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Books : Fiction : Contemporary Fiction: 1970 Onwards : Authors A-Z : M : Murakami, Haruki
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"I once had a girl, or should I say, she once had me" "Norwegian Wood" (Lennon/McCartney).With Norwegian Wood Murakami, best known as the author of off-kilter classics such as the Wind Up Bird Chronicle, A Wild Sheep Chase and Hard Boiled Wonderland, finally achieved widespread acclaim in his native Japan. The novel sold upwards of 4 million copies and forced the author to retreat to Europe, fearful of the expectations accompanying his new-found cult status.
The novel is atypical for Murakami: seemingly autobiographical, in the tradition of many Japanese "I" novels, Norwegian Wood is a simple coming of age tale set, primarily, in 1969/70, the time of Murakami's own university years. The political upheavals and student strikes of the period form the backdrop of the novel but the focus here is the young Watanabe's love affairs and the pain (and pleasure) of growing up with all its attendant losses, (self-)obsessions and crises.
The novel is split into two volumes and beautifully presented here in a "gold" box containing both the green book and the red book. Young Japanese fans became so obsessed with the work that they would dress entirely in one or other colour denoting which volume they most identified with. And the novel is hugely affecting, reading like a cross between Plath's Bell Jar and Vizinczey's In Praise of Older Women, if less complex and ultimately less satisfying than Murakami's other, more allegorical, work. He captures the huge expectation of youth, and of this particular time in history, for the future and for the place of love in it. He also saturates the work with sadness, an emotion that can cripple a novel but which here underscores the poignancy of the work's rather thin subject matter. --Mark Thwaite
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Bad things come in threes for Toru Okada. He loses his job, his cat disappears, and then his wife fails to return from work. His search for his wife (and his cat) introduces him to a bizarre collection of characters, including two psychic sisters, a possibly unbalanced teenager, an old soldier who witnessed the massacres on the Chinese mainland at the beginning of the Second World War, and a very shady politician.Haruki Murakami is a master of subtly disturbing prose. Mundane events throb with menace, while the bizarre is accepted without comment. Meaning always seems to be just out of reach, for the reader as well as for the characters, yet one is drawn inexorably into a mystery that may have no solution. The Wind-Up Bird Chronicle is an extended meditation on themes that appear throughout Murakami's earlier work. The tropes of popular culture, movies, music, detective stories, combine to create a work that explores both the surface and the hidden depths of Japanese society at the end of the 20th century.
If it were possible to isolate one theme in The Wind-Up Bird Chronicle that theme would be responsibility. The atrocities committed by the Japanese army in China keep rising to the surface like a repressed memory, and Toru Okada himself is compelled by events to take responsibility for his actions and struggle with his essentially passive nature. If Toru is supposed to be a Japanese Everyman, steeped as he is in Western popular culture and ignorant of the secret history of his own nation, this novel paints a bleak picture. Like the winding up of the titular bird, Murakami slowly twists the gossamer threads of his story into something of considerable weight. --Simon Leake, Amazon.com
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Haruki Murakami is arguably one of Japan's finest, modern writers and is, increasingly, being seen as one of the top authors working today. The last novel of his to find its way to these shores, Norwegian Wood, was a delightful, if slightly one-dimensional coming-of-age tale. The pyrotechnics of his previous, more surreal novels (Wind Up Bird Chronicle and A Wild Sheep Chase) had disappeared but something of his eccentricity, what made his books such a wonder, had disappeared too. Sputnik Sweetheart is a confident continuation of this more simple style yet one that retains the allegories, the depth of his best work.The narrator, a teacher, is in love with the beguiling, odd Sumire. As his best friend, she is not adverse to phoning at three or four in the morning to ask a pointless question or share a strange thought. Sumire, though, is in love with a beautiful, older woman, Miu, who does not, can not, return her affections. Longing for Sumire, K (that is all we are told by way of a name) finds some comfort in a purely sexual relationship with the mother of one of his pupils. But the consolation is slight. K is unhappy. Miu and Sumire, now working together, take a business trip to a Greek Island. Something happens, he is not told what, and so K travels to Greece to see what help he can offer.
Themes of love, loss, sexuality, identity and selfhood are all interrogated, woven into a compelling, romantic, serious and sometimes sad book. It is a disarmingly simple, hugely satisfying, intelligent and moving work and one of Murakami's best. Simplicity, sprinkled with a dose of his magic, has enabled Murakami to write candidly, succinctly and beautifully about the complications and difficulties of love and loving. --Mark Thwaite
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As with many of Haruki Murakami's novels, the plot curdles with complex diversity only to be resolved by a collision between wild fantasy and outright slapstick. A Wild Sheep Chase refers aptly to the tradition of cool but kitsch detective sagas. Except here, the metaphoric goose is now a literal sheep with a distinctive marking; an urban myth with the promise of immortality.The anonymous narrator is a mild-mannered thirtysomething with a more than understanding attitude--things happen because they are supposed to and there's no sense standing in the way of progress or nature. It takes the disappearance of a friend and some gentle intimidation from a right wing conglomerate to break the pattern of apathy and send him off on his adventure.
Murakami's detail of the most mundane situations makes his lead character endearing. Those who've read Murakami before will recognise that certain empathy for the strange thoughts and rituals that are now hallmarks of his wry humour. Although an unlikely hero, the quest for a missing friend and the support of a lover with mysterious ears takes him off in search of the elusive sheep in a bizarre adventure--danger and absurdity hindering every movement. --David Trueman
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In South of the Border, West of the Sun the arc of an average man's life from childhood to middle age with its attendant rhythms of success and disappointment becomes the kind of exquisite literary conundrum that is Haruki Murakami's trademark. The plot is simple: Hajime meets and falls in love with a girl in elementary school but loses touch with her when his family moves to another town. He drifts through high school, college and his 20s before marrying and settling into a career as a successful bar owner. Then his childhood sweetheart returns weighed down with secrets:"When I went back into the bar, a glass and ashtray remained where she had been. A couple of lightly crushed cigarette butts were lined up in the ashtray, a faint trace of lipstick on each. I sat down and closed my eyes. Echoes of music faded away, leaving me alone. In that gentle darkness, the rain continued to fall without a sound".
Murakami eschews the fantastic elements that appear in many of his other novels and stories, and readers hoping for a glimpse of the "Sheep Man" will be disappointed. Yet South of the Border, West of the Sun is as rich and mysterious as anything he has written. It is above all a complex, moving and honest meditation on the nature of love distilled into a work with the crystal clarity of a short story. A Nat King Cole song, a figure on a crowded street, a face pressed against a car window, a handful of ashes drifting down a river to the sea are woven together into a story that refuses to arrive at a simple conclusion. The classic love triangle may seem like a hackneyed theme for a writer as talented as Murakami but in his quietly dazzling way he bends us to his own unique geometry. --Simon Leake, Amazon.com
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On Monday 20 March 1995 the Japanese Aum cult released a deadly cloud of Sarin nerve gas into the Tokyo underground. 12 people were killed and an estimated 3,800 suffered serious after-effects. Haruki Murakami, one of Japan's leading novelists (considered by many to be one of the most important writers now writing), was both shocked and fascinated by the awful event. Murakami's response was to interview as many of those affected as he could (only 60 victims were willing to be questioned), interested as he was in the stories created by this one awful event on so many lives. He also interviewed a number of members of the Aum cult: "I'm sure each member of the Science and Technology elite had his own personal reasons for renouncing the world and joining Aum. What they all had in common, though, was a desire to put the technical skill and knowledge they'd acquired in the service of a more meaningful goal ... that might very well be me. It might be you". The result is Underground his first work of non-fiction. Murakami writes complex, sometimes overbearing and dense novels but he here makes very little intervention into his text, simply presenting a background sketch of each before allowing the victims and cult-members to speak freely for themselves through the transcripts. They present an intricate, rounded and cinematic view of day that none of us should ever forget. --Mark Thwaite
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