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- GenresJapanJapanese Literature
360 pages, Paperback
First published April 25, 2017
10 people are currently reading
470 people want to read
About the author
Haruki Murakami
605?books129k?followersHaruki Murakami (村上春树) is a Japanese writer. His novels, essays, and short stories have been best-sellers in Japan and internationally, with his work translated into 50 languages and having sold millions of copies outside Japan. He has received numerous awards for his work, including the Gunzo Prize for New Writers, the World Fantasy Award, the Tanizaki Prize, Yomiuri Prize for Literature, the Frank O'Connor International Short Story Award, the Noma Literary Prize, the Franz Kafka Prize, the Kiriyama Prize for Fiction, the 欧宝娱乐 Choice Awards for Best Fiction, the Jerusalem Prize, and the Princess of Asturias Awards.
Growing up in Ashiya, near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for his use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.
Growing up in Ashiya, near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for his use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.
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Displaying 1 - 7 of 7 reviews
February 8, 2024
In this collection of interviews mainly focused on KILLING COMRADE, Kawakami invites the readers to peer into Murakami's writing process and philosophies. There's nothing more joyful than reading two of my fav authors talk about writing. There are so many interesting conversations, from how Murakami comes up with ideas, his belief that novels should be "kind", his refusal to explain his stories, to his seemingly apolitical stories, I relished every moment of these interviews.
March 30, 2022
read in korean — really challenging my reading skills
March 20, 2019
《猫头鹰在黄昏飞翔》
村上春树與川上未映子的對談。
好像很容易給大家一種我很著迷村上春树的感覺，是也不是。一如書中所說我確實締結了「信用關係」，只要一有村上的書一定買。另外，也是十年誠品講堂的訓練，讓我從「看氣氛」的慢慢成長到「看內容的」，而村上的書確實陪我走過了這段成長期。
—说故事最重要的还是语调，也就是文体，能够产生信赖感的、亲切感的，多半是要靠语调。（以及善的内容）。
—川普的确有点像古代祭司，很懂得替人的无意识煽风点火。
—对学运世代虚偽言语的厌恶与不信任。
—「恶」有多样面貌，不过身為个人主义者的村上，恶有一大部分来自於「系统」。
说得更明白的话，是国家、社会或制度这种坚固僵硬的系统无可避免会酿成、萃取出的恶。（辫.319)
—到了末尾，也慢慢跟未映子一样产生村上真的无法為自己的小说做具体的分析说明，小说，真的就是忠实的把他无法明说的整体挖掘出来，呈现给读者。
「我已彻底明白，针对小说中的种种事物的意义请教您，是无意义之举。」
—村上的小说是「假定过去式」
—免色看不到骑士团长是小说中相当重要的关键点（不过无法说明）
—颈诲别补的说明在辫.156.
—如果能画出无脸男的肖像，便可拿回企鹅护身符，但或许很困难。不过，那也许是他的人生一大课题，而且那个课题或许不是会改变他。
—一生之中，真正衷心信赖、或者很感动的小说其实寥寥无几。许多人会一再重读，仔细反芻回味。??而且到头来，这少数几本书，会成為我们的精神支柱。
（对我来说是朱少麟的燕子）
— 人生三大小說：大亨小傳、漫長的告別。
—生动的对话/生动的比喻。
—挪威的森林中，直子与绿各自努力活在意识下的世界与意识上的世界。??玲子啦、初美啦，至今想起他们还是会有点心口发热。
—「私」严格来说是善於观察的人。至於「僕」会被周遭各种强大的力量带领、左右。??「私」会观察，意志坚定的设法维持、保持自己的立场。
—作家必须创作的不是那种迴路闭锁的恶意故事，应该是更广泛开放的故事。不是把人关起来诈取什麼，必须是向世界提示、提案一个互相接纳，互相给予的状况。
本月第二本书完成，真正认识我的人都知道我书看的多么少，希望今年能有每月两本的进度（努力、努力）。我曾经对村上什麼都不讲感到不奈（也越来越少看艺术品因為实在太多创作者的故弄玄虚而我无从分辨）。
但我慢慢能接受那或许就是他们对世界的处理方式（并非逻辑分析，而是整体包纳）。
虽然我的重心会越朝向这世界可了解的部分就是了（毕竟，我们过的，是极其有限、分分秒秒的人生）。
村上春树與川上未映子的對談。
好像很容易給大家一種我很著迷村上春树的感覺，是也不是。一如書中所說我確實締結了「信用關係」，只要一有村上的書一定買。另外，也是十年誠品講堂的訓練，讓我從「看氣氛」的慢慢成長到「看內容的」，而村上的書確實陪我走過了這段成長期。
—说故事最重要的还是语调，也就是文体，能够产生信赖感的、亲切感的，多半是要靠语调。（以及善的内容）。
—川普的确有点像古代祭司，很懂得替人的无意识煽风点火。
—对学运世代虚偽言语的厌恶与不信任。
—「恶」有多样面貌，不过身為个人主义者的村上，恶有一大部分来自於「系统」。
说得更明白的话，是国家、社会或制度这种坚固僵硬的系统无可避免会酿成、萃取出的恶。（辫.319)
—到了末尾，也慢慢跟未映子一样产生村上真的无法為自己的小说做具体的分析说明，小说，真的就是忠实的把他无法明说的整体挖掘出来，呈现给读者。
「我已彻底明白，针对小说中的种种事物的意义请教您，是无意义之举。」
—村上的小说是「假定过去式」
—免色看不到骑士团长是小说中相当重要的关键点（不过无法说明）
—颈诲别补的说明在辫.156.
—如果能画出无脸男的肖像，便可拿回企鹅护身符，但或许很困难。不过，那也许是他的人生一大课题，而且那个课题或许不是会改变他。
—一生之中，真正衷心信赖、或者很感动的小说其实寥寥无几。许多人会一再重读，仔细反芻回味。??而且到头来，这少数几本书，会成為我们的精神支柱。
（对我来说是朱少麟的燕子）
— 人生三大小說：大亨小傳、漫長的告別。
—生动的对话/生动的比喻。
—挪威的森林中，直子与绿各自努力活在意识下的世界与意识上的世界。??玲子啦、初美啦，至今想起他们还是会有点心口发热。
—「私」严格来说是善於观察的人。至於「僕」会被周遭各种强大的力量带领、左右。??「私」会观察，意志坚定的设法维持、保持自己的立场。
—作家必须创作的不是那种迴路闭锁的恶意故事，应该是更广泛开放的故事。不是把人关起来诈取什麼，必须是向世界提示、提案一个互相接纳，互相给予的状况。
本月第二本书完成，真正认识我的人都知道我书看的多么少，希望今年能有每月两本的进度（努力、努力）。我曾经对村上什麼都不讲感到不奈（也越来越少看艺术品因為实在太多创作者的故弄玄虚而我无从分辨）。
但我慢慢能接受那或许就是他们对世界的处理方式（并非逻辑分析，而是整体包纳）。
虽然我的重心会越朝向这世界可了解的部分就是了（毕竟，我们过的，是极其有限、分分秒秒的人生）。
March 23, 2021
超喜歡這次的訪談集! 內容生動有趣，雖然談到的話題多少跟"身為職業小說家"以及村上其他的隨筆文多有重複，但覺得有更深一層認識到村上的創作文脈與想法，而且讀起來讓人欲罷不能，簡直比小說還精彩。(常跟著笑出來！)我想採訪者川上未映子居功厥偉，因為村上其他的訪談集我覺得就沒這麼有趣了。對於內容"地下二樓"的比喻令我印象最深刻，提及"惡"的主題我也很喜歡。另外我也喜歡村上談"刺殺騎士團長"的角色，忍不住讓人想要立刻回去重讀。雖然刺殺騎士團長的結尾讓我感到不滿意，但認真說來除了結局的其餘整體真的是寫得非常精彩。現在讀了村上自己說的，我深深被他說服，也為他的層次(不管是文筆上或是氣度上)果然又更上一層樓感到高興。身為村上春树的書迷差不多也有25年了，持續讀著他的書到現在，恍然悟到自己身為讀者能跟著作者一起成長的同伴情操，果然是很快樂也很難得的。希望村上持續寫更多!
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August 20, 2023文件柜的存在，「恶」的形式好像改变了，《挪威的森林》的梦幻剧本，你认為死了以后会怎样
October 2, 2018
Get a glimpse of the scene behind Murakami's magic?
It is always quite amusing to see the process of creative activity.
Interesting to see Murakami's obsession (?) for style,
and how he described how the process of shaping/ polishing his style (sentences) becomes the self-seeking (self-knowing) step for him (it's not the theme or actual story, but his tireless work/re-work on the style that he learns about himself).
I think the interviewer, Kawakami did a great job bringing out Murakami's magic. She did bring out some really interesting questions; roles of fiction writer in society (in the face of social problems) and also view of women in Marakami's works. Would love to check-out her fictions as well.
It is always quite amusing to see the process of creative activity.
Interesting to see Murakami's obsession (?) for style,
and how he described how the process of shaping/ polishing his style (sentences) becomes the self-seeking (self-knowing) step for him (it's not the theme or actual story, but his tireless work/re-work on the style that he learns about himself).
I think the interviewer, Kawakami did a great job bringing out Murakami's magic. She did bring out some really interesting questions; roles of fiction writer in society (in the face of social problems) and also view of women in Marakami's works. Would love to check-out her fictions as well.
Displaying 1 - 7 of 7 reviews
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