Deborah Treisman
speaker
982 appearances
5 recordings
1 series
first heard May 2026
last heard 1 Sep
Deborah Treisman’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 5 in all, peaking in Sep 2026 with 1.
Appearances
And we get a nun telling children to, you know, starve a cat if they're ever shipwrecked.
So what do you make of the beginning of this story?
Interestingly, he's translating in that opening scene for Izumi.
He's translating into Japanese this article he's reading in English.
I feel like at the beginning of the story, he's sitting in a more or less natural world.
They're overlooking the sea.
There's this sense of being on the edge of a world, that Asia Minor is the only thing they see.
He says the wind was the wind at the edge of the world.
It made me feel as if I were being quietly swallowed up by an alien reality, something foreign and just out of reach.
We hear about the cats, and we see these strange bees lapping up jam off the table, which sort of gives the idea of lapping up blood, to me at least, because we've just had the cats, you know, devouring a dead human.
And you have a sense of something very ominous in the natural world, something perhaps conspiratorial.
These bees are reminded of something.
They conduct some kind of ceremony.
And we harken back to that at the end.
But none of this is explicit, right?
So writing in that simple language, how do you think Murakami manages to convey so much or actually in a way to make us do the work of receiving it?
He even evokes it in the story when he's reading to Izumi and he thinks about reading picture books to his son.
Yes.
Which is one of the, I think, only two hints we get at the beginning that Izumi is not his wife, that he has had another life.
And I think at some point in that scene he says, you know, he has no organic connection to the place he's in, which again feeds into this whole concept we're building of what's happening.
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