More Investigations

Back to the real point of this blog – yeah, it’s a Murakami blog these days despite my two recent posts on the Japanese language. If you’re a new reader, here’s the idea: Haruki Murakami’s 1985 novel Hard-boiled Wonderland and the End of the World presents an interesting case study in translation and author revision. Alfred Birnbaum translated creatively (perhaps too creatively at times), and Murakami himself made changes in the text for the version that appears in the 1990 Complete Works box set. Birnbaum’s translation was published in 1991 by Kodansha International.

Chapter 15 “Whiskey, Torture, Turgenev” does not have many changes. Birnbaum makes a few creative leaps here and there, but nothing outside of a translator’s regular poetic license. In this chapter, the goons cut Watashi’s belly, his coworkers from the System come check him out, he gets sewn up at the hospital, he reads some Russian literature, has a nap, and then gets a call from the granddaughter.

There is one paragraph that gets cut between the two Japanese versions. Take a look at the 1985 version:




And now the 1990 version, which is clearly missing a paragraph:



Strangely, Birnbaum’s translation includes aspects from each of these versions. I’ve marked the matching segments in red and blue above and below:

I shut the book and bid the last thimbleful of Jack Daniel’s farewell, turning over in my mind the image of a world within walls. I could picture it, with no effort at all. A very high wall, a very large gate. Dead quiet. Me inside. Beyond that, the scene was hazy. Details of the world seemed to be distinct enough, yet at the same time everything around me was dark and blurred. And from some great obscure distance, a voice was calling.

It was like a scene from a movie, a historical blockbuster. But which? Not El Cid, not Ben Hur, not Spartacus. No, the image had to be something my subconscious dreamed up.

I shook my head to drive the image from my mind. I was so tired.

Certainly, the walls represented the limitations hemming in my life. The silence, residue of my encounter with sound-removal. The blurred vision of my surroundings, an indication that my imagination faced imminent crisis. The beckoning voice, the everything-pink girl, probably. (164)

Birnbaum’s translation includes the paragraph about movies from the 1985 version (although Birnbaum cuts The Ten Commandments (十戒) and The Robe (聖衣) to fit the English “rule of three”), but it also includes the line that Murakami uses to replace that daydream: 私は頭を振ってそんなイメージを追い払った。私はつかれているのだ。Birnbaum gives them their own paragraph.

This seems to suggest one of two things: Either Birnbaum was translating based on both the original and revised versions, or Murakami made his revisions based on Birnbaum’s “adapted” translation.

Based on publication date alone, it seems like the former must be true, but I’m not so sure. The translation easily could have been completed in 1988 and then taken three years to finalize. We know from Jay Rubin’s book Haruki Murakami and the Music of Words that Rubin was asked to vet Hard-boiled Wonderland in Japanese for a publisher and that Birnbaum had already been selected to translate the book (and perhaps he already had). That would have given Murakami time to look over his own manuscript, especially if Birnbaum had cleared changes with him and pointed out locations he adapted.

More investigations are required.

I’d be remiss if I didn’t mention how nice a chapter this is. It’s long, but Murakami plays the Murakami game and lets his narrator get drunk and ramble with charm about Turgenev, Stendahl, and Dostoevsky before the thought process comes full circle and links both halves of the book. Magic.

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