Mild Vertigo

I began to wonder whether I had always thought this way, whether this book was making me aware of the true nature of my mind for the first time. Such is the mesmerizing wonder of Kanais prose, as translated by Polly Barton. Claire Oshetsky, New York Times In the vertigo lurking at the depths of a very ordinary life, Mieko Kanai succeeds in uncovering the tranquillity and cruelty that exist side by side. Yoko Ogawa, author of The Memory Police Mild Vertigo is an immersive, uncanny narrative held taut over eight chapters that contrasts existing and living, seeing and viewing. An enthralling horror story about tedium that pushes the reader tight up against the unmanageable moments of everyday life and the domestic. David Hayden, author of Darker With the Lights On A unique form of realism cultured from rhythmic, alert sentences that left my sense of the everyday altered, and made me desperate to read everything else Kanai has written. Holly Pester, author of Comic Timing A dizzying, kaleidoscopic novel. Bold yet simple, quiet yet choric, Mild Vertigo brilliantly captures the noisiness of a lonely life. Aidan Cottrell-Boyce, author of The End of Nightwork Mild Vertigo deftly captures the monotony of housework and the loss of self in family life, exploring a generalized sense of dissatisfaction with the options available to women in contemporary capitalism. Kanais beautiful and strange prose takes the reader inside the mind of a woman whose world is both mundane and disintegrating. Alva Gotby, author of They Call It Love Mieko Kanai is not interested in describing objects; she wants to accentuate their amorphous nature. Sofia Samatar, The Paris Review Laden with descriptions of objects and locations, Kanais detail-rich sentences offer a specificity of time and place. A subtle, thoughtful portrait of a woman chafing at the demands and constraints of domestic life. Kirkus, starred review For me, Mieko Kanais writing represents one of the high points of Japanese literature. The tiny details give shape to the everyday, the daily repetitions, the memories that come suddenly flooding back, other peoples voices all of these described in winding, iridescent prose. Their utter ordariness, their utter irreplaceability, make for a reading experience brimming with joy from start to finish. Hiroko Oyamada, author of Weasels in the Attic A sharp and sleek read that questions what is automated and what it means to be knowing, in a life compartmentalized into ribbons. Tice Cin, author of Keeping the House [Mieko Kanai is] not interested in describing objects; she wants to accentuate their amorphous nature. ... Sections of the novel first appeared as monthly installments in a glossy magazine about bourgeois homemaking; also included are two reviews of photography exhibitions. Kanai says that these previously published articles and reviews, which appeared in different journals, were written in order to be collected as a novel. Written in order to be collected. The exhibition reviews, the advice flipped through in a womens magazine: always a novel. Sofia Samatar, author of Tender This is not a narrative of passive surrender, but a chronicling of a routine lived beat-by-beat among lifes daily provocations. Between narrator and reader there is a conspiratorial candour and deadpan humour, which is captured deftly in Polly Bartons translation. Rnn Hession, Irish Times From the first sentence of Mieko Kanais Mild Vertigo youre already in a whirling state of imbalance, thanks to Kanais distinctive style and Polly Bartons mesmerizing translation. The first sentence stretches out across pages four to be exact and youre pulled into the mind of Natsumi, a Tokyo housewife and mother who never feels inclined to name her two young children. Its a

Born in 1947, Mieko Kanai has worked throughout her life as a writer, poet, essayist and literary and art critic. She has published around thirty novels and short story collections, and her critical essays have been featured in Japanese newspapers and magazines for almost fifty years.