Great Writer Series: Haruki Murakami

Haruki Murakami

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The Great Writer Series

I’m an outcast of the Japanese literary world.

The Voice of his Generation

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The Art of Fiction

By John Wray

He was born to a knowledgeable family with a vested interest in the national culture: his father was a teacher of Japanese literature and his grandfather a Buddhist monk.

Haruki Murakami

Highly Cultured

When he was two, his family moved to Kobe, and it was this bustling port city, with its steady stream of foreigners (especially American sailors), that most clearly shaped his sensibility. Rejecting Japanese literature, art, and music at an early age, Murakami came to identify more and more closely with the world outside Japan, a world he knew only through jazz records, Hollywood movies, and dime-store paperbacks.

Haruki Murakami is not only arguably the most experimental Japanese novelist to have been translated into English, he is also the most popular, wwith sales in the millions worldwide. His greatest novels inhabit the liminal zone between realism and fable, whodunit and science fiction: Hard-Boiled Wonderland and the End of the World, for example, features a protagonist who is literally of two minds, and The Wind-Up Bird Chronicle, perhaps his best-known work outside of Japan, begins prosaically—as a man’s search for his missing wife— then quietly mutates into the strangest hybrid narrati ve since Laurence Sterne’s Tristram Shandy. Murakami’s world is an allegorical one, constructed of familiar symbols—an empty well, an underground city—but the meaning of those symbols remains hermetic to the last.

His debt to popular culture (and American pop culture, in particular) notwithstanding, it could be argued that no author’s body of work has ever been more private.

Since then Murakami has been an unwilling celebrity in his native country, living abroad for years at a time to secure a measure of distance from his public image.

He has lived both in Europe and the U.S.; The Wind-Up Bird Chronicle, for example, was written while teaching at Princeton and Tufts. As a student in Tokyo in the late sixties, Murakami developed a taste for postmodern fiction while looking on, quietly but sympathetically, as the protest movement reached its high-water mark. He married at twenty-three and spent the next several years of his life running a jazz club in Tokyo, Peter Cat, before the publication of his first novel made it possible for him to pay his way by writing.

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Extraordinary Writing Style

My interest was not in creating a watered-down form of Japanese. I wanted to deploy a type of Japanese as far removed as possible from so-called literary language in order to write in my own natural voice. That required desperate measures. I may have regarded Japanese as no more than a functional tool.

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The Wind-Up Bird Chronicle

It is Murakami’s heroically imaginative novel, which is at once a detective story, an account of a disintegrating marriage, and an excavation of the buried secrets of World War II. [II]

Subway Sarin Incident

The sarin nerve gas attack on the Tokyo subway in 1995 killed 13 people and injured more than 6,000

Le Mal du Pays

Le Mal du Pays is a piece from Franz Liszt’s set of piano suites Colorless Tsukuru Tazaki and His Years of Pilgrimage (hence the novel’s subtitle). It was the soundtrack to the novel’s general composition.

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Murakami Haruki is a world-renowned as a novelist of magical realist fiction. His works are build around an almost obsessive urge to explore and understand the inner core of the human identity. His heroes routinely journey into a metaphysical realm — the unconscious, the dream scape, the land of the dead — to examine directly their memories of people and objects they have lost. The theme of alienation and sense of loss is prominent in most of his novels. Often times, the protagonists are people who follow societal norms while feeling nihilistic about anything they do. While this isn’t anything particularly new, this is very important considering the context of post-war Japanese society.

After the Second World War, the Japanese experienced a difficult time of reconstruction, both physically and socially. The people went through the troubling 1960s with the student protest movement, the prospering economy of the 1970s and 1980s, only for the bubble to burst in the 1990s. Murakami’s novels took place frequently under such post-modern contexts. His characters are not direct victims of such events, but you can sense how such contexts affect their growth and their perception towards human relationships. Like a recurring Hedgehog dilemma, the characters are always weary of establishing intimate relationships with others, in the fear of protecting themselves and the people they care about. In this context, there is a subtle critique of capitalism as well, as the advancement of technology in Japan does not necessarily make people feel better about their lives.

Through this critique of modern society, along with his unique writing style, Murakami shows us how we are a lot more distant from other people than we imagine.

His work often invokes surreal creatures or extraordinary settings. From the talking cats inKafka on the Shore (2002) to the city of two moons in 1Q84 (2009), from the character that sees her imaginary self in Sputnik Sweetheart (1999) to the girl that sleeps for years in After Dark (2004), often times Murakami includes such fantasy-like settings that challenge our perception, yet

somehow, you feel like they make sense. When reading the chapters, you will feel odd, but at the same time you find them very believable, as if you are just waiting for them to happen. In this sense, it almost feels like Murakami is putting forward an existentialist question: what do you do to find your meaning of existence in an apparently absurd world? Do you accept it as it is or do you try your best to figure out why that is the case?

The various surreal settings and creatures in his novels provoke such thoughts, as readers, often to no avail, try to decipher their real meaning.

Magical Realism He is a noted music fan, having opened a jazz bar before he wrote his first novel, and he effortlessly incorporates music (particularly classical and jazz) into his stories.

While the music serves more as an accompanying piece to the story, devoted readers find it pleasing to listen to that particular piece while reading his novel. For example, the Czech composer Janacek’s Sinfonietta is clearly referenced many times in 1Q84, serving as a connection point between the male and female protagonists. The story won’t be affected, in terms of content, if all the mention of the music is omitted, but music has become so prominent in Murakami’s work that without any classical or jazz music reference, it just feels not Murakami enough. The inclusion of music also makes the reading process more entertaining, as if you’re picturing the scenes in your mind while listening to the background music being played in a movie.

Some of the critics saw this as a threatening affront to our national language. Language is very tough, though, a tenacity that is backed up by a long history. Its autonomy cannot be lost or seriously damaged however it is treated, even if that treatment is rather rough. His style in Japanese differs from Tanizaki’s, as it does from Kawabata’s. That is only natural. After all, another guy, an independent writer named Haruki Murakami.

Political View 03 20 95

A book by Japanese novelist, Haruki Murakami. It is about Aum Shinrikyo horrific sarin gas attack on the Tokyo subway.

While Murakami’s stories make him famous, it is his humanitarian side that earns him respect from even people who are not familiar with his work. Shortly after the Subway Sarin Incident in Tokyo, 1995, staged by the cult Aum Shinrikyo, when thirteen people were killed and thousands were left injured, Murakami interviewed some victims to get their full experience on that day.

Such interviews were later compiled into his first non-fiction work, Underground. He was not done, however; the year after, he proceeded to interview 8 members of Aum Shinrikyo in order to answer the questions: why did the cult commit such an act, and what did the cult members think about it? He then penned his second non-fiction work, Underground II: The Promised Land (in the English version, this book is included in Underground as well). When everyone was pointing fingers at the cult members, Murakami calmly pointed out that these members were no different from ordinary citizens of society, and he criticized the society for focusing on what had happened, instead of trying to figure out why it had happened.

He talked to the people who lived through the catastrophe—from a Subway Authority employee with survivor guilt, to a fashion salesman with more venom for the media than for the perpetrators, to a young cult member who vehemently condemns the attack though he has not quit Aum. Through these and many other voices, Murakami exposes intriguing aspects of the Japanese psyche. And as he discerns the fundamental issues leading to the attack, we achieve a clear vision of an event that could occur anytime, anywhere. Hauntingly compelling and inescapably important, Underground is a powerful work of journalistic literature from one of the world’s most perceptive writers.

Two more incidents outlined Murakami’s reputation as the most prominent humanitarian writer of our time.

In 2009, he received the Jerusalem Prize, which sparked outrage in Japan and many places since Israel just bombed Gaza. Murakami chose to attend the event despite

controversies, and in his acceptance speech he implicitly criticized the Israeli government for its action, and famously proclaimed that:

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Underground

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Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg.

Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg.

Political Involvment Murakami’s project from his first novel, published in 1980, is one of a search for individual meaning. The appeal of books that focus on this is hardly surprising. Japan since the 70s has been the prototype of what Murakami himself has characterized as a “late declining capitalism,” which tends to obliterate individual identity in favor of undifferentiated mass consumption, which is the highest good. The triumph of neoliberalism over the world, which is only just now beginning to be rolled back, should provide reason enough why Murakami has become an international superstar. But what started Murakami’s explorations of the individual psyche is something that few readers seem to pay attention to.

Sleep Chase betray a political consciousness likely formed by his participation in the 1968 Japanese student movement, which is at least in the background of all his early works. Both his characters and Murakami himself as the implied author are deeply wounded by the impasse and the defeat of the Japanse Student Movement.

Murakami is also not afraid of criticizing his government regarding sensitive issues. In the aftermath of the 2011 Fukushima Nuclear Disaster, he openly criticized the government’s nuclear policy and condemned its role in marginalizing opposition voices.

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Interviews

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No. 182

By John Wray

I’ve just read After the Quake, your newest story collection and I found it interesting how freely you mixed stories that were realistic, in the style of your novel Norwegian Wood, let’s say, with others that had more in common with The Wind-Up Bird Chronicle or Hard-Boiled Wonderland and the End of the World. Do you see a fundamental difference between those two forms?

My style, what I think of as my style, is very close to Hard-Boiled Wonderland. I don’t like the realistic style, myself. I prefer a more surrealistic style. But with Norwegian Wood, I made up my mind to write a hundred percent realistic novel. I needed that experience.

Did you think of that book as an exercise in style or did you have a specific story to tell that was best told realistically?

I could have been a cult writer if I’d kept writing surrealistic novels. But I wanted to break into the mainstream, so I had to prove that I could write a realistic book. That’s why I wrote that book. It was a best-seller in Japan and I expected that result.

So Japanese readers are like American readers? They want an easy story.

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Art of Fiction No. 182

The first manuscript page of Wild Sheep Chase, 1982.

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Jazz Club

Murakami at his jazz bar, Peter Cat, in Sendagaya, Tokyo, 1978.

John Wray

A novelist and regular contributor to The New York Times Magazine.

Wray’s first novel, The Right Hand of Sleep received positive reviews and was awarded a Whiting Award.

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My latest book, Kafka on the Shore, sold three hundred thousand sets—it’s in two volumes here, you know. I was surprised that it sold that many; that’s no ordinary thing. The story is very complicated and very hard to follow. But my style, my prose, is very easy to read. It contains a sense of humor, it’s dramatic, and it’s a page-turner. There’s a sort of magic balance between those two factors.I write a novel every three or four years, and people are waiting for it. I once interviewed John Irving, and he told me that reading a good book is a mainline.

Those two factors—a straightforward, easy-to-follow narrative voice paired with an often bewildering plot—is that a conscious choice?

No, it’s not. When I start to write, I don’t have any plan at all. I just wait for the story to come. I don’t choose what kind of story it is or what’s going to happen. I just wait. Norwegian Wood is a different thing, because I decided to write in a realistic style.

But basically, I cannot choose.

So you’ve never felt, at any point in your career, that you were part of any community of writers?

I’m a loner. I don’t like groups, schools, literary circles. At Princeton, there was a luncheonette, or something like that, and I was invited to eat there.

Joyce Carol Oates was there and Toni Morrison was there and I was so afraid, I couldn’t eat anything at all! Mary Morris was there and she’s a very nice person, almost the same age as I am, and we became friends, I would say. But in Japan I don’t have any writer friends.

You mentioned Ryu Murakami earlier. He seems to have a very different agenda as a writer.

My style is kind of postmodern; his is more mainstream. But when I read Coin Locker Babies for the first time, I was shocked; I decided I would like to write that kind of powerful novel. Then I started to write A Wild Sheep Chase. So it’s a kind of rivalry.

It’s interesting that Norwegian Wood, which is set in that time, is perhaps the least comic of your books.

In that sense, our generation is a serious generation.

But looking back on those days, it was so comical! It was an ambiguous time. So we are used to it, I guess.

His Love for Music 01 15 64

In 2014, Haruki Murakami’s latest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage, was published in the United States. Its title is a reference to Franz Liszt’s “Years of Pilgrimage” suite, which plays a central role in the novel’s narrative. The pointed reference isn’t exactly a major detour from Murakami. His favorite tropes are so omnipresent that a fan recently put together a Bingo card collecting them: “Speaking to Cats,” “Parallel Worlds,” “Weird Sex,” and “Old Jazz Record.”

Musical Influence

Something like my own music was swirling around in a rich, strong surge. I wondered if it might be possible for me to transfer that music into writing. That was how my style got started.

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At times, reading Murakami’s work can feel like flipping through his legendarily expansive record collection. (In a 2011 New York Times article, Murakami estimated that he owns 10,000 records, but says he was afraid to count.)

Almost without exception, Murakami’s musical references are confined to one of three genres: classical, jazz, and American pop. Many of his novels, including Norwegian Wood, Dance Dance Dance, and South of the Border, West of the Sun — derive their titles from songs, and his characters constantly reflect on the music they hear.

If anything, Murakami’s reliance on music has become more pronounced over the years; his two most recent novels hinge on songs that literally have the power to change the world.

Perhaps the strangest side effect of Murakami’s enormous popularity is his ability to single-handedly drive musical trends. Following the Japanese release of 1Q84, Leoš Janáček’s “Sinfonietta”— which plays a prominent role in the narrative — sold as many copies in one week as it had sold over the previous 20 years.

Recognizing this power, Vintage Books promoted his latest novel by incorporating the Liszt composition into a book trailer.

Last month we featured the particulars of novelist Haruki Murakami’s passion for jazz, including a big Youtube playlist of songs selected from Portrait in Jazz, his book of essays on the music. But we also alluded

to Murakami’s admission of running to a soundtrack provided by The Lovin’ Spoonful, which suggests listening habits not enslaved to purism. His books — one of the very best known of which takes its name straight from a Beatles song (“Norwegian Wood”) — tend to come pre-loaded with references to several varieties of music, almost always Western and usually American. “The Fierce Imagination of Haruki Murakami,” Sam Anderson’s profile of the writer on the occasion of the release of one of his previous novel 1Q84, name-checks not just Stan Getz but Janáček’s Sinfonietta, The Rolling Stones’ Sympathy for the Devil, Eric Clapton’s Reptile, Bruce Springsteen’s version of “Old Dan Tucker,” and The Many Sides of Gene Pitney. The title of Murakami’s new Colorless Tsukuru Tazaki and His Years of Pilgrimage, writes The Week‘s Scott Meslow, references Franz Liszt’s ‘Years of Pilgrimage’ suite, “which plays a central role in the novel’s narrative. The pointed reference isn’t exactly a major detour from Murakami.”

Given the writer’s increasing reliance on music and the notion of “songs that literally have the power to change the world,” to say nothing of his “ability to single-handedly drive musical trends,” it can prove an illuminating exercise to assemble Murakami playlists. Selecting 96 tracks, Meslow has created his own playlist that emphasizes the breadth of genre in the music incorporated into Murakami’s fiction: from Ray Charles to Brenda Lee, Duke Ellington to Bobby Darin, Glenn Gould to the Beach Boys. Each song appears in one of Murakami’s novels.

Hear the Wind Sing California Girls - The Beach Boys A Gal in Calico - Miles Davis Return to Sender - Elvis Presely Hey There Loney Girl - E. Holman Good Luck Charm - Elvis Presely

Pinball,1973 Hello Mary Lou - Ricky Nelson Rubber Ball - Bobby Vee II. Adaigo - Wolfgang Mozart McArthur WPark - Richard Harris It’s So Peachful In The Country Mildred Bailey

A Wild Sheep Chase Midnight Special - John Rivers Roll Over Beethoven - J. Rivers Secret Agent Man - J. Rivers Johnny B. Goode - J.Rivers Star Wars - Maynard Ferguson Perfida - Percy Faith Air Mail Special - Benny Goodman

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Translation

Murakami is a writer not only found in translation (in forty-plus languages, at the moment) but one who found himself in translation. He wrote the opening pages of his first novel, “Hear the Wind Sing,” in English, then translated those pages into Japanese, he said, “just to hear how they sounded.” And he has translated several other American writers into Japanese, most notably Raymond Carver, John Irving, J. D. Salinger, and F. Scott Fitzgerald, whose “The Great Gatsby” Murakami credits as the inspiration behind his entire career.

Professional Translator 04 28 03

Still, I can’t help but wonder if the translation of literature, where the strengths and even personality of the original are embedded in the language, is futile, however heroic. “When you read Haruki Murakami, you’re reading me, at least ninety-five per cent of the time,” Jay Rubin, one of Murakami’s longtime translators, told me in Tokyo last month, explaining what he says to American readers, most of whom prefer to believe otherwise. “Murakami wrote the names and locations, but the English words are mine.” Murakami once told me that he never reads his books in translation because he doesn’t need to. While he can speak and read English with great sensitivity, reading his own work in another language could be disappointing—or worse. “My books exist in their original Japanese. That’s what’s most important, because that’s how I wrote them.”

But he clearly pays attention during the process of translation. Rubin said that the first time he translated a Murakami novel, “The Wind-Up Bird Chronicle,” he phoned the author several times one day to nail word choices and correct inconsistencies. “In one scene, a character had black-framed glasses. In another, the frames were brown. I asked him: Which one is it?” I found Rubin’s anecdote revealing. The Japanese language acquires a lot of beauty and strength from indirectness—or what English-speakers call vagueness, obscuri-

ty, or implied meaning. Subjects are often left unmentioned in Japanese sentences, and onomatopoeia, with vernacular sounds suggesting meaning, is a virtue often difficult if not impossible to replicate in English.

Alternatively, English is often lauded for its specificity. Henry James advised novelists to find the figure in the carpet, implying that details and accuracy were tantamount to literary expression. Is it possible that Japanese and English are two languages so far apart that translators can only reinvent their voices by creating entirely new works? Last week, Shibata, Goossen, and a lineup of Japanese and American writers were in New York to host a series of events to introduce the third and latest English version of Monkey Business, as part of the PEN World Voices Festival. At their Asia Society dialogue, Goossen quoted Charles Simic’s take on the magical absurdity of translating poetry:

To translate is not only to experience what makes each language distinct, but to draw close to the mystery of the relationship between word and thing, letter and spirit, self and world.

Murakami would likely agree. In a recently published essay on his decision to render “The Great Gatsby” in Japanese, the sixty-four-year-old author reveals that it became something of a lifelong mission. He told others about his ambition in his thirties, and believed then that he’d be ready to undertake the challenge when he reached sixty. But he couldn’t wait. Like an overeager child unwrapping his presents, he translated “Gatsby” three years ahead of schedule.

Translation is a matter of linguistic technique which naturally ages as the particulars of a language change. While there are undying works, on principle there can be no undying translations. It is therefore imperative that new versions appear periodically in the same way that computer programs are updated.

At the very least this provides a broader spectrum of choices, which can only benefit readers.

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Films and other adaptations 01 06 12 Dansa med dvärgar, 2003

When film director Tran Anh Hung first read the novel, “Norwegian Wood,” by Haruki Murakami, he was 28 years old. He directied for the film version of the book.

Murakami’s first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori.

The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami’s short stories “The Second Bakery Attack” and “On Seeing the 100% Perfect Girl One Beautiful April Morning” respectively. Japanese director Jun Ichikawa adapted Murakami’s short story “Tony Takitani” into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005.

The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film Der Eisbaer (Polar Bear), written and directed by Granz Henman, used elements of Murakami’s short story “The Second Bakery Attack” in three intersecting story lines. “The Second Bakery Attack” was also adapted as a short film in 2010, directed

by Carlos Cuaron, starring Kirsten Dunst. Murakami’s work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain’s Complicite company and Japan’s Setagaya Public Theatre.

The production, directed by Simon McBurney, adapted three of Murakami’s short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.

Two stories from Murakami’s book after the quake— ”Honey Pie” and “Superfrog Saves Tokyo”—have been adapted for the stage and directed by Frank Galati.

Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted

All God’s Children Can Dance, 2008

Norwegian Wood, 2010

and directed a theatrical version of Kafka on the Shore, which first ran at Chicago’s Steppenwolf Theatre Company from September to November.

On Max Richter’s 2006 album Songs from Before, Robert Wyatt reads passages from Murakami’s novels.

In 2007, Robert Logevall adapted “All God’s Children Can Dance” into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted “On Seeing the 100% Perfect Girl One Beautiful April Morning” into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.

It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami’s novel Norwegian Wood. The film was released in Japan on December 11, 2010.

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Tran Anh Hung

Tony Takitani, 2004

If you only read the books that everyone else is reading, you can only think what everyone else is thinking.

In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater’s “Under the Radar” festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.

Musician Dre Carlan adapted each short story in Murakami’s after the quake collection into a six-song EP entitled .DC: JPN in March 2011 following the 2011 Tōhoku earthquake to help benefit the relief efforts.

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Biography 05 29 09

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1949

Murakami was born in Kyoto, Japan during the post– World War II baby boom and raised in Shukugawa.

1974

He opened a coffeehouse and jazz bar in Tokyo with his wife in 1974.

1978

In 1978, while he was watching a baseball match in Jingu stadium he was suddenly inspired to write a novel. He began writing and had completed a 200 page novel by autumn of the year and sent the work titled ‘Hear the Wind Sing’ to a new writer’s contest which he won.

1978

He released the novel ‘A Wild Sheep Chase’. This along with its preceding two novels.

1985

He published ‘Hard boiled Wonderland and the End of the World’. It was a strange and surreal novel split between parallel narratives.

1985

Within a period of two years he brought out ‘Norwegian Wood.’ It was a strange and surreal novel.

1991

He moved to New Jersey in January 1991 and became an Associate Researcher at Princeton University.

1993

He published novels like ‘South of the Border, West of the Sun’

1995

‘The Wind-Up Bird Chronicle’ (1995), and ‘Sputnik Sweetheart (1999).

2002

In 2002, his novel ‘Kafka on the Shore’ was out.

2009

His novel ‘1Q84’ was published in three volumes in Japan during 2009-10 and became a sensation upon its release.

2016

Several of his works have been adapted into plays and films. In addition to novels he has also written numerous short stories.

Notable Works 04 12 13

Novels

Short Stories

Hear the Wind Sing (79)

The Elephant Vanishes (91)

Pinball, 1973 (80)

After the Quake (00)

A Wild Sheep Chase (82)

Blind Willow, Sleeping Woman (05)

Norwegian Wood (87)

Men Without Women (14)

Dance Dance Dance (88)

Walk, Don’t Run (81)

South of the Border, West of the Sun (92)

Rain, Burning Sun (90)

The Wind-Up Bird Chronicle (94-95)

Portrait in Jazz (97)

Sputnik Sweetheart (99)

Underground (00)

Kafka on the Shore (02)

Portrait in Jazz 2 (01)

After Dark (04)

What I talked About When Talked About running (08)

1Q84 (09-10)

It Ain’t Got that Swing (08)

Colorless Tsukuru Tazaki and His Years (13)

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