“Well, what about me?”

“You at least are willing to work hard,” Komatsu said cautiously. “As far as I can tell, you don’t cut corners. You’re very modest when it comes to the act of writing. And why? Because you like to write. I value that in you. It’s the single most important quality for somebody who wants to be a writer.”

“But not, in itself, enough.”

“No, of course, not in itself enough. There also has to be that ‘special something,’ an indefinable quality, something I can’t quite put my finger on. That’s the part of fiction I value more highly than anything else. Stuff I understand perfectly doesn’t interest me. Obviously. It’s very simple.”

Tengo fell silent for a while. Then he said, “Does Fuka-Eri’s writing have something you don’t understand perfectly?”

“Yes, it does, of course. She has something important. I don’t know what it is exactly, but she has it, that much is clear. It’s obvious to you, and it’s obvious to me. Anybody can see it, like the smoke from a bonfire on a windless afternoon. But whatever she has, Tengo, she probably can’t carry it on her own.”

“Meaning, if we throw her in the water, she’ll drown?”

“Exactly.”

“And that’s why you don’t want to put her on the short list.”

“That is exactly why.” Komatsu contorted his lips and folded his hands on the table. “Which brings us to a point in the conversation where I have to be very careful how I express myself.”

Tengo picked up his coffee cup and stared at the puddle inside. Then he put the cup down again. Komatsu still had not spoken. Tengo asked, “Is this where I find out what you mean by ‘something else’?”

Komatsu narrowed his eyes like a teacher gazing upon his prize pupil. He nodded slowly and said, “It is.”

There was something inscrutable about this man Komatsu. You couldn’t easily tell from his expression or tone of voice what he was thinking or feeling. He appeared to derive a good deal of pleasure from keeping others guessing. Mentally, he was very quick, that was for certain. He was the type of man who had his own sense of logic and reached his own conclusions without regard to the opinions of others. He did not engage in pointless intellectual display, but it was clear that he had read an enormous amount and that his knowledge was both wide-ranging and deep. Nor was it simply a matter of factual knowledge: he had an intuitive eye both for people and for books. His biases played a large role here, but for Komatsu bias was an important element of truth.

He never said a great deal, and he hated long-winded explanations, but when necessary he could present his views logically and precisely. He could also be quite caustic if he felt like it, aiming a quick and merciless jab at his opponent’s weakest point. He had very strong opinions about both people and literature; the works and individuals he could not tolerate far outnumbered those he could. Not surprisingly, the number of people who disliked him was far greater than those who thought well of him—which was exactly what he hoped for. Tengo thought that Komatsu enjoyed the isolation—and even relished being openly hated. Komatsu believed that mental acuity was never born from comfortable circumstances.

At forty-five, Komatsu was sixteen years older than Tengo. A dedicated editor of literary magazines, he had established a certain reputation as one of the top people in the industry, but no one knew a thing about his private life. He met with people constantly in his work, but he never spoke of anything personal. Tengo had no idea where he was born or raised, or even where he lived. They often had long conversations, but such topics never came up. People were puzzled that a difficult man like Komatsu was able to solicit manuscripts from writers—he had no friends to speak of and displayed only contempt for the literary world—but over the years he managed, almost effortlessly, to obtain work by famous authors for the magazine, and more than a few issues owed their contents to his efforts. So even if they didn’t like him, people respected him.

Rumor had it that when Komatsu was a student in the prestigious University of Tokyo’s Department of Literature in 1960, he had been one of the leaders of the huge leftist demonstrations against the U.S.-Japan Security Treaty. He was said to have been near fellow student Michiko Kanba when she was killed by riot police, and to have suffered serious injuries himself. No one knew if this was true, but there was something about Komatsu that made the stories seem convincing. He was tall and gangly, with an oversized mouth and an undersized nose. He had long limbs and nicotine-stained fingers, reminiscent of those failed revolutionary intellectuals in nineteenth-century Russian novels. He rarely smiled, but when he did it was with his whole face. Not that it made him look especially happy—he was more like an old sorcerer chuckling to himself over an ominous prophecy he was about to reveal. Clean and decently groomed, he always wore a tweed jacket, white oxford cloth or pale gray polo shirt, no tie, gray pants, suede shoes—a “uniform” meant to show the world he didn’t care about these things. Tengo imagined a half-dozen three-button tweed jackets of a subtly different color, cloth, and pattern that hung, carefully brushed, in Komatsu’s closet. Perhaps Komatsu had to attach number tags to distinguish one jacket from another.

Komatsu’s fine, wiry hair was beginning to show a touch of gray in front. Tangled on the sides, it was long enough to cover his ears, and it always stayed that length, about a week overdue for a haircut. Tengo wondered how such a thing was possible. At times Komatsu’s eyes would take on a sharp glow, like stars glittering in the winter night sky. And if something caused him to clam up, he would maintain his silence like a rock on the far side of the moon. All expression would disappear from his face, and his body seemed to go cold.

Tengo first met Komatsu five years earlier when he was short-listed for the new writers’ prize competition of Komatsu’s magazine. Komatsu called and said he wanted to get together for a chat. They agreed to meet in a café in Shinjuku (the same one in which they were now sitting). Komatsu told Tengo there was no way his work would take the prize (and in fact it did not). Komatsu himself, however, had enjoyed the story. “I’m not looking for thanks, but I almost never say this to anyone,” he said. (This was in fact true, as Tengo came to learn.) “So I’d like you to let me read your next story before you show it to anyone else.” Tengo promised to do that.

Komatsu also wanted to learn about Tengo as a person—his experience growing up, what he was doing now. Tengo explained himself as honestly as he could. He was born in the city of Ichikawa in nearby Chiba Prefecture. His mother died of an illness shortly after he was born, or at least that was what his father told him. He had no siblings. His father never remarried but raised Tengo by himself, collecting NHK television subscription fees door to door to make a living. Now, however, his father had Alzheimer’s disease and was living in a nursing home on the southern tip of Chiba’s Boso Peninsula. Tengo himself had graduated from Tsukuba University’s oddly named “School 1 College of Natural Studies Mathematics Major” and was writing fiction while teaching mathematics at a private cram school in Yoyogi. At the time of his graduation he could have taken a position at a prefectural high school near home, but instead chose the relatively free schedule of the Tokyo cram school. He lived alone in a small apartment in the Koenji District west of downtown Tokyo, which gave him an easy half-hour commute to school.

Tengo did not know for certain whether he wanted to be a professional novelist, nor was he sure he had the talent to write fiction. What he did know was that he could not help spending a large part of every day writing fiction. To him, writing was like breathing.