I was reluctant to read her works as I couldn’t stand something raw she wrote down. But after setting out to work on Emily Brontë, I came to be more attracted by such novels like this.
First time I met GoldRush is in a class dealing with Russian literature, in which it is pointed out that the novel and Crime and Punishment, wrote Dostoyevski, have the same theme of “killed father”. Moreover, a protagonist boy can be regarded as Raskolnikov, and Kyoko, helping him eventually, can be Sophie. Such understanding is also pleasure which relative literary study provides us. The power his father has with the decisive force in practical economy, the power of the poor in Ogon-cho (which means “Golden town”), a violent impulse a boy repressed inside, the sexual lust. An invisible power constructing a society, which such powers fill, balanced ‘seemingly’. I dare say, Miri Yu, however, is likely to strive to find a piece of hope there.
“Many years ago. When Kanemoto made love with his familiar prostitute upstairs in pub, she said lightly, I was pregnant, your baby, so I’ll abort it tomorrow. That was a voice like a tennis ball mishit. She wanted to be connected to the other, not her guests or friends, along with a narrative, not with the sexual one. In fact, do I, wanting others now, also hope to share a narrative with anybody? with him, a story of the crime?”
What Kanemoto says curiously moves us. The characters in the novel are all associated in terms of their interests, though he and Kyoko, who try to save the boy regardless of their interests, which closes the story. Nowadays even children can recognise the corruption of society because of its institutionalization, thus the boy attempts to gain an equivalent power as adults so as to gain the same post as them. Kanemoto understands his solution against the social corruption and thinks it’s not right, children shouldn’t do that, though such views are against his faith. What is the reason of adultchildren? Goldrush, pursuing such matters sincerely, is a strong piece.