This past weekend, in advance of today’s drop date for 1Q84, Sam Anderson wrote a long, very well-textured profile of Murakami entitled The Fierce Imagination of Haruki Murakami.
To be honest, I’m not the biggest Murakami fan in the world. I really like Hard-Boiled Wonderland and the End of the World, and to a lesser extent The Wind-Up Bird Chronicles, but could do without Kafka on the Shore, and was rather disappointed when I recently read A Wild Sheep Chase. That said, everything I read about 1Q84 makes me more and more excited about this book. (Which I wish Random House would send us. We’ve been asking for months, and I will happily publish a review of it here if they’d just send us a copy . . . Grrr.)
First off, this book is the very definition of massive. According to Anderson, it is “932 pages long and nearly a foot tall — the size of an extremely serious piece of legislation.” In other words, perfect for the Rochester winter.
Secondly, there’s a religious cult involved. I’m a sucker for reading, hearing, or watching about religious cults. I love them. (In an intellectual, curious way, you know?) And that’s just the beginning of the weirdness this book contains:
1Q84 is not, actually, a simple story. Its plot may not even be fully summarizable — at least not in the space of a magazine article, written in human language, on this astral plane. It begins at a dead stop: a young woman named Aomame (it means “green peas”) is stuck in a taxi, in a traffic jam, on one of the elevated highways that circle the outskirts of Tokyo. A song comes over the taxi’s radio: a classical piece called the “Sinfonietta,” by the Czechoslovakian composer Leos Janacek — “probably not the ideal music,” Murakami writes, “to hear in a taxi caught in traffic.” And yet it resonates with her on some mysterious level. As the “Sinfonietta” plays and the taxi idles, the driver finally suggests to Aomame an unusual escape route. The elevated highways, he tells her, are studded with emergency pullouts; in fact, there happens to be one just ahead. These pullouts, he says, have secret stairways to the street that most people aren’t aware of. If she is truly desperate she could probably manage to climb down one of these. As Aomame considers this, the driver suddenly issues a very Murakami warning. “Please remember,” he says, “things are not what they seem.” If she goes down, he warns, her world might suddenly change forever.
She does, and it does. The world Aomame descends into has a subtly different history, and there are also — less subtly — two moons. (The appointment she’s late for, by the way, turns out to be an assassination.) There is also a tribe of magical beings called the Little People who emerge, one evening, from the mouth of a dead, blind goat (long story), expand themselves from the size of a tadpole to the size of a prairie dog and then, while chanting “ho ho” in unison, start plucking white translucent threads out of the air in order to weave a big peanut-shaped orb called an “air chrysalis.” This is pretty much the baseline of craziness in “1Q84.” About halfway through, the book launches itself to such rarefied supernatural heights (a levitating clock, mystical sex-paralysis) that I found myself drawing exclamation points all over the margins.
For decades now, Murakami has been talking about working himself up to write what he calls a “comprehensive novel” — something on the scale of The Brothers Karamazov, one of his artistic touchstones. (He has read the book four times.) This seems to be what he has attempted with “1Q84”: a grand, third-person, all-encompassing meganovel. It is a book full of anger and violence and disaster and weird sex and strange new realities, a book that seems to want to hold all of Japan inside of it — a book that, even despite its occasional awkwardness (or maybe even because of that awkwardness), makes you marvel, reading it, at all the strange folds a single human brain can hold.
That last paragraph is another reason I want to read this: it’s a blatant display of writerly ambition. Granted, short novels can be much more fulfilling and tight and readable in a relatively normal amount of time, but there’s something compelling about a wooly, extravagant, discursive, life-consuming novel. Like Gravity’s Rainbow or Infinite Jest or Cryptonomicon. I think it’s a boy thing.
Another part of Anderson’s piece that is really interesting (and relates nicely to this blog) is about translation in relation to Murakami’s influences, and the way that his books have a tendency seep into parts of your life:
Murakami’s fiction has a special way of leaking into reality. During my five days in Japan, I found that I was less comfortable in actual Tokyo than I was in Murakami’s Tokyo — the real city filtered through the imaginative lens of his books. [. . .] I became hyperaware, as I wandered around, of the things Murakami novels are hyperaware of: incidental music, ascents and descents, the shapes of people’s ears.
In doing all of this I was joining a long line of Murakami pilgrims. People have published cookbooks based on the meals described in his novels and assembled endless online playlists of the music his characters listen to. Murakami told me, with obvious delight, that a company in Korea has organized “Kafka on the Shore” tour groups in Western Japan, and that his Polish translator is putting together a 1Q84-themed travel guide to Tokyo.
Sometimes the tourism even crosses metaphysical boundaries. Murakami often hears from readers who have “discovered” his inventions in the real world: a restaurant or a shop that he thought he made up, they report, actually exists in Tokyo. In Sapporo, there are now apparently multiple Dolphin Hotels — an establishment Murakami invented in A Wild Sheep Chase. After publishing 1Q84, Murakami received a letter from a family with the surname “Aomame,” a name so improbable (remember: “green peas”) he thought he invented it. He sent them a signed copy of the book. The kicker is that all of this — fiction leaking into reality, reality leaking into fiction — is what most of Murakami’s fiction (including, especially, 1Q84) is all about. He is always shuttling us back and forth between worlds.
This calls to mind the act of translation — shuttling from one world to another — which is in many ways the key to understanding Murakami’s work. He has consistently denied being influenced by Japanese writers; he even spoke, early in his career, about escaping “the curse of Japanese.” Instead, he formed his literary sensibilities as a teenager by obsessively reading Western novelists: the classic Europeans (Dostoyevsky, Stendhal, Dickens) but especially a cluster of 20th-century Americans whom he has read over and over throughout his life — Raymond Chandler, Truman Capote, F. Scott Fitzgerald, Richard Brautigan, Kurt Vonnegut. When Murakami sat down to write his first novel, he struggled until he came up with an unorthodox solution: he wrote the book’s opening in English, then translated it back into Japanese. This, he says, is how he found his voice. Murakami’s longstanding translator, Jay Rubin, told me that a distinctive feature of Murakami’s Japanese is that it often reads, in the original, as if it has been translated from English.
You could even say that translation is the organizing principle of Murakami’s work: that his stories are not only translated but about translation. The signature pleasure of a Murakami plot is watching a very ordinary situation (riding an elevator, boiling spaghetti, ironing a shirt) turn suddenly extraordinary (a mysterious phone call, a trip down a magical well, a conversation with a Sheep Man) — watching a character, in other words, being dropped from a position of existential fluency into something completely foreign and then being forced to mediate, awkwardly, between those two realities. A Murakami character is always, in a sense, translating between radically different worlds: mundane and bizarre, natural and supernatural, country and city, male and female, overground and underground. His entire oeuvre, in other words, is the act of translation dramatized.
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