perhaps, as he worked on each detail by hand, an overall image would take shape 
spontaneously. 
“I know you can do it, Tengo,” Komatsu had declared with confidence, and for 
some unfathomable reason, Tengo himself was able to swallow Komatsu’s words 
whole—for now. In both word and action, Komatsu could be a questionable character, 
and he basically thought of no one but himself. If the occasion arose, he would drop 
Tengo without batting an eyelash. But as Komatsu himself liked to say, he had special 
instincts as an editor. He made all judgments instantaneously and carried them out 
decisively, unconcerned what other people might say. This was a quality 
indispensable to a brilliant commanding officer on the front lines, but it was a quality 
that Tengo himself did not possess. 
It was half past twelve by the time Tengo started rewriting 
Air Chrysalis
. He typed 
the first few pages of the manuscript into the word processor as is, stopping at a 
convenient break in the story. He would rewrite this block of text first, changing none 
of the content but thoroughly reworking the style. It was like remodeling a condo. 
You leave the basic structure intact, keep the kitchen and bathroom in place, but tear 
out and replace the flooring, ceiling, walls, and partitions. 
I’m a skilled carpenter 
who’s been put in charge of everything
, Tengo told himself. 
I don’t have a blueprint, 
so all I can do is use my intuition and experience to work on each separate problem 
that comes up

After typing it in, he reread Fuka-Eri’s text, adding explanatory material to 
sections that felt too obscure, improving the flow of the language, and deleting 
superfluous or redundant passages. Here and there he would change the order of 
sentences or paragraphs. Fuka-Eri was extremely sparing in her use of adjectives and 
adverbs, and he wanted to remain consistent with that aspect of her style, but in 
certain places where he felt more descriptions were necessary, he would supply 
something appropriate. Her style overall was juvenile and artless, but the good and the 
bad passages stood out from each other so clearly that choosing among them took far 
less time and trouble than he had expected. The artlessness made some passages 
dense and difficult but it gave others a startling freshness. He needed only to throw 
out and replace the first type, and leave the second in place. 
Rewriting her work gave Tengo a renewed sense that Fuka-Eri had written the 
piece without any intention of leaving behind a work of literature. All she had done 
was record a story—or, as she had put it, things she had actually witnessed—that she 
possessed inside her, and it just so happened that she had used words to do it. She 
might just as well have used something other than words, but she had not come across 
a more appropriate medium. It was as simple as that. She had never had any literary 
ambition, no thought of making the finished piece into a commodity, and so she felt 
no need to pay attention to the details of style, as if she had been making a room for 


68
herself and all she needed was walls and a roof to keep the weather out. This was why 
it made no difference to her how much Tengo reworked her writing. She had already 
accomplished her objective. When she said, “Fix it any way you like,” she was almost 
certainly expressing her true feelings. 
And yet, the sentences and paragraphs that comprised 

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