How much land rights? How does the Japanese middle class as it attempts to unravel the mystery of life? What happens when a man was swept away by the whirlwind of his impulses? So many questions asked by the Marquis de Sade of modern times.
Sado-masochism, the influence of sexuality and irreversible breakdown appear to be three main themes of the author. Yet Ryu is immodest to the death, he lays bare before the reader, he reveals his feelings, what he admires in humans. All this recent violence, the return to primitive life made-up by a blinding materialism or the abyssal diving into drugs only reflect the disillusionment experienced by the writer. Ryu loves music (1969, Ecstasy, Melancholia, Thanatos), ancestral cultures (trilogy), and especially the human soul in which he sees an incredible wealth which will result in the only misery and sexual morality.
Like Bukowski, Ryu is a writer must be understood in order to appreciate his work. Admittedly, "The Baby of the locker," a of his masterpieces, is captivating from the first lines and anonymity in any way detrimental to the quality of the narrative. But as soon as we approach his trilogy, "Lines" or "pests", we notice immediately a huge meditative work, careful thought on the primary themes. One wonders why the author gives so much trouble if he does that throw up his disgust with humanity in every word. One thinks of Cioran, but you quickly forget this comparison as the story of Ryu is detached by the duality of his characters.
Ryu's talent lies in his prose and his anarchic construction of narratives. Voluntarily derisory sentences reflect his animality of men who persist to hide behind a dirty window they try to keep the state in order not to see their reflection. Yet what they experience is that the image they dare to face. The writer, in his prose, goes thus wiping the mirror and reconciles the image and its subject. And we go for an avalanche of the most despicable vices, a search of absolute enjoyment by drugs and sex that features lucid because of fallen souls of their plight. Construction is messy drive the nail and bring about a naivety in his characters. It feels so foreign the narrative to better observe and it possesses a decline at the same time that knowledge of the events. In addition to "The Locker Babies Automatic" and "1969", Ryu's novels do not live, they are observed and question every act of our own lives as the extreme images that we inflict with us once the book is closed.
Finally what is funny in Ryu is that it makes us feel what he does not write. Apart from the events he recounts, this raises questions about the pages he has left white. Erroneously considered the bard of the disillusioned generation, he is okay beyond mere description and adds a mystique that triggers the incomprehension and thus the reader's consideration.
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