Yesterday by Haruki Murakami

Erika stared at the candle flame flickering in the breeze from the A.C. “I often have the same dream,” she said. “Aki-kun and I are on a ship. A long journey on a large ship. We’re together in a small cabin, it’s late at night, and through the porthole we can see the full moon. But that moon is made of pure, transparent ice. And the bottom half of it is sunk in the sea. ‘That looks like the moon,” Aki-kun tells me, ‘but it’s really made of ice and is only about eight inches thick. So when the sun comes out in the morning it all melts. You should get a good look at it now, while you have the chance.’ I’ve had this dream so many times. It’s a beautiful dream. Always the same moon. Always eight inches thick. I’m leaning against Aki-kun, it’s just the two of us, the waves lapping gently outside. But every time I wake up I feel unbearable sad.”

“YesterdayIs two days before tomorrow,The day after two days ago.”

When I finish a piece by Haruki Murakami I can envision the setting. I can feel the mood. I feel like I’ve been introduced properly to the characters. His writing makes the smallest detail seem incredibly important. But I can’t always say that I understand what he’s writing about. I look for a theme, or a lesson, or even a significant point, and I feel a bit lost. To me, Yesterday speaks ultimately about the brevity of our lives, the melting of what’s important, and the sadness inherent in every relationship.
What I do understand is how his characters feel. His description of them resonates with me in such a way that it feels as if he’s describing my own heart. My own life: 
“I couldn’t speak. Not being able to find the right words at crucial times is one of my many problems.”
“Brooding over how things had turned out–after everything had already been decided–was another of my chronic problems.”
Thanks to Mookse and The Gripes for the heads up about the appearance of Haruki Murakami’s short story. You can read Yesterday in The New Yorker here.

Hear The Wind Sing by Haruki Murakami: Favorite Quotes and Authors Mentioned

Quotes which Caught My Attention:

“There’s no such thing as perfect writing. Just like there’s no such thing as perfect despair.”

“Nonetheless, writing can also be fun. Compared to the sheer difficulty of living, the process of attaching meaning to life is altogether clear sailing.”
“Whatever can’t be expressed might as well not exist.”
“You’ve got to listen to the radio. Reading only isolates you. Admit it.” 
“Nobody could figure out why she died. I doubt if even she herself knew.” 
“Everything passes. Nobody gets anything for keeps. And that’s how we’ve got to live.”
(I’m intrigued in reading this book how the story revolves around a certain girl with four fingers, a girl our hero apparently loves very much. Yet, quite piercingly, she hangs herself in the woods and isn’t found until two weeks later. Hear The Wind Sing reminds me very much of Norwegian Wood, and while I will reread the later, I’m going on to Pinball, 1973 first. I have to read The Trilogy of The Rat in order now.)
Titles and authors mentioned in Hear The Wind Sing:
Sentimental Education by Gustave Flaubert

Cat On A Hot Tin Roof

Henry James


Sorcieres by Michelet
The Last Temptation of Christ by Kazantzakis
One and A Half Times Around The Rainbow by Derek Heartfield (fictional author)
War and Peace by Tolstoy
The Brothers Karamazov by Dostoevsky
(Of this diverse list of authors mentioned by Murakami in Hear The Wind Sing, I’ve only read War and Peace and The Brothers Karamazov.That’s no surprise to me, as I love Russian authors as much as Japanese. Anyway, I’d like to read more of what’s listed here because they must be important to Murakami in some way.)
I read this book as my first book of 2014, and also for the Japanese Literature Challenge 7 and January in Japan.

"To Translate and be Translated" by Haruki Murakami

Haruki Murakami is 64 years old today, born on January 12, 1949.
I can’t properly express how much his writing means to me. The fact that I am able to read it all, in English, is a huge gift. So perhaps the best thing to do, in honor of his incredible skill which has been translated to non-Japanese readers like me, is to leave an excerpt from A Wild Haruki Chase: Reading Murakami Around the World. This is a chapter he wrote himself, entitled “To Translate and be Translated.”
I never reread my own works unless there is some very special reason. It may sound impressive for me to say that I do not look back on my past, but the truth is that I find it a bit embarrassing to take my own novels in my hands, and I know I would not like them anyway if I were to read them. I would rather look forward and think about what I will be doing next.
So it is not unusual for me to completely forget what and how I wrote in my earlier books. Quite often, when a reader asks me what a particular passage means in a certain work, I wonder if there is such a passage at all. It also sometimes happens that I read something that catches my attention in a book or magazine and think, “This stuff isn’t bad at all,” only to discover that it is an excerpt of my own writing. As presumptuous as it sounds, that is what happens.
On the other hand, I am quick to recognize my writing when the passage being quoted is one that I do not like. For whatever reason, I can always tell. I tend to forget the good work but remember clearly those places that I am unhappy with. It is a strange thing…
Anyhow, typically by the time a novel of mine is published in another language a few years after I have finished writing it, I can no longer remember clearly what I wrote. Of course I never forget the entire plot, but much of the detail will have been wiped clean from my memory–not that I have a very good memory to begin with–just as the moisture from a summer shower on an asphalt road evaporates quickly and soundlessly.
I usually leaf through translations of my novels if they are in English. Once I start reading one, I often find it absorbing (because I have forgotten how it goes) and fly through to the end, thrilled and occasionally moved to laughter. So when a translator asks how the translation is, all I can say is, “Well, I was able to read through it smoothly. Seems good to me.” There are hardly any technical comments that I can make–“This part was so-and-so, that part was so-and-so.” Although I am asked what it is like to have my novels translated into other languages, I honestly have little such awareness.
If a translation can be read smoothly and effortlessly, and thus enjoyably, then it does its job as a translation perfectly well-that is my basic stance as the original author. For that is what the stories that I conjure and lay out are really about. What the story says over and beyond that is a question in the realm of the “front room” that waits after a translation has safely cleared the “front yard” portion of the work, or of the “central room” that lies further on.
For me, one of the joys of my works being transformed into another language is that I can reread them in a new form. By having a work converted into another language by someone else’s hand, I can look back and reconsider it from a respectable distance and enjoy it coolly as a quasi-outsider, as it were, whereas I never would have read it again if it had remained only in Japanese. In so doing, I can also reevaluate myself from a different standpoint. That is why I am very thankful for the translators who translate my novels. It is certainly a delight to have my works read by readers in other countries, but at the same time, it is a joy that my works can be read by me myself–though, unfortunately, for now this is limited to English.
Put differently, when a literary world that I have created is transposed into another linguistic system, I feel as if I have been able to dissociate me from myself, which gives me a good deal of peace. One may say, then, that I might as well write in a foreign language from the start. But this is not so easily done, for reasons of skill and capability. That may be why, in my own way, I have tried to write my novels using prose that I have constructed by first converting Japanese, my mother tongue, into a mock foreign language in my head-that is by clearing away the innate everydayness of language that lies in my self-consciousness. Looking back, it seems as if that is what I have always done.
Seen in that light, my process of creative writing may closely correspond to the process of translation–or rather, in some respects they may be two sides of the same coin. I have been translating (from English to Japanese) for many years myself, and I know how hard the job of translation is, as well as how much fun it is. I also understand to some extent how immensely the flavor of the text can vary from one translator to another.
What is most needed for a good translation is probably linguistic skills. But another quality that I think is equally important, especially in the case of fiction, is a love full of personal bias. Put most radically, I would say that is all you need. What I expect above all in translations of my works is just that. A love full of bias is, in the face of this uncertain world, one of the things I adore the most, with a deeply biased love.”
I don’t profess to completely understand his books. But Haruki Murakami has taught me to suspend my disbelief. He has shown me a world as unpredictable as I know it to be, with characters who are often as elusive as they are present. His writing, with a formidable humility and an honesty, makes me love him all the more.
A Wild Haruki Chase
Here are links so that you can visit his website,  facebook page, or Twitter. And, thanks to Stone Bridge Press who sent me this book.

Norwegian Wood by Haruki Murakami

There’s nothing that can bring back the memories of one you have loved quite so much as music. I hear the theme of Taxi (Bob James’ Angela), or the Stones singing Sympathy for the Devil, and I’m immediately overwhelmed by sensations connected to my first husband. I can feel him more when I’m listening to those musical strains than I can by trying to picture his face.

Toru Watanabe finds the same thing happens to him when he hears the Beatles’ Norwegian Wood. He is immediately so overcome by the memories of Naoke that he sits on the plane with his head in his hands, and the stewardess asks him if he’s okay. He’s just dizzy, he explains, but I know how much it hurts to relive a love affair which ended so abruptly. For how does one cope with suicide?
No matter how much pain the person who died must have felt, there must be little comprehension of the pain which is left behind. There is no resolution to the relationship, no farewell, no understanding as to why such a thing happened. “Surely,” we think, “if given the opportunity and the time, we could have fixed that broken heart.”
But Toru is left with his own broken heart to fix, and while he has a relationship with Midori upon which he can now fully focus, it does not eradicate the place which Naoko once occupied. No one can replace another.
I found myself writing down the names of authors Murakami included in his narrative, names like:  Truman Capote, John Updike, Scott Fitzgerald, and Raymond Chandler whereas the rest of his peers “liked Kazumi Takahashi, Kenzaburo Oe, Yukio Mishima or contemporary French novelists…” (p. 30) He listed novels such as Beneath The Wheel by Herman Hesse, The Centaur by John Updike, and The Great Gatsby by Fitzgerald which make me want to read all three. Even though I’ve already read the last one countless times.
I found myself writing down quotes, most especially from the beginning of the novel which I shared in an earlier post.
I found myself comparing Toru and I, and finding many similarities between us: we are both quiet, peaceful and lonely; we both like novels no one else seems to and are greatly affected by music. As well as lost love.
I found connections to The Wind-Up Bird Chronicle within the pages of Norwegian Wood. Toru says, “I miss you something awful sometimes, but in general I go on living with all the energy I can muster. Just as you take care of the birds and the fields every morning, every morning I wind my own spring. I give it some thirty-six good twists by the time I’ve gotten up, brushed my teeth, shaved, eaten breakfast, changed my clothes, left the dorm, and arrived at the university. I tell myself, “O.K., let’s make this day another good one.” I hadn’t noticed before, but they tell me I talk to myself a lot these days, Probably mumbling to myself while I wind my spring.” (p. 197)
It’s wonderful to read several works by one favorite author because I feel like I’m getting to know him better with each novel I complete. Am I presuming to say that I know Haruki Murakami? Not at all. But, I love living in his world. One book at a time.
Find other reviews from my reading buddies as they are completed this last week of November. I will link to them here when they are published. ReBelle’s review is here, Claire’s here, Nadia’s here, and C. B.’s here.

Norwegian Wood by Haruki Murakami (Favorite Quotes So Far)

“It just happens to be the way I’m made. I have to write things down to feel I fully comprehend them.”
“With my eyes closed I touch a familiar book and draw its fragrance deep inside me. This was enough to make me happy.”
“If you only read the books that everyone else is reading, you can only think what everyone else is thinking.”
“Nobody likes being alone that much. I don’t go out of my way to make friends, that’s all. It just leads to disappointment.”
“The dead will always be dead, but we have to go on living.”

Reading for the Japanese Literature Challenge 6.

1Q84 by Haruki Murakami

“…he had come to the recognition that most of what is generally considered the truth is entirely relative. Subject and object are not as distinct as most people think. If the boundary separating the two isn’t clear-cut to begin with, it is not such a difficult task to intentionally shift back and forth from one to the other.” (nook p. 811)
Truth and time. Love and loneliness. Not easy subjects to write about. When Murakami does, he takes us down a multi-layered path. One in which I need to poke and prod, looking between the stratum, until I can reveal at least part of what he’s telling me.
On the surface, things seem relatively clear. When the novel opens Aomame is sitting in a terrible traffic jam on Metropolitan Expressway No. 3 listening to Janáček’s Sinfonietta and talking with the taxi driver who tells her there is an emergency staircase through which she can escape. When she leaves the car, and descends the stairs, she also leaves 1984 and enters 1Q84. The two worlds are parallel, different from one another, but 1Q84 is not unrecognizable.

We segue between her life and Tengo’s, who has been hired by the editor of a literary magazine to rewrite Air Chrysalis, a promising work written by seventeen year old Erika Fukada. The book becomes an instant success despite Tengo’s concern that he is doing something illegal by presenting the book as Erika’s. Worse than that duplicity is how we eventually discover that Air Chrysalis is the method through which the Little People speak to the Leader of the Sakigake cult. Its publication precipitates a string of events which are slowly revealed to us as we journey through the world of  1Q84.

Aomame takes exquisite care of her body by eating only what is healthy, exercising muscles which are difficult to find. Because of her knowledge of the human body, she is able to find by touch a certain spot on the back of a man’s neck, a spot which when pierced with the sharpened end of an ice pick will cause instant death. It is a subtle method of killing, one which seems to bother Aomame not at all.
Nor does it bother the dowager of Willow House, a safe house for battered women, whom Aomame has befriended. Eventually, Aomame works for this seventy year old woman, hired to “move to another world” men who are found to be abusing women. In this way, Aomame takes into her own hands a sort of revenge; I can’t help but wonder if she wasn’t abused in some way herself before she left the Society of Witnesses, a cult from which she was brought up. Certainly she was wounded by the way her parents forced her to proselytize door to door for their religion. As an adult, she is wounded by the deaths of two of her friends who have been murdered by the hands of their “lovers”.

Twenty years ago, at the age of ten, she reached out to her classmate, Tengo, grasping his hand in a moment he never forgets. For Tengo is lonely himself, having the vision of his mother involved with a man who is not his father etched permanently in his mind. He is isolated from his mother emotionally and physically; we never see her as anything more than a painful place in his memory. His father, however, continues to cause suffering as he takes Tengo with him on his routes as a NHK collector. If customers see him with a child, he reasons, they will be more willing to pay their fees. He is not willing to recognize Tengo’s shame and embarrassment, nor the way that his life differs so drastically from that of his classmates who are able to enjoy their Sundays with their parents.

Tengo and Aomame have separate lives, he is a cram school teacher for mathematics and an aspiring writer, she is an excercise instructor; they are both lonely. They both long for the feeling of being loved. They are searching for each other throughout the novel despite the distance of time and place which have kept them apart.

It seems they will never find one another. Near the end of the book I read with an increasing horror, afraid that the harm which had come to so many characters would also work against the two lovers. What right do they have to be united other than their love for one another? Other than the isolation they feel individually which can only be assuaged by their togetherness? Yet Murakami must believe in the redemptive power of a couple’s love, just as they must believe in one another.* Otherwise, this novel could bring us no hope for the world in which we now live.

Aomame pressed an ear against his chest. “I’ve been lonely for so long. And I’ve been hurt so deeply. If only I could have met you again a long time ago, then I wouldn’t have had to take all these detours to get here.”
Tengo shook his head. “I don’t think so. This way is just fine. This is exactly the right time. For both of us.” (nook, p. 1029)
Find more reviews from And The Plot Thickens, Magnificent Octopus, Sam Still Reading and Book Dilettante. If you’ve reviewed 1Q84, and would like to be linked to this post, just let me know in the comments.

*”It is only a paper moon
   hanging over a cardboard sea,
   But it wouldn’t be make believe
   If you believed in me.”

1Q84 Chapters 1-15: Quotes Which Qaught My Interest

As pertaining to reality:

“And also,” the driver said, facing the mirror, “please remember: things are not what they seem.” 

“But, don’t let appearances fool you. There’s always only one reality.” (p. 16 in my nook)
As to writing in connection with existence:
Tengo said, “When I’m writing a story, I use words to transform the surrounding scene into something more natural for me. In other words, I reconstruct it. That way, I can confirm without a doubt that this person known as ‘me’ exists in the world. This is a totally different process from steeping myself in the world of math.”
“You confirm that you exist,” Fuka-Eri said.
“I can’t say I’ve been one hundred percent successful at it,” Tengo said. (p. 61)
As to the majority in society:
“Finally,” his girlfriend said, “everybody feels safe belonging not to the excluded minority but to the excluding majority. You think, Oh, I’m glad that’s not me. It’s basically the same in all periods in all societies. If you belong to the majority, you can avoid thinking about lots of troubling things.”  (p. 91)
As to our ever changing world:
Maybe I can look at it this way–the problem is not with me but with the world around me. It’s not that my consciousness or mind has given rise to some abnormality, but rather that some kind of incomprehensible power has caused the world around me to change. (p. 128)
As to the title and its meaning:
1Q84–that’s what I’ll call this new world, Aoname decided.
Q is for “question mark.” A world that bears a question.
Aomame nodded to herself as she walked along.
Like it or not, I’m here now, in the year 1Q84. The 1984 that I knew no longer exists. It’s 1Q84 now. The air has changed, the scene has changed. I have to adapt to this world-with-a-question-mark as soon as I can. Like an animal released into a new forest. In order to protect myself and survive, I have to learn the rules of this place and adapt myself to them. (p. 133)
As to how we fit in the world. Or, don’t:
Either I’m funny or the word’s funny, I don’t know which. The bottle and the lid don’t fit. It could be the bottle’s fault or the lid’s fault. In either case, there’s no denying that the fit is bad. (Aomame p. 134)
As to belonging:

Tengo would tell himself that this was not the place where he belonged. He had been mistakenly locked in a cage. Someday his real parents, guided by sheer good fortune, would find him. They would rescue him from this cramped and ugly cage and bring him back where he belonged. Then he would have the most beautiful, peaceful, and free Sundays imaginable. (p. 206)

As to the role of story:
No matter how clear the relationships of things might become in the forest of story, there was never a clear-cut solution. That was how it differed from math. The role of a story was, in the broadest terms, to transpose a single problem into another form. Depending on the nature and direction of the problem, a solution could be suggested in the narrative. Tengo would return to the real world with that suggestion in hand. It was like a piece of paper bearing the indecipherable text of a magic spell. At times it lacked coherence and served no immediate practical purpose. But it would contain a possibility. Someday he might be able to decipher the spell. That possibility would gently warm his heart from within. (p. 207-208)

Preparing for Tuesday. When IQ84 Is Finally Released!

Read what Knopf has on their site about Haruki Murakami’s new book, including:

Also, find the New York Times story on Haruki Murakami here.

I’m so excited I can hardly stand it. I’m not even going to join in any read-alongs for it; I have to take 1Q84 on my own time, at my own pace, unrestrained by anyone else’s schedule or opinion.
Love you, Haruki, favorite author of mine.

You can pre-order Haruki Murakami’s novel 1Q84 now!

It’s true! has 1Q84 available for a mere 19 dollars and change! It won’t be released until October 25, 2011, but sign up now. So you can wait by the mailbox every day until all 928 pages are delivered to your door.

I can’t stand myself I’m so excited. And, I’m not even an Amazon associate so there’s no benefit to me in spreading the word.

Except that maybe more of you will fall in love with Haruki as I did.