Sorelli, who wished to be alone for a moment to “run through” the speech which she was to make to the resigning managers, looked around angrily at the mad and tumultuous crowd. They rushed in amid great confusion, some giving vent to forced and unnatural laughter, others to cries of terror.
Suddenly the dressing-room of La Sorelli, one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage after “dancing” Polyeucte. Debienne and Poligny, the managers of the Opera, were giving a last gala performance to mark their retirement. Is It the Ghost? It was the evening on which MM. Is the titular last weasel, so theatrically killed by his wife’s family in the second section, a metaphor for the eventual dissolution of their relationship based on infertility (“They know this house is the last place they want to be”), and the blizzard an opportunity for the couple to see what their lives could’ve been like? The only certainty is the sense of the main character standing in place while everything changes around him.1. Who is the immature one: the narrator or his friend Saike, the married, work-from-home, day-drinking dad who owns said mountain home? Was the sperm test that the narrator’s wife requested for sampling, or insemination? If it’s the latter, has she lost the baby, decided against having it, or kept her pregnancy a secret each of these decisions could potentially stem from the emotional unavailability of the narrator. The narrative approach surfaces both clues and questions as a spring thaw does lost items.
The specter of snow melting, thus freeing the narrator and his wife from the mountain home in which they’re stranded, unspools deliciously backward in this consistently surprising story from one of the brightest writers in Japan.
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