Cool Word – 場合

baai

I’m on the Japan Times Bilingual page this week: “In Japanese, mastery of the space-time continuum is just a few words away.”

The intro is inspired by my first ever trip to Japan—an internship with a propeller company. I was taken along on a visit to Misawa Homes, one of the big prefab housing companies in Japan. (Of course the propeller company did business with a modular homes company.) I also got to see model homes in a yet-to-be-populated subdivision. It’s impressive stuff.

The article is a bit heavy on the timing words, so I feel like I gave 場合 short shrift. It is the ultimate hypothetical word, one that can sit in for conditional verbs ending with たら or ば and one that doesn’t require you to perform any mental gymnastics with the verbs. Not that it’s all that difficult to construct the たら or ば forms, but 場合 only really needs the past or present tense.

The easiest way to think of it in English is “In the case of X,” where 場合 means “case.” This also works with constructions (suggested by this site) such as 外国人の場合. (The only proper response to which is “break glass,” I assume?)

I feel like I’ve tweeted out this Chiebukuro link before, but the pronunciation of 場合 is one of those few Japanese words that can very a little. My first sensei pronounced it ばわい, which always stuck with me. I’ll use it every now and then.

Confusion

After an extended break for ten days of travel through Bavaria and Bohemia (it was excellent; see Twitter/Instagram for details), I’m back at Hard-boiled Wonderland. In Chapter 24 “Shadow Grounds,” Boku visits the Gatekeeper and then has a catch-up with his shadow.

Most of the translation changes in this chapter feel relatively standard for Birnbaum’s style, but they are still evident even from the first few sentences. Here is the official translation:

Three days of clear weather have come to an end. I know it as soon as I awaken. I open my eyes with no discomfort.

The sun is stripped of light and warmth, the sky is cloaked in heavy clouds. (242)

Here is the Japanese with my translation following:

三日間つづいた見事な晴天は、その日の朝目を覚ますともう終わっていた。空は暗い色をしたぶ厚い雲に一部の隙もなく覆いつくされ、そこをとおり抜けやっと地上にたどりづくことのできた太陽の光はその本来の暖かみと輝きのあらかたを奪いとられていた。(354)

Three days of perfect weather are over when I wake up. The sky is covered with a thick, faultless layer of darkly colored clouds, and the light that manages to make its way through that covering has been robbed of most of its original warmth and brightness.

As you can see, the official translation is much more minimal than the original Japanese, yet Birnbaum (or his editor) adds a few details to help re-establish the scene (Boku and his eyes) in the End of the World. Maybe this is for the best after the lengthy Hard-boiled Wonderland chapters. I immediately looked at the paperback version of the book to see whether Murakami might have cut the sentences from the Complete Works edition, but the two are the same.

I did spot one cut by Murakami later in the chapter. Boku and his shadow sit under an elm tree, kicking their heels in the frozen ground. The shadow draws a circle in the ground to represent the perfection of the Town in the End of the World. They discuss plans for escape and the difficulties of living in the End of the World:

“My confidence is going, it’s true,” I say, dropping my eyes to the circle on the ground. “How can I be strong when I do not know my own mind? I am lost.”

“That’s not true,” corrects my shadow. “You are not lost. It’s just that your own thoughts are being kept from you, or hidden away. But the mind is strong. It survives, even without thought. Even with everything taken away, it holds a seed—your self. You must believe in your own powers.”

“I will try,” I say. (248-249)

And here is the original paperback version:

「たしかに僕は混乱している」と僕は地面に描かれた円に目を落としながら言った。「君の言うとおりだ。どちらに進んでいいのかを見定めることもできない。自分がかつてどういう人間であったのかということもだ。自己を見失った心というものがはたしてどれだけの力を持てるものなんだろう。それもこれほど強い力と価値基準を持った街の中でだ。冬がやってきて以来僕は自分の心に対して少しずつ自信を失いつづけているんだ」

「いや、それは違うね」と影は言った。「君は自己を見失ってはいない。ただ記憶が巧妙に隠されているだけだ。だから君は混乱することになるんだ。しかし君は決して間違っちゃいない。たとえ記憶が失われたとしても、心はそのあるがままの方向に進んでいくものなんだ。心というものはそれ自体が行動原理を持っている。それがすなわち自己さ。自分の力を信じるんだ。そうしないと君は外部の力にひっぱられてわけのわからない場所につれていかれることになる。」

「努力してみるよ」と僕は言った。(67)

“I definitely feel confused,” I say as I lower my eyes to the circle drawn in the ground. “It is as you say. I’m unsure of where I should be heading. Or of what kind of person I was in the past. How strong can a mind without a self actually be in the end? Especially in a town with such power and strong standards of value. Ever since winter arrived, I just keep losing confidence in my mind little by little.”

“No, you’re wrong,” my shadow says. “You haven’t lost your self. They’ve just hidden your memories. Which is why you feel confused. However, you’re not totally off. Even if you lose your memories, your mind will continue on in its original direction. A mind has inherent principles of movement. And that is, in other words, your self. Believe in your own strength. If you don’t, you’ll be thrown off course by powers outside of yourself.”

“I’ll try,” I say.

As you can see, it’s still quite different from Birnbaum’s translation. Lengthier, to be sure, but Birnbaum keeps many of the elements from the paperback. In the Collected Works edition, Murakami edits the shadow’s response:

「いや、それは違うね」と影は言った。「君は自己を見失ってはいない。ただ記憶が巧妙に隠されているだけだ。だから君は混乱することになるんだ。しかし君は決して間違っちゃいない。自分の力を信じるんだ。そうしないと君は外部の力にひっぱられてわけのわからない場所につれていかれることになる。」(363)

“No, you’re wrong,” my shadow says. “You haven’t lost your self. They’ve just hidden your memories. Which is why you feel confused. However, you’re not totally off. Believe in your own strength. If you don’t, you’ll be thrown off course by powers outside of yourself.”

Gone is the section about the mind and its “principles of movement.” It’s an interesting idea, but perhaps felt a little unwieldy when Murakami looked it over again? That’s the only thought I have now.

As I mentioned at the top, no major adjustment changes, but now that I’ve written this post, the English version does seem more intrusive than I initially thought. The compressions illustrated in the passages above are uniform throughout the chapter. But I guess this isn’t a big surprise: This is how Murakami was initially translated, and it’s not like the final product is a disaster. On the contrary, it’s pretty strong. Just a translation, innit?

In terms of language notes, I struggled with 間違っちゃいない and eventually resorted to help on Facebook after doing some googling and still not being totally sure about the meaning. The word is a contraction, of course, for 間違ってはいない, and I think it gave me fits because it seems to contradict with the 違う at the beginning of the passage. There is also a kind of “set phrase” feel/tone to the word and certain circumstances in which it gets used. As a native speaker Facebook friend noted, it means “you’re not (entirely) wrong (either)”

Now it’s on to the next 30-page Hard-boiled Wonderland behemoth. I’ll try to get through it quickly.

Karaoke Kotoba – 別れ

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My column is in the Japan Times Bilingual page this week: “Submitting yourself to the 50 shades of arigatō gozaimasu.”

I take a look at ways to diversify your phrases of appreciation: ありがとう is great, but there are other ways you can thank people. Why not add a few to your repertoire?

There’s nothing really wrong with ありがとう, of course, and I mention a couple karaoke songs there at the end that use ありがとう, notably 夜霧よ今夜も有り難う, one of Yūjiro Ishihara’s legendary songs:

I love this song for several reasons: 1) There are few songs that fit within my vocal range (deep), but this is one of them, 2) Yūjiro is boss — as my college graduate advisor put it, he’s basically the Japanese Elvis — and 3) in the video above (if the link isn’t broken) he doesn’t bat much of an eye even though some jackass comes on stage in the middle of the song to pelt him with confetti:

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I was going to write something snarky about how the real つらさ is having to share the stage with the confetti pelters, but apparently they are celebrating Ishihara’s first television performance after recovering from an aortic aneurysm:

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The real pain, though, is 別れのつらさ – the pain of parting/breaking up. Because of the nature of music (especially pop music), 別れ (わかれ) is a word you can expect to encounter frequently in the karaoke box. It’s just a noun from the verb 別れる.

I went hunting for other examples of 別れ and I found a great example: 別れても好きな人.

It’s a duet, one that was originally released in 1969 but got covered in 1979 and became a million-seller for “Los Indios and Sylvia” (ロス・インディオス&シルヴィア). The song gives you a great tour of famous parts of Tokyo, and duets are fun as hell. It’s always good to have a well-known duet up your karaoke sleeve, in your karaoke quiver, etc.

The grammar pattern the song highlights is one of the most basic: Gerund X + も = Despite X/even though X. In this case, “people you love/like/crush on even though you broke up.”

On a side note, the video I found above has a solid example of 壁ドン, a word which drew attention in 2014 when it was a runner up for word of the year. As you can see from this video, it has a pretty long history as a visual trope (although I have no idea what year the karaoke video was produced, could be later than 1979 I assume, but judging from the way the Scramble Crossing looks, it’s a while back):

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文末 Nuggets

My March Japan Times Bilingual piece is up: “Avoiding the subject isn’t such a bad idea in Japanese.”

Inspired by a question on Twitter, I take a look at how to avoid using subjects in Japanese. (Hint: Just ignore them mostly.) Besides just leaving them out, there are a ton of phrases in the language that promote concision, notably a few handy 文末 phrases. I address そうだ and ようだ in the piece, but らしい and みたい are also very effective in similar roles.

They all have subtly different usages, so it can be helpful to look at Japanese definitions. These are all from the wonderful 日本語文型辞典.

2015-03-03 09.44.21

Do your best to ignore my awful translation.

ようだ

…ようだ 〈推量〉

ものごとについて話し手がもつ印象や推量的な判断を表す。ものごとの外見や自分の感覚について「何となくそんな感じがする/そのように見える」というふうに、その印象や外見をとらえて表現するもので、話し手の身体感覚・視覚・聴覚・味覚などといったものを通してとらえられた印象や様子を述べたり、そのような観察を総合して話し手が推量的判断を述べるような場合に用いる。

すでに述べたことがらを受ける場合は次のように「そのようだ」「そんなようだ」が使われる。(618)

…ようだ

Expresses a speaker’s impression or estimation-like judgment about something. Presents the impression or external appearance (of something) according to the external appearance (of the thing) or the speaker’s senses and suggests “It kind of seems that way/It looks that way.” Used when a speaker gives an impression or condition (of something) taken from the speaker’s sense of touch, sight, hearing, smell, etc. and when making other observations like that to give the speaker’s general, estimation-like judgment.

The following patterns are used when responding to things that have already been mentioned: 「そのようだ」 and 「そんなようだ」

らしい

…らしい

文末に付いて、話し手がその内容をかなり確実度の高いことがらであると思っていることを表す。その判断の根拠は外部からの情報や観察可能なことがらなど客観的なものであり、単なる想像ではない。 (632)

…らしい

Appended to the end of sentences to express that the speaker believes the content has a very high level of certainty. The basis for that judgment is objective, such as outside information or something that is observable, not simply imagination.

そうだ

そうだ

普通体の節に続いて、自分が直接得たことではなくどこかから入った伝聞情報だということを表す。否定や過去の形にはならない。

そうだ

Added on to 普通体 (direct style) clauses to express that (the clause) is not something you received directly but reported information that came from somewhere else. Does not form negative or past tense constructions.

みたいだ

…みたいだ 〈推量〉

話し手の推量を表す。「はっきりと断定はできないが、そのように思う」という意味。話し手が、何かを見たとか、音を聞いた、匂いをかいだなど自分自身の直接経験したことをもとに推量したことを述べる表現。

これに対して、他の人から聞いた話など間接的な情報にもとづいた話し手の推量を表すときには「らしい」が使われ、聞いたことをそのまま報告する場合には「そうだ」が使われる。 (562)

…みたいだ

Expresses a speaker’s estimation. Means “I can’t tell for certain, but that’s what I believe.” An expression used to give an estimation based on something the speaker directly experienced, such as they saw something, heard something, or smelled something.

Conversely, 「らしい」 is used when expressing the speaker’s estimation based on indirect information, such as something heard from another person. 「そうだ」 is used when reporting something exactly as it was heard.

I’ve been wanting to post something like this for a while. I actually drafted it way back in 2009 (typed out the sections from the 文型辞典) but lost the post to a hard-drive crash and have been too lazy to get it together since.

I think it’s helpful to look at things like this explained in Japanese. The book also has a ton of great example sentences. Definitely a must-own for any students of Japanese who make it beyond the intermediate level.

Still, it’s one thing to know the dictionary definition of these patterns and another thing entirely to put them into practice. The occasional reminder from texts like the 文型辞典 can help us be mindful of the usages. Now get out there and get reporting indirectly and judging subjectively!

Karaoke Kotoba – いとし

Back in the ‘90s and the early ‘00s when I first played through (parts of) FFVI, I had no idea how much the opera scene owed to karaoke culture, but now it’s totally clear. I mean, there’s a syllable for syllable midi voice of the Japanese lyrics.

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Now I’m seriously surprised that I didn’t hear someone sing this at a karaoke box. Maybe I just didn’t karaoke with the right people.

At any rate, the first word of the song, いとし, is one of those classic karaoke words that you hear in countless songs. I’m never sure sure how reliable Chiebukuro is, but this post seems to suggest an evolution of the word.

Currently it means “beloved,” or something of that ilk, and it often gets attached to people’s names or pronouns. The Southern All-Stars have the best translation in their song いとしのエリー, which doesn’t even use the word いとし in the lyrics: Instead, the chorus is “Eri, my love, so sweet.” “X, my love” is a pretty nice rendering.

On a side note, after watching this video of サザン lead singer Keisuke Kuwata belt out the song, I can’t help but think he’s had a huge influence on Japanese rock vocals (even though I know next to nothing about Japanese rock).

His weird growl sounds similar to some imitations of “foreigner Japanese.” It also seems extremely ripe for parody…which I may have to attempt at karaoke soon.

A Questionable Cut

When I first read Hard-boiled Wonderland and the End of the World, I preferred the odd-numbered chapters with the data agent. I visited a few colleges that summer as I was reading it, and because of the book I was convinced I wanted to study cognitive neuroscience. Obviously I was a moron. What I really wanted was to live in the world of the data agent. Back then the End of the World chapters were speed bumps. I’m a slow reader, but I tore through those chapters to get on with the longer, more convoluted parts about memory, INKlings, and the chubby girl in pink.

Now it feels like the opposite, most likely because I’m reading in Japanese. It takes me forever to read through the odd-numbered chapters only to reveal another short episode in the End of the World, which I really savor. Also I’ve realized the End of the World chapters are much stronger. They’re lean compared to Murakami’s normal style, but just as tense and suspenseful and even more mysterious. It’s almost like a totally different author wrote them.

Chapter 23 “Holes, Leeches, Tower” is another massive speed bump chapter in the data agent Watashi’s world, and Birnbaum really pares down the Japanese throughout, rendering only the absolute necessities to get Murakami’s point across. It feels like he’s only writing three sentences for every five in Japanese. It’s a generous translation, though, and very funny.

Watashi and the Girl in Pink spend the chapter running through the underground area more, this time away from a tidal wave of water, and then climbing a massive altar. As in previous chapters, Watashi wants nothing to do with his circumstances, so he ends up daydreaming quite a bit. Birnbaum does a fantastic job of bringing out this element.

Most of these changes are not worth looking at closely, but Murakami does make one cut between the original and the Collected Works edition. Birnbaum, however, includes the cut section in the English translation. So this should show us something about Murakami’s work as an editor. Here’s the passage in Birnbaum’s version:

The next thing I realized was that my body was missing from the waist down. I reassessed the situation. My lower half was there, just unable to feel anything. I shut my eyes and concentrated. Trying to resurrect sensations below the belt reminded me of trying to get an erection. The effort of forcing energy into a vacuum.

So here I was, thinking about my friendly librarian with the gastric dilation and the whole bedroom fiasco. That’s where everything began going wrong, it now struck me. Still, getting a penis to erect itself is not the sole purpose of life. That much I understood when I read Stendhal’s Charterhouse of Parma years ago.

My lower half seemed to be stuck in some halfway strait. Or cantilevered out over empty space or…dangling off the edge of the rock slab. It was only my upper half that prevented me from falling. That’s why my hands were clinging to the rope so desperately. (232)

It’s clear that Birnbaum’s translation is clearly pretty slim without even looking at the original, but here it is with my re-translation:

私の下半身はもうなくなっているのかもしれない、と思った。地面に投げ出されたショックでちょうど傷口のあたりから私の体はふたつにちぎれ、下半身がどこかに吹きとんでしまったのだ。私の脚―と私は思った―私の爪先、私の腹、私のペニス、私の睾丸、私の……、しかしどう考えてもそれは不自然だった。下半身を全部失くしていたとしたら、私の感じる痛みはこの程度で済むわけがないのだ。

私はもっと冷静に状況を確認するべく試みることにした。私の下半身はちゃんと存在するのだ。それはただ何かを感じることのできない状況下にあるだけなのだ。私はしっかりと目を閉じて波のようにあとからあとから押し寄せてくる頭の痛みをやりすごし、神経を下半身に集中した。存在しないかのように感じられる下半身に神経を集中しようとする努力は、なんだか勃起しないペニスを勃起させようとする努力に似ているような気がした。それは何もない空間に力を押しこめているようなものなのだ。

私はそうしながら図書館で働いている髪の長い胃拡張の女の子のことを考えていた。やれやれ、なんだって私は彼女とベッドに入ったときにうまく勃起することができなかったのだろう、と私はまた思った。あのあたりからすべての調子が狂いはじめたのだ。しかしいつまでもそんなことを考えているわかにもいかなかった。ペニスを有効に勃起させることだけが人生の目的ではないのだ。それはずっと昔にスタンダールの『パルムの僧院』を読んだときに私が感じたことでもあった。私は勃起のことを頭の中から追い払った。

何はともあれ私の下半身は何かしら中途半端な状況に置かれているのだ、と私は確認した。たとえば宙ぶらりになっているような……そう、私の下半身は岩盤の向う側の空間にぶらさがり、私の上半身がそれが落下するのをかろうじて阻止しているのだ。そして私の両手はそのためにしっかりとロープを握りしめているのだ。31-32

Maybe my lower body is gone, I thought. The shock from being thrown to the ground must’ve torn my body in two right around my wound, and my lower half was blown off. My legs, I thought, my toes, my stomach, my penis, my testicles, my… but the more I thought about it, it just didn’t seem right. If I’d lost all of my lower body, I would be in a lot more pain than I was right now.

I tried to reassess the situation with a level head. My lower half still existed. It was just in a state of not being able to feel anything. I sealed my eyes shut, fought off the never-ending waves of pain that surged in my head, and focused on my lower body. I realized that trying to focus on a lower body that felt like it didn’t exist was somewhat similar to trying to force a penis that wouldn’t get hard into an erection. It was like trying to put force into a space with nothing in it.

In the process, I remembered the girl with long hair and gastric dilation who worked at the library. That went spectacularly, I thought. For whatever reason I’d been unable to get an erection the moment I got into bed with her. That was right around when everything started to go off the rails. But I couldn’t keep thinking about it. Being able to successfully produce erections isn’t the only reason for living. That’s something I’d realized when I read Stendhal’s The Charterhouse of Parma ages ago. I cleared my mind of hard-ons.

At any rate, I managed to confirm that my lower body had been placed in some sort of halfway state. For example, maybe it was dangling in air or… That was it. My lower body was dangling in the air over the side of a cliff, and my upper body was only just barely preventing me from falling. And that’s why my hands had a firm grip on a rope.

Ugh. My translation feels ugly and bloated and 直訳 compared with Birnbaum’s.

For the Complete Works edition (pages 333-334), Murakami chose to cut the entire third paragraph (highlighted in red) for some reason. It’s the only cut he chose to make for 25 pages (30 in the paperback)! What gives? There’s dozens of other lines that could have gone, and—trust me—Birnbaum finds them. There are entire passages that get dismissed in favor of moving the narrative along.

Was it the Stendhal reference? Or the Librarian? It can’t be the erections—he kept a few of those. I’m baffled by this one.

What say ye, reader?

Video Game Lingo – 始末

Fucking Ultros. I just got beat down in the opera house, and I’ve realized I probably either need to A) head back to Narshe and pick up another party member, B) hope that I can still add Shadow, or C) grind until I level enough to take the bastard down.

Which is basically to say that I haven’t made much progress in FFVI. I also haven’t found a seat on my commutes all that often. The El is unforgiving, especially between Sheridan and Fullerton, and I need at least one hand free when standing.

But I did come across this:

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It pays to have a large vocabulary of words that mean “kill” or “destroy” when making video games, and 始末 is, effectively, one of those. In this case, the compound has the more general meaning “manage” or “deal with” (with an implied finality, thus death).

It’s also a cool kanji in its own right, combining two opposite characters for “beginning” (始) and “end” (末).

It has other meanings as well and confuses some with 仕末. This is a nice little blog post that concisely summarizes some of the frequently encountered forms:

「後始末」「跡始末」「始末書」「始末に負えない」などのように使います。

Fortunately for our heroes, Kefka isn’t that adept at dealing with them.

Cool Phrase – 〜もんか

monka I’ve got an article in the Japan Times Bilingual page today about the very interesting little particle か: “‘Ka’ can help you sound less like Mr. Roboto.”

For the most part か is harsh and striking (いいか?); it demands attention. This is especially true when compared with が, its softer more demure cousin (ちょっと聞きたいんですが). But I think the article points out a couple of places where maybe か can take the edge off and sounds very natural.

One of my favorite usages of the harsh and sharp か is 〜もんか. The quintessential example of this usage is 知るもんか. The English translation is “Like I know!” with an implied element of “(So why would you ask me/expect me to know?)” This is a great phrase but useful only in circumstances where you’re trying to express disbelief in the person you’re talking with; thus, it’s a fairly rude phrase.

You can attach it to a lot of different verbs to express your disbelief that you would ever do those verbs or that something would ever happen. そういうことやるもんか。そんなことあるもんか。

A Google search turns up a movie titled なくもんか which, judging from its poster, means something along the lines of “I’m not crying *sob*.”

A fun phrase, useful to deploy in certain circumstances.

On a side note, I can share a bit of good news: Barring grievous bodily injury or total mental collapse, I should be in the Japan Times Bilingual page every month this year, the first week of the month. Look for me there, and thanks for reading.

Booty Call, As It Were

Chapter 22 “Gray Smoke” is back in the End of the World. The Gatekeeper continues to burn the beasts, and Boku is blinded by the reflection of the sun off fresh snowfall. His eyes are in such pain that he is almost unable to work that night, so he and the Librarian talk and then look in the Collection Room for a musical instrument after Boku realizes that her mother used to sing.

This is a nice quick chapter after the beast that was Chapter 21.

One minor side note before I look at the translation: This chapter does give the singing in the previous chapter more context. As I was reading Chapter 21, it all felt unnecessary and kind of random, but I think that’s the point. In this chapter, when Boku tries to remember a song, he says, “I take a deep breath but find no music in my memory.”

It’s almost like he is straining to hear Watashi in the previous chapter. Both he and the Girl in Pink have no trouble just making up lyrics as they go, but Boku doesn’t have it that easy.

There aren’t many big cuts to the translation or in the Complete Works version, but Birnbaum (or his editor) does make the usual changes: Cuts to the narrator’s reactions to make them simpler and starker. As with the previous chapter, there’s a surprising moment of romance/sexuality. Here is the official translation:

“Is there nothing else I can do for you?” she says, looking up unexpectedly.

“You do so much for me already,” I say.

She stays her hand and sits facing me. “I mean something else. Perhaps you wish to sleep with me.”

I shake my head.

“I do not understand,” she implores. “You said you needed me.”

“I do. But now it is not right.” (225)

And here is the Japanese followed by my translation:

「私が何かあなたにしてあげられることはあるかしら?」と彼女はふと顔を上げて言った。

「君はとてもよくしてくれているよ」と僕は言った。

彼女は頭骨を拭いていた手を休めて椅子に座り、正面から僕の顔を見た。「私が言っているのはそういうことじゃないの。もっととくべつなこと。たとえばあなたのベッドに入るとか、そんなことね」

僕は首を振った。「いや、君と寝たいわけじゃないんだ。そう言ってくれるのは嬉しいけどね」

「どうして?あなたは私を求めているんでしょう?」

「求めているさ。でも少なくとも今は君と寝るわけにはいかないんだ。それは求めるとか求めないというのとはまたべつの問題なんだ」 (322-323)

She lifts her head suddenly and says, “Is there something I can do for you?”

“You already do so much for me,” I say.

She withdraws the hand she was using to wipe the skull, sits down, and looks me square in the face. “I’m not talking about those kinds of things. I mean something more special. For example, I could join you in bed, something like that.”

I shake my head. “No, it isn’t that I want to sleep with you. I’m glad that you would say that, but…”

“Why? You do want me, right?”

“I do. It’s just, I mustn’t sleep with you right now. It’s unrelated to wanting you or not wanting you.”

Yeah, I ripped off that one Birnbaum line “You already do so much for me” but I don’t think it can be improved. More importantly, you can see that BOHE cuts two sentences of dialogue from Boku and opts to have him remain silent when she offers to sleep with him. The cuts have a very interesting effect, not necessarily a bad one.

BOHE also add a dialogue tag for the Librarian. She “implores” Boku.

And perhaps the most curious translation from Birnbaum is his version of あなたのベッドに入るとか. “Perhaps you wish to sleep with me” puts the action back on Boku rather than keeping the Librarian as the subject. It also smoothes over the somewhat unusual (?) Japanese ベッドに入る with the regularly encountered English phrase “sleep with X.” I dunno…maybe BOHE has the right idea, maybe it’s better to not draw attention to it. At any rate, I think “For example, I could sleep with you” would be a more accurate rendering that maintains the Librarian as the subject.

Murakami-san no tokoro

Murakami’s new advice column/blog is online: http://www.welluneednt.com/

The site is titled 村上さんのところ (Murakami-san’s place)—pretty standard—but the domain name is curious. I was disappointed that I didn’t recognize it from the jazz standard “Well, You Needn’t,” a 1944 Thelonious Monk composition.

In my defense, I haven’t been listening to as much Monk lately (mostly “Thelonious Monk Plays Duke Ellington,” which may be the greatest album of all time), but I think the real culprit is the iPod-ification of all music. When I only carried 5-10 CDs in my car in rural Japan in 2005, I could’ve told you all the track names for “Thelonious Alone in San Francisco,” “Thelonious Himself” and “Solo Monk,” but alas, no longer. First I had an iPod classic with hundreds of albums, dozens from Monk, and now I have an iPhone that can stream just about anything (as long as I have wifi).

But back to the main point of this post: Murakami’s new column/blog. It’s nice. The design is simple and straightforward. The illustrations are well done. It’s easy to see the questions that Murakami has answered and to ask your own question. So far it’s very similar to some of the Murakami Asahido material and other public projects Murakami did (way before blogs were even a thing).

One of the most interesting things about the page is the “Categories” for the types of questions you can ask. Here is the list with my translation following:

1. 村上さんにおりいって質問したいこと・相談したいこと
2. 村上さんにちょっと話したいこと
3. 私の好きな場所・嫌いな場所
4. 「猫」あるいは「ヤクルト・スワローズ」関連

1. Things I want to ask Murkami/consult with him about
2. Things I’d like to tell Murakami about
3. Places I love/hate
4. (Things) related to cats or the Yakult Swallows

Very interesting. It seems like Murakami is looking for a pretty wide range of material. Questions and consultations, sure, but also just some randomness from his readers, things he can kind of bounce his thoughts off of and produce funny/quirky/interesting/readable material.

Obviously you sign away all rights when you ask a question. This stuff is going into a book in the not too distant future. You can ask questions until the end of January, and the site will be online until the end of March.

He’s going through questions at a pretty intense pace: He responded to six different inquiries on a Sunday (1/18)! I read through all of the entries through 1/17 and did some quicky translations on Twitter of interesting posts. Here are the results:

And when you ask a question, you get a very cool confirmation email with this graphic from the website:

murakamiCheck my Twitters for more translations in the coming weeks. I’ll plan to read through the posts as he answers…I want to see if he answers my question.