Anyway, now it's been longlisted for the International Booker, belated review of:
Under the Eye of the Big Bird - Hiromi Kawakami (tr. Asa Yoneda)
Far-future SF with humanity on the brink of extinction, or perhaps already past it: scattered over a blighted earth in tiny, isolated communities, evolving wildly different societies and biologies. It’s made up of 14 short stories, mostly first-person and small-scale, which provided an accessible way in to this initially alienating world. I'm not usually a fan of the 'mosaic' novel format but as characters and details recurred it felt more and more novelistic, and ultimately did cohere into a whole. The distinct voices were well done in translation, including some clever pronoun juggling for clones, chill slacker dudespeak for an ‘anaboliser’ monologue, Ray Bradbury-ish small-town American for one schoolgirl coming of age in a society very focused on 'Freedom'.
While I read this for an SF bookgroup (which mostly ended up discussing it as New Wave cosy catastrophe homage) I think this is very accessible to general fic/litfic readers too, actually more so than to dedicated fans of hard or pop SF: more Emily St. John Mandel than Cixin Liu or Andy Weir. It was low on plot/action, gently melancholic in mood and not at all interested in techy aspects e.g. computers essentially function as libraries and post-boxes. Instead, the primary preoccupations are with reproduction, identity, memory, education and relationships (esp. romantic and mother-child) - treated with a complexity and ambivalence which will be familiar to readers of Kawakami’s writing in other genres; it especially complemented her timeslip novel The Third Love (written after this but translated earlier) which explored similar themes in Heian, Edo and contemporary Japan.
Overall, I really enjoyed the mythic and dreamlike feel, the deceptively limpid style, slowly putting the pieces of this world together and seeing the author’s take on AI, biotech and new societies. However, the penultimate story totally killed the mood by laboriously spelling out things which I thought were far better left implicit, open and, well, speculative. Still very readable, with some memorable images and moments, and enough to chew on ideas-wise that the gentleness didn't lull me to sleep. The translation lag adds another layer - this was originally published in 2016, and I suspect she might take a different approach now.
I've also read the other Japanese longlistee Hunchback in the original (no doubt missing a lot of nuance) but will wait to read Polly Barton's translation before reviewing here - while not my favourite translator she seems a great fit for this book, so I'm looking forward to it!