Япония: цивилизация, культура, язык 2022

ЯПОНИЯ: цивилизация, культура, язык 2022 240 a tattoo of the toys for him, food for him, a pair for him, and finally even puppies appear after he gets a tattoo of another dog. The characters of Otsuichi’s novels know no peace and do not see any salvation either in love relationships or family or work (study) or hopes for successful and happy future. A female in Otsuichi’s mystical thrillers is presented as a ruinous being prone to self-destruction and destruction of the destinies of their close and other people. Nothing can be a consolation for the young character – either love or friends or relatives; her heart is idle: without finding understanding the youngsters live in the atmosphere of alienation and foreignness to the surrounding world. In such circumstances meeting with the monster helps the characters of Otsuichi’s fiction to open their own self from another side – and in these two novels we observe degradation, refusal from moral rather than optimistic transformation. Having got no support from people around, the characters acquire power and satisfaction with the help of the lonely monster – their only friend who seeks for their love and attention. A monster never reveals itself or at least never has enough power to act in human world until the human character lets it out, being ready to befriend the creature. Monsters are dangerous for the others but never hurt their friends, like Pokkie, or Ishinome etc.; but a monster actively participates in the transformation of the human character – the metamorphosis which makes human deepen into his loneliness and sorrow or even despair when he unites with his monstrous friend. A character of the story “Once Upon a Time In the Evening Park” 5 is a boy who plays alone by the sandbox in the 5 Otsuichi. Mukashi Yūhi-no Kōen-de (Once Upon a Time in the Evening Park) // in: Zoo-2. Tokyo, 2006. Pp. 219-224. (In Japanese).