AustLit logo

AustLit

Aokigahara single work   short story  
Issue Details: First known date: 2014... 2014 Aokigahara
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'I phoned my father when I arrived. He said, Your mum's just round at Aunty El's, in such a awy that I knew she wasn't; that she'd left the room with her hand to her mouth when he'd first said, Hullo love, and I felt so sorry for us all.' (Introduction)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Australian Book Review ABR no. 364 September 2014 7869329 2014 periodical issue review 2014 pg. 74-67
  • Appears in:
    y separately published work icon The Best Australian Stories 2015 Amanda Lohrey (editor), Melbourne : Black Inc. , 2015 8974137 2015 anthology short story (taught in 1 units)

    'In The Best Australian Stories 2015, Amanda Lohrey, winner of the Patrick White Award and author of the acclaimed novel A Short History of Richard Kline, curates twenty pieces of exceptional short fiction.

    'In this wide-ranging collection, there are stories that will surprise, unsettle and beguile readers. Familiar subjects are examined from new perspectives: a teenage girl sneaks into director Jean-Luc Goddard's study and steals his diaries; the life of Picasso is reimagined in miniature vignettes. And new life is breathed into the most universal of experiences: birth, death, love and loss. The mother of a girl with hearing difficulties watches her child grow into increasing independence. A young woman makes a poignant voyage to the site of her brother's suicide.

    'Elegant, accomplished and evocative, these short stories move, delight and inspire.' (Publication summary)

    Melbourne : Black Inc. , 2015
    pg. 163-175
  • Appears in:
    y separately published work icon Pulse Points : Stories Jennifer Down , Melbourne : Text Publishing , 2017 11679894 2017 selected work short story

    'The characters in Jennifer Down’s Pulse Points live in small dusty towns, glittering exotic cities and slow droll suburbs; they are mourners, survivors and perpetrators. 

    'In the award-winning ‘Aokigahara’, a young woman travels to the sea of trees in Japan to say goodbye. In ‘Coarsegold’, a woman conducts an illicit affair while her recovering girlfriend works the overnight motel shift in the middle of nowhere. In ‘Dogs’, Foggo runs an unruly gang of bored, cruel boys with a scent for fresh meat. In ‘Pressure Okay’ a middle-aged man goes to the theatre, gets a massage, remembers his departed wife, navigates the long game of grief with his adult daughter.' (Publication Summary)

    Melbourne : Text Publishing , 2017
    pg. 19-34

Works about this Work

Words Are Not Enough: Loss, Grief and Incommunicability in Jennifer Down’s Short Stories ‘Aokigahara’ and ‘Pulse Points’ Gretchen Shirm , 2022 single work criticism
— Appears in: Australian Literary Studies , 30 September vol. 37 no. 2 2022;

'This essay argues that Jennifer Down’s two stories ‘Aokigahara’ and ‘Pulse Points’ point to the limits of referential language in conveying grief, loss and related emotional experiences. Referencing Denise Riley’s theories from The Words of Selves and Impersonal Passion, I use Down’s stories as demonstrative of the concept that word choices do in fact contain emotion and affect and can transmit emotional experiences between the characters, and via characters from author to reader. Nonetheless, very often the referential properties of language are troubled in this process, and Down demonstrates the way in which the writer might convey affect and emotion through the techniques of silence, withholding, miscommunications and also through the unfolding of the narrative itself. Down avoids simplistic notions of closure and mourning by suggesting that the difficulty her characters experience is identifying the appropriate linguistic conventions to describe their emotional states, perhaps because there are none that can fully contain them. However, in the unfolding of these stories, difficult emotions and affects can be gestured towards, even outlined. Through this paradox, emotion and affect can indeed be ‘held’ not just in language, but in story, and this is particularly so when it moves away from signifying emotions in symbolic terms and represents them in a narrative sequence through an embodied narrator.' (Introduction)

Words Are Not Enough: Loss, Grief and Incommunicability in Jennifer Down’s Short Stories ‘Aokigahara’ and ‘Pulse Points’ Gretchen Shirm , 2022 single work criticism
— Appears in: Australian Literary Studies , 30 September vol. 37 no. 2 2022;

'This essay argues that Jennifer Down’s two stories ‘Aokigahara’ and ‘Pulse Points’ point to the limits of referential language in conveying grief, loss and related emotional experiences. Referencing Denise Riley’s theories from The Words of Selves and Impersonal Passion, I use Down’s stories as demonstrative of the concept that word choices do in fact contain emotion and affect and can transmit emotional experiences between the characters, and via characters from author to reader. Nonetheless, very often the referential properties of language are troubled in this process, and Down demonstrates the way in which the writer might convey affect and emotion through the techniques of silence, withholding, miscommunications and also through the unfolding of the narrative itself. Down avoids simplistic notions of closure and mourning by suggesting that the difficulty her characters experience is identifying the appropriate linguistic conventions to describe their emotional states, perhaps because there are none that can fully contain them. However, in the unfolding of these stories, difficult emotions and affects can be gestured towards, even outlined. Through this paradox, emotion and affect can indeed be ‘held’ not just in language, but in story, and this is particularly so when it moves away from signifying emotions in symbolic terms and represents them in a narrative sequence through an embodied narrator.' (Introduction)

Last amended 27 Jun 2018 14:29:43
Subjects:
  • c
    Japan,
    c
    East Asia, South and East Asia, Asia,
Newspapers:
    Powered by Trove
    X