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Lord Of The Rings War In The North Eboot Patch. If an enterprising reader were to map the through-lines linking the quiet, twisted (and subtly interconnected) tales of eccentric strangers and mysterious deaths in Yoko Ogawa’s new collection, Revenge, the resulting diagram would likely look something like a spider-web: Delicate, spindled, and perfectly designed for entrapment. The experience of reading Revenge is like getting caught in a beautiful, lethal web—or maybe, like wandering through a labyrinthine haunted mansion. These stories’ charm lies in their treacherous unpredictability. In each tale, it’s impossible to anticipate just what particular nightmarish turn the plot will take, or to guess what shadowy character or tiny detail from an entirely separate tale will reappear (a dead hamster left in a trashcan, a brace designed to make the wearer taller, a three-digit number used in a report). There is a spooky fun-house quality to this collection.

Even the collection’s one tale of relatively conventional romantic revenge plays out unexpectedly; in “Lab Coats,” Ogawa makes the spurned lover an employee in the sterile, rational confines of a hospital and taps an unsuspecting (and slightly enamored) colleague of the murderer to be the story’s narrator. When the dark deed is revealed, it’s not the murder itself, but the reaction of the killer’s confidante that’s most chilling: “I feel a scream rising out of me but somehow I stop it, hold it back,” the narrator explains, “and instead I calmly imagine the scene: the knife in her pretty hand; the blade slicing into him again and again; skin ripping, blood spurting. But she’s spotless.” The real horror isn’t the death, but the drugged blindness of the narrator’s infatuation on the murderer—a fixation intense enough to anesthetize an appropriate moral or emotional response. Translator Stephen Snyder has compared Ogawa’s work to that of Murakami, going so far as to call her “the next Haruki Murakami,” (perhaps in part because of the dream-logic of her plots and the diffidence of her protagonists); some reviewers have cited the influence of Borges and Poe as well. These comparisons are tempting, but there’s something facile about them too. Though there are dark, supernatural elements underfoot in these stories, it does not take long to notice that Ogawa works in a register entirely of her own—and is much more interested in experimenting with form than with paying tribute to any particular style.