Haruki Murakami

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Haruki Murakami
村上 春樹
HarukiMurakami.png
Murakami giving a lecture at MIT in 2005
Born(1949-01-12) January 12, 1949 (age 65)
Kyoto, Japan
OccupationNovelist, short story writer, translator
NationalityJapan
GenresFiction, surrealism, magical realism
Notable work(s)1Q84, Kafka on the Shore, Norwegian Wood, The Wind-Up Bird Chronicle

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Haruki Murakami
村上 春樹
HarukiMurakami.png
Murakami giving a lecture at MIT in 2005
Born(1949-01-12) January 12, 1949 (age 65)
Kyoto, Japan
OccupationNovelist, short story writer, translator
NationalityJapan
GenresFiction, surrealism, magical realism
Notable work(s)1Q84, Kafka on the Shore, Norwegian Wood, The Wind-Up Bird Chronicle

Signature

www.harukimurakami.com

Haruki Murakami (村上 春樹 Murakami Haruki?, born January 12, 1949) is a best-selling Japanese writer.[1] His works of fiction and non-fiction have garnered critical acclaim and numerous awards, including the Franz Kafka Prize, the Frank O'Connor International Short Story Award and the Jerusalem Prize, among others. Murakami has also translated a number of English works to Japanese. His notable works include 1Q84, Kafka on the Shore, Norwegian Wood, and The Wind-Up Bird Chronicle.

Murakami's fiction, often criticized by Japan's literary establishment, is frequently surrealistic and nihilistic, marked by a Kafkaesque rendition of themes of loneliness and alienation.[2] He is considered an important figure in postmodern literature. Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his works and achievements.[3]

Biography[edit]

Murakami was born in Japan during the post–World War II baby boom.[4] Although born in Kyoto, he spent his youth in Shukugawa (Nishinomiya), Ashiya and Kobe.[5][6] His father was the son of a Buddhist priest,[7] and his mother the daughter of an Osaka merchant.[8] Both taught Japanese literature.[9]

Since childhood, Murakami has been heavily influenced by Western culture, particularly Western music and literature. He grew up reading a wide range of works by American writers, such as Kurt Vonnegut, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from other Japanese writers.[10]

Murakami studied drama at Waseda University in Tokyo, where he met his wife, Yoko. His first job was at a record store, much like Toru Watanabe, the narrator of Norwegian Wood. Shortly before finishing his studies, Murakami opened a coffeehouse and jazz bar, the Peter Cat, in Kokubunji, Tokyo, which he ran with his wife[11] from 1974 to 1981[12]—again, not unlike the protagonist in his later novel South of the Border, West of the Sun.

Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' song, although it is widely thought it was titled after the Beach Boys tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").[13]

Murakami is a marathon runner and triathlete enthusiast, though he did not start running until he was 33 years old. On June 23, 1996, he completed his first ultramarathon, a 100-kilometer race around Lake Saroma in Hokkaido, Japan.[14] He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.[15]

Trilogy of the Rat[edit]

Murakami began writing fiction when he was 29.[16] "Before that", he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all."[17] He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game.[18] In 1978, Murakami was in Jingu Stadium watching a game between the Yakult Swallows and the Hiroshima Carp when Dave Hilton, an American, came to bat. According to an oft-repeated story, in the instant that Hilton hit a double, Murakami suddenly realized that he could write a novel.[19] He went home and began writing that night. Murakami worked on Hear the Wind Sing for several months in very brief stretches after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.

Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat." The first two novels are unpublished in English translation outside of Japan, where an English edition, translated by Alfred Birnbaum with extensive notes, was published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "weak",[citation needed] and was not eager to have them translated into English.[20] A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."[citation needed]

Wider recognition[edit]

At Jerusalem Prize ceremony, 2009

In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among Japanese youths, making Murakami a literary superstar in his native country. The book was printed in two separate volumes, a Japanese and English language edition sold together, so that the number of books sold actually doubled, creating the million-copy bestseller hype. One book had a green cover, the other one red.[3]

In 1986, Murakami left Japan, traveled throughout Europe, and settled in the United States. He was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts.[6][21] During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.[6]

From "detachment" to "commitment"[edit]

In 1995, he published The Wind-Up Bird Chronicle, a novel that fuses the realistic and fantastic, and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of his harshest former critics, Kenzaburo Oe, winner of the Nobel Prize for Literature in 1994.[22]

The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. After finishing The Wind-Up Bird Chronicle, Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection after the quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.

Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the USA in 1991.

English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many of the works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.[6]

Murakami took an active role in translation of his work in English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works which appeared in German turned out to be translations from English rather than from Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later translated from Japanese.[23]

Since 2000[edit]

Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006.[24] The English version of his novel After Dark was released in May 2007. It was chosen by the New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo." A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.

In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007,[25] with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.[26]

Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced as 'ichi kyū hachi yon', the same as 1984, as 9 is also pronounced as 'kyū' in Japanese.[27] The book was longlisted for the Man Asian Literary Prize in 2011. However, after the anti-Japanese demonstrations, in China, in 2012, Murakami's books were removed from sale there, along with those of other Japanese authors.[28][29] Murakami criticized the China-Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public.[30] In February 2013, he announced the publication of his first novel in three years, set for April 2013; aside from the date of release, the announcement was intentionally vague.[31]

Recognition[edit]

1982 Noma Literary Prize for A Wild Sheep Chase.

1985 Tanizaki Prize for Hard-Boiled Wonderland and the End of the World.

1995 Yomiuri Prize for The Wind-Up Bird Chronicle.

2006 World Fantasy Award for Kafka on the Shore.

In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.[32]

In September 2007, he received an honorary doctorate from the University of Liège,[33] as well as one from Princeton University in June 2008.[34]

Murakami was awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the Kiriyama Official Website, Murakami "declined to accept the award for reasons of personal principle".[35]

In January 2009 Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies.[36] Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."[37]

In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat of Catalunya) to the victims of the 11 March earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands." According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".[38]

In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature.[39] Nonetheless, all nomination records for a prize are sealed for 50 years from the awarding of the prize so it is pure speculation.[40] When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."[39]

Films and other adaptations[edit]

Murakami's first novel Hear the Wind Sing (Kaze no uta wo kike) was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild.[41] 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.[42] Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature.[43] 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 short film in 2010,[44] 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).[45] 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.[46] In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.[47]

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.[48]

It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel, Norwegian Wood.[49] The film was released in Japan on December 11, 2010.[50]

In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a 2-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,[51] 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.[52] The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.

Each short story in Murakami's after the quake collection was adapted into a six-song EP entitled .DC: JPN (after the quake 2011) in March 2011 following the 2011 Tōhoku earthquake and tsunami to help benefit the relief efforts by musician Dre Carlan.[53]

Writing Style[edit]

As a writer Haruki Murakami was influenced by Western literalists, which distinguished him from his fellow Japanese counterparts. Not only exclusive to Western influence, Murakami consistently aimed to provide a sense of Japanese heritage throughout his books. Most of his works are written in the first person prose to provide the reader an understanding of what the main protagonist encounters. He states that because the “family” plays a significant role throughout traditional Japanese literature, by portraying the main character as an independent individual he becomes a man who values freedom and solitude over intimacy. Also notable is Murakami’s style of humor in his writing. Such scenarios are evident in the 2000 collection of short stories, After The Quake. In Superfrog Saves Tokyo, one story from the collection, the main protagonist is confronted with a 6 foot tall frog that talks about the destruction of Tokyo over a cup of tea. While retaining a serious tone Murakami feels the reader should be entertained once the seriousness of a subject has been addressed. Another notable feature of Murakami’s stories is the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake.

Personal life[edit]

After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Princeton’s Marry Morris in which he briefly mentions in his memoir What I Talk About When I Talk About Running, alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife and is always his first reader. While he never acquainted himself with many writers, Murakami enjoyed the works of Ryu Murakami and Banana Yoshimoto.

Haruki Murakami is a fan of crime novels. During his high school days while living in Kobe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.

Murakami also had a passion for listening to music. Through its influence by listening to melodies and the like it was considered helpful while writing. When he was around the age of 14 he began to develop an interest for Jazz. He would later open the Peter Cat which was a coffeehouse and jazz bar alongside his wife in 1984. To him, like writing, music, particularly Jazz was a mental journey. Later aspired to be a musician but could not play instruments well and focused on writing.

Bibliography[edit]

This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English.[54]

Novels[edit]

Original publicationEnglish publication
TitleYearTitleYear
風の歌を聴け
Kaze no uta o kike
1979Hear the Wind Sing1987
1973年のピンボール
1973-nen no pinbōru
1980Pinball, 19731985
羊をめぐる冒険
Hitsuji o meguru bōken
1982A Wild Sheep Chase1989
世界の終りとハードボイルド・ワンダーランド
Sekai no owari to hādoboirudo wandārando
1985Hard-Boiled Wonderland and the End of the World1991
ノルウェイの森
Noruwei no mori
1987Norwegian Wood2000
ダンス・ダンス・ダンス
Dansu dansu dansu
1988Dance Dance Dance1994
国境の南、太陽の西
Kokkyō no minami, taiyō no nishi
1992South of the Border, West of the Sun2000
ねじまき鳥クロニクル
Nejimaki-dori kuronikuru
1995The Wind-Up Bird Chronicle1997
スプートニクの恋人
Supūtoniku no koibito
1999Sputnik Sweetheart2001
海辺のカフカ
Umibe no Kafuka
2002Kafka on the Shore2005
アフターダーク
Afutā Dāku
2004After Dark2007
1Q84
Ichi-kyū-hachi-yon
20091Q842011
色彩を持たない多崎つくると、彼の巡礼の年
Shikisai wo motanai Tazaki Tsukuru to, Kare no Junrei no Toshi
2013Colorless Tsukuru Tazaki and His Years of PilgrimageExpected 2014[55]

Short stories[edit]

Most short stories have been collected in three volumes:

Original publicationEnglish publication
TitleYearTitleYear
象の消滅
Zō no Shōmetsu
1991The Elephant Vanishes
(17 stories, 1980–1991)
1993
神の子どもたちはみな踊る
Kami no Kodomo-tachi wa Mina Odoru
2000After the quake
(6 stories, 1999–2000)
2002
めくらやなぎと眠る女
Mekurayanagi to Nemuru Onna
2006Blind Willow, Sleeping Woman
(24 stories, 1980–2005)
2006

These stories were originally published individually in various magazines:

Original publicationEnglish publication
YearTitleTitleAppears in
1980中国行きのスロウ・ボート
Chūgoku-yuki no surou bōto
A Slow Boat to ChinaThe Elephant Vanishes
貧乏な叔母さんの話
Binbō na obasan no hanashi
A 'Poor Aunt' Story (The New Yorker, December 3, 2001)Blind Willow, Sleeping Woman
1981ニューヨーク炭鉱の悲劇
Nyū Yōku tankō no higeki
New York Mining Disaster (The New Yorker, January 11, 1999)
スパゲティーの年に
Supagetī no toshi ni
The Year of Spaghetti (The New Yorker, November 21, 2005)
四月のある晴れた朝に100パーセントの女の子に出会うことについて
Shigatsu no aru hareta asa ni 100-paasento no onna no ko ni deau koto ni tsuite
On Seeing the 100% Perfect Girl One Beautiful April MorningThe Elephant Vanishes
かいつぶり
Kaitsuburi
DabchickBlind Willow, Sleeping Woman
カンガルー日和
Kangarū biyori
A Perfect Day for Kangaroos
カンガルー通信
Kangarū tsūshin
The Kangaroo CommuniqueThe Elephant Vanishes
1982午後の最後の芝生
Gogo no saigo no shibafu
The Last Lawn of the Afternoon
1983
Kagami
The MirrorBlind Willow, Sleeping Woman
とんがり焼の盛衰
Tongari-yaki no seisui
The Rise and Fall of Sharpie Cakes

Hotaru
Firefly
納屋を焼く
Naya wo yaku
Barn Burning (The New Yorker, November 2, 1992)The Elephant Vanishes
1984野球場
Yakyūjō
CrabsBlind Willow, Sleeping Woman
嘔吐1979
Ōto 1979
Nausea 1979
ハンティング・ナイフ
Hantingu naifu
Hunting Knife (The New Yorker, November 17, 2003)
踊る小人
Odoru kobito
The Dancing DwarfThe Elephant Vanishes
1985レーダーホーゼン
Rēdāhōzen
Lederhosen
パン屋再襲撃
Pan'ya saishūgeki
The Second Bakery Attack
象の消滅
Zō no shōmetsu
The Elephant Vanishes (The New Yorker, November 18, 1991)
ファミリー・アフェア
Famirī afea
A Family Affair
1986ローマ帝国の崩壊・一八八一年のインディアン蜂起・ヒットラーのポーランド侵入・そして強風世界
Rōma-teikoku no hōkai・1881-nen no Indian hōki・Hittorā no Pōrando shinnyū・soshite kyōfū sekai
The Fall of the Roman Empire, the 1881 Indian Uprising, Hitler's Invasion of Poland, and the Realm of Raging Winds
ねじまき鳥と火曜日の女たち
Nejimaki-dori to kayōbi no onnatachi
The Wind-up Bird And Tuesday's Women (The New Yorker, November 26, 1990)
1989眠り
Nemuri
Sleep (The New Yorker, March 30, 1992)
TVピープルの逆襲
TV pīpuru no gyakushū
TV People (The New Yorker, September 10, 1990)
飛行機―あるいは彼はいかにして詩を読むようにひとりごとを言ったか
Hikōki-arui wa kare wa ika ni shite shi wo yomu yō ni hitorigoto wo itta ka
Aeroplane: Or, How He Talked to Himself as if Reciting Poetry (The New Yorker, July 1, 2002)Blind Willow, Sleeping Woman
我らの時代のフォークロア―高度資本主義前史
Warera no jidai no fōkuroa-kōdo shihonshugi zenshi
A Folklore for My Generation: A Prehistory of Late-Stage Capitalism
1990トニー滝谷
Tonii Takitani
Tony Takitani (The New Yorker, April 15, 2002)
1991沈黙
Chinmoku
The SilenceThe Elephant Vanishes

Mado
A Window
緑色の獣
Midori-iro no kemono
The Little Green Monster
氷男
Kōri otoko
The Ice ManBlind Willow, Sleeping Woman
人喰い猫
Hito-kui neko
Man-Eating Cats (The New Yorker, December 4, 2000)
1995めくらやなぎと、眠る女
Mekurayanagi to, nemuru onna
Blind Willow, Sleeping Woman
1996七番目の男
Nanabanme no otoko
The Seventh Man
1999UFOが釧路に降りる
UFO ga Kushiro ni oriru
UFO in Kushiro (The New Yorker, March 19, 2001)after the quake
アイロンのある風景
Airon no aru fūkei
Landscape with Flatiron
神の子どもたちはみな踊る
Kami no kodomotachi wa mina odoru
All God's Children Can Dance
タイランド
Tairando
Thailand
かえるくん、東京を救う
Kaeru-kun, Tōkyō wo sukuu
Super-Frog Saves Tokyo
2000蜂蜜パイ
Hachimitsu pai
Honey Pie (The New Yorker, August 20, 2001)
2002バースデイ・ガール
Bāsudei gāru
Birthday GirlBlind Willow, Sleeping Woman
2005偶然の旅人
Gūzen no tabibito
Chance Traveller
ハナレイ・ベイ
Hanarei Bei
Hanalei Bay
どこであれそれが見つかりそうな場所で
Doko de are sore ga mitsukarisō na basho de
Where I'm Likely to Find It (The New Yorker, May 2, 2005)
日々移動する腎臓のかたちをした石
Hibi idō suru jinzō no katachi wo shita ishi
The Kidney-Shaped Stone That Moves Every Day
品川猿
Shinagawa saru
A Shinagawa Monkey (The New Yorker, February 13, 2006)
2011 —Town of Cats (Excerpt from 1Q84) (The New Yorker, September 5, 2011) [1]
2013 —A Walk to Kobe (Granta, issue 124, Summer 2013) [2]
 —Samsa In Love (The New Yorker, October 28, 2013) [3]
 —Drive My Car [56]

Essays and nonfiction[edit]

English publicationJapanese publication
YearTitleYearTitle
N/ARain, Burning Sun (Come Rain or Come Shine)1990雨天炎天
Uten Enten
N/APortrait in Jazz1997ポ-トレイト・イン・ジャズ
Pōtoreito in jazu
2000Underground1997–1998アンダーグラウンド
Andāguraundo
N/APortrait in Jazz 22001ポ-トレイト・イン・ジャズ 2
Pōtoreito in jazu 2
2008What I Talk About When I Talk About Running2007走ることについて語るときに僕の語ること
Hashiru koto ni tsuite kataru toki ni boku no kataru koto
N/AIt Ain't Got that Swing (If It Don't Mean a Thing)2008意味がなければスイングはない
Imi ga nakereba suingu wa nai

Translations[edit]

Translators of Murakami's works[edit]

Murakami's works have been translated into many languages. Below is a list of translators according to language (by alphabetical order):

See also[edit]

References[edit]

  1. ^ Maiko, Hisada (November 1995). "Murakami Haruki". Kyoto Sangyo University. Archived from the original on 2008-05-23. Retrieved 2008-04-24. 
  2. ^ Endelstein, Wendy, What Haruki Murakami talks about when he talks about writing, UC Berkeley News, Oct 15, 2008, Accessed Jan 28, 2009
  3. ^ a b Poole, Steven (May 27, 2000). "Tunnel vision". The Guardian (London). Retrieved 2009-04-24. 
  4. ^ Kelts, Roland (November 28, 2008). "Soft Power, Hard Truths: Pop progenitors from real worlds". Yomiuri Shimbun. Retrieved 2008-12-16. [dead link]
  5. ^ "Murakami Asahido", Shincho-sha,1984, ISBN 10-100132-4
  6. ^ a b c d Brown, Mick (August 15, 2003). "Tales of the unexpected". The Daily Telegraph (London). Retrieved 2008-07-09. 
  7. ^ Tandon, Shaun (March 27, 2006). "The loneliness of Haruki Murakami". iAfrica. Retrieved 2008-04-24. 
  8. ^ Rubin, Jay (2002). Haruki Murakami and the Music of Words. Harvill Press. p. 14. ISBN 1-86046-986-8. 
  9. ^ Naparstek, Ben (June 24, 2006). "The lone wolf". The Age (Melbourne). Retrieved 2008-04-24. 
  10. ^ Gewertz, Ken (December 1, 2005). "Murakami is explorer of imagination". Harvard Gazette. Retrieved 2008-04-24. 
  11. ^ Goodwin, Liz C. (November 3, 2005). "Translating Murakami". Harvard Crimson. Retrieved 2008-04-24. 
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Further reading[edit]

External links[edit]