Ogawa exploits the psychological complexity of this bizarre situation to impressive effect, overlaying its natural tension with sexual ambiguity and a sense that the lines between safety and captivity are being blurred. Interspersed with the narrator’s account of the difficulties of keeping her clandestine housemate hidden, fed, watered and entertained are excerpts from her own novel, which appears to be swinging wildly into a terrifying story of Bluebeard-style abduction: “I had imagined that the two of them, bound by a warmer and more ordinary affection, would wander off to search for her voice at a typewriter factory or in a lighthouse at the end of a cape or in a morgue or in the storage room of a stationer’s, but somehow things had ended up like this.”
The Memory Police is a masterpiece: a deep pool that can be experienced as fable or allegory, warning and illumination. It is a novel that makes us see differently, opening up its ideas in inconspicuous ways, knowing that all moments of understanding and grace are fleeting. It is political and human, it makes no promises. It is a rare work of patient and courageous vision.