345:, the book expanded the number of footnotes to 442, changed the writing style in the footnotes from plain form to polite form, and added final notes reporting statistics on population decline in Japan. The book sold over 800,000 copies in its initial release, and eventually sold over a million copies. Historian Eiko Maruko Siniawer has observed that the book was a phenomenon of public culture, in which it was often cited as an example of Japanese consumerism, but also provided a useful guide for young people who were interested in pursuing the lifestyle portrayed in the story. The term "kurisutaru zoku" (lit. "crystal tribe") came into popular use to describe these young consumers, and companies began using the word "crystal" to promote their products.
235:, largely dismissing the main narrative thread as "thin on plot", "plotless", having a "thin plot", having a plot that "verges on nonexistence", and providing "mere scaffolding" for the notes. The published book contains 442 notes, most of which explain, and opine about, brands, music, places, and trends that the characters encounter, leading literary scholar Faye Yuan Kleeman to describe the book as a "thinly disguised product and lifestyle endorsement narrative". The anthropologist Fabio Gygi has summarized
354:
413:. Written in the first person, the sequel takes the perspective of a married politician who meets up with ex-girlfriends, discusses the state of Japanese politics and society, and catches up with Yuri, the main character from the first novel, who has become a 54-year old businessperson working in public relations. Like the original novel, the sequel incorporates many notes, including updated statistics on the declining birth rate and overall aging of the Japanese population. In a 2021 essay for
279:, the notes, which in the book are written in a completely different style to the main text, reflect a dominant, masculine authorial voice that she describes as a "voyeuristic presence" watching and responding to the main female character. Christopher Smith, a literary scholar and translator of Tanaka's work, instead interprets the main text and notes as expressions of two aspects of Yuri's identity, which she manipulates in order to navigate different social situations and relationships.
223:
relatively frictionless life as "crystal". Yuri has a sexual encounter with
Masataka that she enjoys but finds less satisfying than her experiences with Jun'ichi. When Jun'ichi returns, Yuri learns that he also was unfaithful during his trip, but she reflects on her financial independence and decides that staying with Jun'ichi is the best fit for her crystal lifestyle.
372:, scholars and critics have, for different reasons, identified the book as an important work of postmodern Japanese literature. Literary scholar Matthew Strecher identifies the book's publication as the starting point of a postmodern literary trend that "resists the concepts and definitions" of traditional Japanese literature, comparing it to the early work of
384:
is the "most typical" example of postmodern
Japanese novels that, through the "disintegration of narrative art", also remove the possibility of cultural resistance to commercial dominance. From a different theoretical perspective, Norma Field calls the novel the "exemplary phenomenon of the decade in
274:
about postmodernism as a shift away from narrative and toward hypertext and database as cultural forms, Marc Yamada highlights the relationship between main text and annotations as a "database of cultural information that the reader is required to synthesize", thereby decentering the possibility of a
222:
While her boyfriend Jun'ichi is out of town, college student and part-time model Yuri passes the time in Tokyo by shopping for luxury products, visiting affluent neighborhoods, eating expensive food, and seeking new kinds of entertainment. At a dance club she meets
Masataka, to whom she describes her
242:
For some critics and scholars, the notes seemed to promote consumerism. Contemporary critic
Takashi Tsumura attributed the popularity of the book not to any literary merits, but to its particular appeal to young consumers. Noting the detail with which a single paragraph contains notes for shops like
201:
in 1981. A bestseller shortly after publication, the novel was controversial among contemporary critics for its apparent glorification of luxury consumption and its use of extensive annotations to identify desirable real-world products, brands, services, and locations encountered by the book's
27:
255:, and places to eat such as Chez Lui and Lecomte, literary scholar Marc Yamada observed that the notes divert attention away from the main text, instead "focusing the reader's desire on consumer products". Comparing the book to a series of television commercials, literary scholar
26:
455:, starring Kazuko Katō as Yuri, Toshio Kamei as Jun'ichi, and Zenzō Shimizu as Masataka. The promotional poster for the film prominently featured a listing of the foreign songs on the soundtrack, including "
326:
was highly controversial, with critics focusing on its lack of conventional narrative development and apparent endorsement of consumer culture. Although the story was also nominated for the
489:
showed how young
Japanese people and their desires differed from previous generations, concluding that the film was "unimportant as art, but nevertheless an important social document".
385:
Japan", and suggests that the novel's narrative and notes together create a postmodern "atmosphere" from within which opposition to the "logic of cultural capitalism" cannot be mounted.
380:
as an early example of postmodern "database fiction" that reflected the influence of new technology and information structures on
Japanese literature. In Masao Miyoshi's reading,
968:
Gygi, Fabio (2017). "The
Metamorphosis of Excess: 'Rubbish Houses' and the Imagined Trajectory of Things in Post-Bubble Japan". In Cwiertka, Katarzyna; Machotka, Ewa (eds.).
431:
Shortly after the book's release in Japan, multiple unauthorized Korean translations were published in South Korea. A German translation, titled
318:, who praised the novel's "freshness" and formal innovation. It was published alongside other Bungei Prize winners in the December 1980 issue of
1030:
Miyoshi, Masao (1989). "Against the Native Grain: The
Japanese Novel and the "Postmodern" West". In Miyoshi, Masao; Harootunian, Harry (eds.).
805:
435:, was published by Krüger in 1987. In 2019, an English translation by Christopher Smith was published by Kurodahan Press under the title
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Strecher, Matthew (1998). "Beyond "Pure" Literature: Mimesis, Formula, and the
Postmodern in the Fiction of Murakami Haruki".
419:, Tanaka reflected that people largely had not responded to the concerns about population trends he expressed in the notes of
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423:, and acknowledged that his original prediction that fertility rates could turn around had not been borne out in practice.
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210:. The book has been translated into Korean, German, and English, and a Japanese film adaptation was released by
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263:"tries to look ironic and sophisticated, but barely manages to conceal its crude apologia for affluence".
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Smith, Christopher (2020). "Somehow, Dialogic: The
Dialogic Self and the Rejection of the Modern in
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1094:
Perkins, Chris (2022). "Murakami's Strange Library". In Crawford, Alice; Crawford, Robert (eds.).
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927:(1989). "Somehow: The Postmodern as Atmosphere". In Miyoshi, Masao; Harootunian, Harry (eds.).
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330:, the novel received what Norma Field has called "virtually complete critical dismissal".
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304:. He has said that his use of annotations was inspired by Ambrose Bierce's satirical work
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995:"Intertwining Tongues: Bilingualism and Hybrid Tests in Contemporary Japanese Literature"
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Literary scholars writing well after the publication of the book have focused on the
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1071:
Ota, Satoshi (2015). "The witches of Tokyo: An investigation in the bimajyo trend".
1465:
Tsunoda, Waka (1988). "The Influx of English in Japanese Language and Literature".
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Yamada, Marc (2013). "The Database Imagination of Japanese Postmodern Culture".
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Stalker, Nancy (2018). ""Cool" Japan as Cultural Superpower (1980s–2010s)".
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Border Crossings: The Journal of Japanese-Language Literature Studies
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Bail (October 13, 1982). "Nantonaku, Kurisutaru (Somehow, Crystal)".
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Consuming Life in Post-Bubble Japan: A Transdisciplinary Perspective
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Scholars and critics have focused on the role of the annotations in
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in book format. In contrast to the version previously printed in
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of the narrative and annotations. Drawing on the writings of
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fictional characters. Academic critics have since identified
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In 2014, Kawade Shobō Shinsha published Tanaka's sequel to
1307:(in Japanese). Vol. 19, no. 12. pp. 30–82.
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917:. Vol. 308, no. 11. p. 20.
1441:"田中康夫『なんとなく、クリスタル』発表から40年…的中した"一抹の不安"とは"
1127:Shimizu, Yoshinori (December 15, 2014).
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275:single author. For literary scholar
1303:(December 1, 1980). "なんとなく、クリスタル".
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52:なんとなく、クリスタル (Nantonaku, Kurisutaru)
1108:10.1093/oso/9780192855732.003.0015
447:The novel was adapted into a 1981
14:
407:33 Nengo no Nantonaku, Kurisutaru
1133:Somehow, Crystal, 33 Years Later
394:Somehow, Crystal, 33 Years Later
362:Somehow, Crystal, 33 Years Later
197:, and published in book form by
1381:Somehow, Crystal 33 Years Later
1188:The Journal of Japanese Studies
31:Cover of first Japanese edition
1224:University of California Press
1158:Waste: Consuming Postwar Japan
1156:Siniawer, Eiko Maruko (2018).
16:Japanese novel by Yasuo Tanaka
1:
1512:10.1080/10371397.2013.770452
1262:The Journal of Asian Studies
1355:] (in German). Krüger.
993:Kleeman, Faye Yuan (2018).
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364:author Yasuo Tanaka in 2014
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1012:10.22628/bcjjl.2018.6.1.21
974:Amsterdam University Press
310:. In 1980 the story won a
1232:10.1525/9780520962835-013
1044:10.1215/9780822381556-009
941:10.1215/9780822381556-010
775:, pp. 171, 178, 185.
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376:. Marc Yamada classifies
283:Publication and reception
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115:Published in English
51:
24:
1162:Cornell University Press
1129:"33年後のなんとなく、クリスタル 田中康夫著"
349:Reassessment and updates
239:as a "catalogue novel".
1100:Oxford University Press
1096:Libraries in Literature
1032:Postmodernism and Japan
929:Postmodernism and Japan
302:Hitotsubashi University
185:is a Japanese novel by
1468:World Literature Today
1135:by Yasuo Tanaka].
1085:10.1386/eapc.1.2.255_1
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307:The Devil's Dictionary
1383:] (in Japanese).
1325:] (in Japanese).
1201:10.1353/jjs.2020.0045
1183:Nantonaku, kurisutaru
1036:Duke University Press
933:Duke University Press
487:Nantonaku, Kurisutaru
453:Nantonaku, Kurisutaru
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247:, neighborhoods like
208:postmodern literature
179:Nantonaku, Kurisutaru
79:Postmodern literature
1566:1981 Japanese novels
1439:(January 20, 2021).
1385:Kawade Shobō Shinsha
1327:Kawade Shobō Shinsha
1226:. pp. 362–400.
1102:. pp. 220–232.
1038:. pp. 143–168.
976:. pp. 129–151.
935:. pp. 169–188.
603:, pp. 1369–137.
335:Kawade Shobō Shinsha
199:Kawade Shobō Shinsha
89:Kawade Shobō Shinsha
1576:Novels set in Tokyo
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333:The following year
288:Initial publication
47:Original title
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1581:Postmodern novels
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62:Christopher Smith
20:Somehow, Crystal
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41:Yasuo Tanaka
1546:October 25,
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1319:なんとなく、クリスタル
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867:Tanaka 1987
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819:Yamada 2013
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645:Yamada 2013
613:Yamada 2013
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172:なんとなく、クリスタル
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457:I Go Crazy
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