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Two Books from Haruki Murakami
In A Wild Sheep Chase (1989) the main character and narrator lives a mediocre existence. He is passionless; seemingly unaffected by his wife's betrayal and subsequent divorce, and only attracted to his current girlfriend because he finds her ears to be "marvels of creation" that can incite irresistible desire in any man who sees them. This shallow view of life is further emphasized by the fact that, throughout the book, no characters are referred to by proper names.
When the "Rat," a nomadic friend of the narrator, sends him a photograph of some sheep from Hokkaido, a chain of events is set in motion. The sheep picture comes to the attention of a shadowy figure simply known as the "Boss" -- a mythically powerful underworld kingpin -- who has a dire need to get a hold of one of the sheep in the photo. The Boss sends a messenger to the narrator making it clear that unless he finds that sheep, he will face financial ruin, if not worse.
What follows is a surreal journey from Tokyo to Sapporo and points north, including a hotel that could be right out of a Kubrick film and creature known as the Sheep-Man, who is worthy of David Lynch. In the course of this journey, and in the face of extraordinary events, our narrator confronts his superficial world view and the affect it has had on his life.
Set six years later, Dance, Dance, Dance (1994) is murder mystery, but one in which the clues are revealed by chance rather than dogged investigation - often by a seemingly random psychic encounter. Our narrator has resumed a normal life as a freelance copywriter. He refers to this as "shoveling cultural snow" -- doing the thoughtless and thankless work that needs to be done to clear the path. He is fairly well disengaged from humanity, spending a lot of time alone doing absolutely nothing. Yet, in the midst of this anti-social life, he finds that his long missing girlfriend, the one with the amazing ears -- is calling to him as if in a dream, and she is weeping.
Once again, a chain of events is set in motion. He travels back to the strange hotel to find it modernized and corporate. He has another encounter with the Sheep-Man who tells him to "keep dancing." In the course of story he encounters, and finds sympathy for, a disaffected adolescent girl from a dysfunctional family, and an old high-school acquaintance who has become a famous movie star. Through his relationship with these characters he solves the mystery of his missing girlfriend, not through directed investigation but just by staying engaged with life and society -- by keeping up the "dance."
As a Westerner reading these novels, I was struck by how different the Japan portrayed here is from the hyper-efficient, sanitized, sexless and safe Japan of common impression. This is late twentieth-century post-modern Japan. References to Western pop culture are incessant. Call girls abound. Characters find themselves entangled in confusing, neurotic relationships worthy of HBO original programming. And nobody is practicing Kendo.
These books are hard-boiled -- that is to say, they are written in the hard-boiled style defined in the mid-twentieth century by U.S. mystery writers Raymond Chandler and Dashiell Hammet. There is a stark contrast between the blunt, gritty realism of hard-boiled style and the surreal, supernatural events that occur. This causes the stories to seem solidly planted in the real world, despite the occasional bizarre episodes.
There are certain shortcomings; the camera's eye perspective of the hard-boiled school lends itself to a bit too much dwelling on the details of setting. This is primarily in evidence at the beginning of A Wild Sheep Chase. And one suspects something is lost in the translation from the original Japanese. For example, this passage from Dance, Dance, Dance:
"... and if you consider the telephone as an object, it has this truly weird form. Ordinarily, you never notice it, but if you stare at it long enough, the sheer oddity of its form hits home. The phone either looks like it's dying to say something, or else it's resenting that it's trapped inside its form. Pure idea vested with a clunky body. That's the telephone."
There is a certain vagueness that may not be intentional. One is left with the feeling that "form" doesn't quite convey the same meaning it did in the original language.
Reading Murakami has been described feeling like you've just awakened from a deep sleep and you aren't sure if you're still dreaming. These are fascinating, engrossing books that will leave you full of ideas and impressions to dwell on for a long time to come.
You can purchase A Wild Sheep Chase and Dance,Dance,Dance from bn.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.
is The Wind Up Bird Chronicle, to me, its kind of Murakami's best integration of all of the themes he brings up in his other books (esp. ddd & hard-boiled wonderland), and it is absolutely wonderful.
Murakami usually deals with normal life stories, science fiction, or simply fiction is not his area of expertise.
His masterpiece is Norwegian Woods, which tells the story of a young man, in the mid of the japanese 68. We can say that there are a lot of biographical points in the book: the music, the environment, probabily the personal experiences.
I can tell you, Norwegian Woods is one exceptional, emotional book. It's not science fiction, but still, one of the best books I've ever read.
Murakami has also witnessed two of the recent tragedies of modern Japan: the sarin gas attack in the subway and the Kobe earthquake.
In the book (Underground) about the sarin (nerve) gas attack from a religious sect, Murakami acts as a journalist, interviewing survivors and members of the sect, trying to find a logic in what happened.
The Kobe earthquake is handled differently: it is a collection of short stories, mainly of people marginally touched by the earthquake, and how it affected their lives. You can find fictional stories, where the earthquake is caused by a huge worm living underground, to more personal, intimate stories.
Anyway, Murakami is an excellent writer, you should read at least one of his books.
When Murakami was young, he read a lot of pulp authors (Raymond Chandler, Dashiell Hammett, etc.), even translating the works into Japanese.
My two favorites by him are Wild Sheep Chase and Pinball, 1973 (translated into English by Kodansha, but not sold in the states, maybe Bookfinder...)
Both those books have a touch of magical realism working, but could be seen as modern takes on noir.
It is strange, as Murakami's biggest hit in Japan was Norwegian Wood, a title that, due to culture as much as anything, really captured the imagination of Japanese men and made him a superstar--but it's hard for an outside like myself to get into quite the same way.
Maybe the biggest secret to Murakami Haruki is the way pretty much all his characters are outsiders, loners, and the women they meet the same, coming as he does from a country, Japan, where the biggest focus is on the group.
Definitely recommend Wild Sheep Chase, Pinball, 1973 uses the same characters and serves as a kind of prequel.
I haven't read Dance, Dance, Dance, but I did read A Wild Sheep Chase. AWSC was good, but not nearly as good as The Wind-Up Bird Chronicle, which was longer, deeper, and generally more involving. If you're going to read Murakami, that's the place to start.
Those wishing to read works similar to PKD could do considerably worse than reading Kobo Abe. "The woman in the Dunes" is probably his best and most accessible work, but "The Box Man", "The Ark Sakura", and "The Face of Another" and others whose titles I forget are worth reading if you like a slightly twisted view of reality.