Welcome to the Eighth Annual How to Japanese Murakami Fest!

With the goal of stirring up even more interest in Murakami between now and October, when the Nobel Prizes are announced, I will post a small piece of Murakami translation/analysis/revelation once a week from now until the announcement. You can see past entries in the series here:

Year One: BoobsThe WindBaseballLederhosenEels, Monkeys, and Doves
Year Two: Hotel Lobby OystersCondomsSpinning Around and Around街・町The Town and Its Uncertain WallA Short Piece on the Elephant that Crushes Heineken Cans
Year Three: “The Town and Its Uncertain Wall” – Words and WeirsThe LibraryOld DreamsSaying GoodbyeLastly
Year Four: More DrawersPhone CallsMetaphorsEight-year-olds, dudeUshikawaLast Line
Year Five: Jurassic SapporoGerry MulliganAll Growns UpDanceMountain Climbing
Year Six: Sex With Fat WomenCoffee With the ColonelThe LibrarianOld ManWatermelons
Year Seven: WarmthRebirthWasteland, Hard-ons, Seventeen, Embrace
Year Eight: Pigeon, Edits, Magazines

The next volume in the Complete Works includes all of the short stories in Slow Boat to China and Firefly, Barn Burning, and Other Stories. Murakami wrote the stories in the former collection after Pinball, 1973, so I guess this post goes chronologically before the last Murakami Fest post.

Murakami writes in 自作を語る that the experience of rereading the stories for the first time in 10 years was very nostalgic for him. He then writes extensively about the revision process. It’s pretty interesting to read:




For the Complete Works, I corrected a number of stories quite heavily. This is because there were a lot of areas that concerned me as I reread them at this point in time. In principle, once my works have been presented, I don’t alter them at all: Once you start with something like that, there’s no end to the changes, and even if there are slight defects in a work (and the writer doesn’t like those), I believe the original should really be left as it was, as a document that holds meaning as a sort of fixed-point observation. However, publication in the form of a Complete Works was a unique opportunity to provide a separate option different from the original hardcover version, so I decided to go ahead and add the revisions. Some I altered heavily, and others were limited to fixing up certain wordings. Readers might feel differently about these revisions. However, as a writer, my basic objective when revising was to make what I was trying but unable to fully express at that time somewhat more precise. In other words, the present me is lending a hand to my past self. However, there were of course a number of places where despite some problems I felt it was best to leave things as they were and not to interfere. Strangely, it might be best to express some ideas obscurely, just as they are, rather than making them more neat. In the end, that’s the kind of thing that early works are. There are a lot of things that can only be communicated in a poor, obscure way.

However, there were also places where I was disappointed I hadn’t put things in a certain way, and these I rewrote. I got rid of unnecessary sections and fattened up those that were lacking.

After undergoing this repair work, I’ve come to think that I as a human, in other words the majority of the figure of Murakami Haruki the writer, has already been exhibited in this story collection. I’ve definitely seen things from a more multifaceted point of view by growing older in my own way and being able to write about that. I’m more clearly able to see what I want to do. I’m also gradually beginning to grasp what my ability as a writer is at this point in time. However, I feel like my world was, for the most part, presented in all its incompleteness, awkwardness, and imbalance in this virgin collection of stories. It’s safe to say that the basic pattern of things like my style, motifs, and language all appear, more or less. (II-IV)

Very nicely put. Later in the pamphlet, Murakami goes on to note that one of the stories he did not revise was “Firefly,” which formed the basis for Norwegian Wood.

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