Review of Toshiki Okada's novella The End of the Moment We Had explores borders and non-places
A critique of Toshiki Okada's 2018 novella, The End of the Moment We Had, delves into themes of cultural intersections and boundaries. Set against the backdrop of the early Iraq War, the narrative centers on two young lovers who find refuge in an inexpensive hotel in Tokyo, escaping the passage of time and historical events. Their relationship ignites during a theater performance that addresses violations of sovereignty. Within the hotel, stripped of clocks and natural light, they engage in intimacy while the conflict rages outside, only stepping out once to witness an antiwar demonstration. The story incorporates perspective shifts and alludes to anthropologist Marc Augé's concept of 'non-places.' Translated by Samuel Malissa and released by Pushkin Press for £7.99, it concludes with one character confusing a homeless individual for a dog.
Key facts
- Toshiki Okada's novella The End of the Moment We Had was published in 2018
- The story follows two lovers retreating to a Tokyo hotel during the Iraq War
- Characters meet at a performance by a visiting theatre troupe debating sovereignty violations
- The narrative employs shifting perspectives that disrupt conventional unity of time and place
- The novella references anthropologist Marc Augé's concept of 'non-places'
- Translation was done by Samuel Malissa for Pushkin Press at £7.99
- Characters venture out only once to eat and observe an antiwar protest
- The story explores borders and how culture might cross or challenge them
Entities
Artists
- Toshiki Okada
- Samuel Malissa
- Marc Augé
Institutions
- Pushkin Press
- ArtReview
Locations
- Tokyo
- Japan
- United States
- United Kingdom
- Russia
- Iraq