Reading Mieko Kanai's stories is an unsettling experience, like swimming underwater, existing in a new and shimmering medium, and coming up for air between stories just to make sure everything is still real — or as real as you remember it. Concurrently, it feels as if one were skating on a slippery surface, gliding along, glimpsing things possibly more substantial beneath — maybe even catching sight of your own double.

In "Rivals," a standout among the stories collected in "The Word Book," a writer travels north on a train, moving through dreamlike landscapes of forests and wastelands. She meets an encyclopedia salesman in the dining car who asks her to join him for a whiskey. He reveals that he used to be a writer; he tells her of his first love, of a rival for the woman's affections, and how he found the rival's notebook, identical to his own, with passages from his own works. This mirror effect, this fragmenting of self, forced the man to abandon writing. The story enfolds and explodes like a rose grenade, asking questions about originality and inspiration.

In "Windows," a photographer meets an author in a teahouse; already an imagined character, he arrives just as the author is delineating his nature. He tells her of memories and photographs and the shifting relics of past and present, and how he took the same photograph every day for 20 years. Concerned with fluctuations of time and the impossibility of capturing memories and things, the story allows us into the writer's mind.