The Voice by Seicho Matsumoto (1909 – 1992) is a collection of six short crime stories. This is the first I have read by him, but I absolutely would read everything by him based on how much I enjoyed this collection. I think the height of popularity for him was in the 1960s/1970s. In 1952 he was the winner of the Akutagawa Prize.
This collection was just the sort of fiction that I enjoy. One of the characteristics is that the writing is perfectly balanced – like a nice gravy. Yeah, that is an odd thing to use, I know, but hear me out. Most gravies/sauces are too salty, too fatty, too pungent, too potent, too sweet! Every once in a while, though, you get the joy of a perfectly balanced sauce that is blended, vibrant, and balanced. There is no one flavor or seasoning that is overpowering. The whole thing is complementary of whatever else is being eaten. In the case of these stories, I felt Matsumoto’s writing was utterly balanced: he absolutely had the correct scaling between giving us a robust and well-formed story and not over-writing every aspect. The writing was excellent for short stories.
The genre of crime fiction and noir stories really matches Matsumoto’s writing skills here. At the heart of each story is not some complicated situation with many actors and many victims and misdirects and red herrings. The stories here are from situations in everyday life. Although there are a few points that rely on coincidence, most of these stories are so ordinary as to be rather boring – were it not for the skill in telling them.
- Kyohansha – 1965 – The Accomplice – 5 stars
- Kao – 1959 – The Face – 5 stars
- Chiho-shi o kau Onna – 1959 – The Serial – 5 stars
- Sosa Kengai no Joken – 1959 – Beyond All Suspicion – 5 stars
- Koe – 1959 – The Voice – 4 stars
- Kanto-ku no Onna – 1960 – The Woman Who Wrote Haiku – 4 stars
The first story, The Accomplice, was stressing me out as I read it. I am a silly, basic reader and I kept shaking my head as I read because the main character’s choices were digging him deeper into the scenario and it was all because of a choice he had made a long time ago that was haunting him and tormenting him. Now, I am quite sure, many readers would scoff at my tension caused by this character. But there is no defense, Matsumoto knew how to get his story to resonate with my reading style, I guess. Character Hikosuke was a man who created his own demise, but he made me worry about him and his errors. Without a doubt, I gave this story five stars because unlike so many stories I read, it engaged me quite a bit – and without using exaggerated writing tricks.
The Face has some similar elements to the first story – the main character is, again, the cause of his own struggles. The perspectives of characters and the skewed decisions based on such perspective drive both of these rather mundane storylines. In this story, there are some detectives that really bring the plot to life. I like Matsumoto’s detectives, because they are not the superhuman Poirots and they are not the pompous Nero Wolfs. There is a fantastic scene that takes place in a restaurant in Kyoto – an imobo (kind of a yam based dish…) restaurant – that caused my heart to palpitate. It was so subtly written and yet so immersive.
The Serial started off with such an everyday and mundane beginning that I was sure that it was not going to meet the level of the previous stories. But I was wrong! First of all, I really enjoyed the brief thoughts about newspapers that used to print serial fiction. (Maybe, in a few years, I will simply be reminiscing about a thing called newspapers!) I enjoyed this one a lot because it also played on the characters’ assumptions and perspectives. I really liked the inclusion of some of the details and the way the plot built. The main character is trapped in a situation, so, of course, I pity the character.
Beyond All Suspicion was one of the longer stories, but it kept my interest the full length. Again, a character finds himself in an unfortunate situation and does not make the best choices. He chooses revenge and thinks he can outwit everyone. Poor, miserable character. As a revenge tale it works really well because it demonstrates a revenge that is long-in-coming and not some hot-headed slash-up. It also contains a bunch of noir elements like nighttime bars, banks, taxi-cabs, and a silly song that becomes an integral part of the story.
The last two stories are the ones I gave only four stars. I felt that The Voice started off very interesting and super noir. However, the second part (there are two parts to this one) got a bit too convoluted, though the detective team involved really do keep the reader informed throughout the investigation. I just felt the resolution was a bit too complicated. Or, maybe “complicated” is not the most accurate word here. Perhaps I just did not like the way it all worked out. I think that is accurate. I felt badly for the victim; she had a lot of nonsense in her life that it does not seem she deserved – plus, she was one of us: a fellow reader! Similarly with The Woman Who Wrote Haiku – wow, this was quite a sad story. The crime was entirely imaginable, though. It was difficult to not feel sad for the poor woman we readers never actually met. I supposed we ought to be somewhat glad that there were these interested parties (members of a Haiku magazine) who solved the crime.
Easily some of the best stories I have read in this year. The style of writing is exactly what I enjoy and the crime/noir was neither gross nor over-done. Nothing was exaggerated, nothing was unnecessary. I do not re-read a lot of fiction, but I do think that I could re-read these stories. I wish I could get my hands on all of the author’s fiction, because he has a lot of skill that makes reading his stuff an enjoyable experience.