Der Poet unterm Schachbrett Ein Elefant, der auf dem Dach eines Kaufhauses lebt, weil er nicht mehr in den Aufzug passt. Und ein Junge, der daraufhin beschließt, nicht mehr zu wachsen, sondern sich stattdessen von einem alten Mann in die Kunst des Schachspielens einweisen zu lassen. In einem ausrangierten Bus wird ein kleiner Junge von einem alten Mann in die Geheimnisse des Schachspiels eingeweiht. Er ist außergewöhnlich talentiert und spielt am besten, wenn er unter dem Schachtisch sitzt – ohne seinem Gegner in die Augen zu sehen. Nur so kann er in Gedanken bei dem Elefanten sein, mit dem er befreundet ist. Deswegen wird ihm jedoch der Beitritt in den örtlichen Schachklub verwehrt. Er darf allein einen Schachautomaten bedienen. Im Inneren des Automaten, eingezwängt zwischen Hebeln und Knöpfen, treibt der Junge seine Kunst zur Vollendung. Doch dann kommt es zu einem verhängnisvollen Zwischenfall.
Author
Yōko Ogawa (小川 洋子) was born in Okayama, Okayama Prefecture, graduated from Waseda University, and lives in Ashiya. Since 1988, she has published more than twenty works of fiction and nonfiction. Her novel The Professor and his Beloved Equation has been made into a movie. In 2006 she co-authored „An Introduction to the World's Most Elegant Mathematics“ with Masahiko Fujiwara, a mathematician, as a dialogue on the extraordinary beauty of numbers. A film in French, "L'Annulaire“ (The Ringfinger), directed by Diane Bertrand, starring Olga Kurylenko and Marc Barbé, was released in France in June 2005 and subsequently made the rounds of the international film festivals; the film, some of which is filmed in the Hamburg docks, is based in part on Ogawa's "Kusuriyubi no hyōhon“ (薬指の標本), translated into French as "L'Annulaire“ (by Rose-Marie Makino-Fayolle who has translated numerous works by Ogawa, as well as works by Akira Yoshimura and by Ranpo Edogawa, into French). Kenzaburō Ōe has said, 'Yōko Ogawa is able to give expression to the most subtle workings of human psychology in prose that is gentle yet penetrating.' The subtlety in part lies in the fact that Ogawa's characters often seem not to know why they are doing what they are doing. She works by accumulation of detail, a technique that is perhaps more successful in her shorter works; the slow pace of development in the longer works requires something of a deus ex machina to end them. The reader is presented with an acute description of what the protagonists, mostly but not always female, observe and feel and their somewhat alienated self-observations, some of which is a reflection of Japanese society and especially women's roles within in it. The tone of her works varies, across the works and sometimes within the longer works, from the surreal, through the grotesque and the—sometimes grotesquely—humorous, to the psychologically ambiguous and even disturbing.
