Sushi Counter

Welcome to the Tenth 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: WarmthRebirthWastelandHard-onsSeventeenEmbrace
Year Eight: PigeonEditsMagazinesAwkwardnessBack Issues
Year Nine: WaterSnæfellsnesCannonballDistant Drumming
Year Ten: VermontersWandering and Belonging, Peter Cat

I’ve finished my quick look at some of the essays in Uzumaki neko no mitsukekata and now for the last two weeks I’ll take tidbits from the extra pamphlet included with the text. Take a look:

Murakami has a short conversation with his illustrator Anzai Mizumaru (neé Watanabe Noboru of Yoru no kumozaru fame) about sushi restaurants. The conversation seems to be recorded by “Ogamidori-san” (also of Yoru no kumozaru fame), who also chimes in at a few points.

The first chunk of the interview is about what they like to order, which is only mildly interesting, but then they get into the restaurants themselves:

村 しかしね、水丸さん、寿司屋は味も大事だけど、客層って大事ですよね。

水 そうそう。客層は大事だよ。たとえば小さい子供なんかが隣で生意気にウニばっかり頼んだりしていると、ちょっとむかっとするよね。

村 蹴飛ばしてやりたいですね。それからけばけばした「光り物」糸の女の人が多いとけっこう疲れますよね。香水なんか強いと、ナマものの微妙な味が死んでしまうね。あれはちょっとなんとかしてほしいよな。

水 青山の「海味」の後ろの席でカウンターが空くのを待っているときなんかさ、ちゃらちゃらした「光り物」糸女の背中見ていたりすると、それだけで頭くることあるよね。

村 だんだん腹が立って来たな(笑い)。それから寿司屋によっては、煙草を吸う人が多いですね。あれも辛いですよ。カウンターはできたら禁煙にしてもらいたいと思う。苦しくて苦しくて、何度も途中で出てきた。

水 寿司屋のカウンターでタバコは遠慮するべきだと僕も思う。迷惑だよ。携帯電話も嫌だね。

Murakami: But Mizumaru-san, the food at sushi restaurants is important, but the clientele is also important, isn’t it.

Mizumaru: Yeah, yeah. The clientele is critical. Like, I get annoyed when there’s a bratty little kid next to me who keeps ordering uni.

Mura: I’d want to punt him out of there. And I get worn out when there are hordes of gaudy, “bejeweled” women. The delicate flavor of raw fish just disappears when their perfume is heavy. I wish they’d do something about that.

Mizu: When I’m waiting on the back seat at Umi in Aoyama for the counter seats to open up, staring at the backs of these “bejeweled” women as they jingle and jangle, that’s enough to get to me.

Mura: I’m starting to get angry (laughs). And depending on the restaurant, there are a lot of people who smoke. That’s also tough. I wish they’d make the counter seats no smoking. There’ve been a number of times when I’ve gotten up and left because it was so, so awful.

Mizu: I also think people should hold off on smoking at sushi counters. It’s a nuisance. I also can’t stand cell phones.

The essays were written from 1994-1995 and published as a collection in 1996, well before the no smoking movement (and even the smoking etiquette movement) gained momentum in Japan. On my first visit in 2002, they still had smoking cars on shinkansen. They may still have them, actually.

I tried to track down a photo of someone smoking at a sushi counter, and the best I could do was find this tweet which includes screen grabs from the 1974 drama 『傷だらけの天使』 (Kizu darake no tenshi, Injured Angels):

Actor Atsushi Watanabe deftly chows down on some sushi with a cigarette between the fingers of the same hand. Ahh, those were the days. Ha.

Back next week with one more excerpt from this interview.

Peter Cat

Welcome to the Tenth 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: WarmthRebirthWastelandHard-onsSeventeenEmbrace
Year Eight: PigeonEditsMagazinesAwkwardnessBack Issues
Year Nine: WaterSnæfellsnesCannonballDistant Drumming
Year Ten: Vermonters, Wandering and Belonging

The final essay in the collection Uzumaki neko no mitsukekata is 「猫のピーターのこと、地震のこと、時は休みなく流れる」 (“Peter Cat, Earthquakes, Time Flows Ceaselessly”). This feels more like an essay than any of the others I’ve read, and that’s mostly because the large majority of it details Murakami’s first cat Peter rather than a section of his time in America. He uses one page at the end to discuss returning to Kobe to give a reading (one of his few public readings in Japan) to benefit the 1995 earthquake. It’s an interesting end to a mostly uninteresting collection.

I believe this may be the source of the title as well. I haven’t read all the essays, so I can’t say for certain, but as we’ll see shortly, Peter is a 虎猫 (toraneko, tabby), another way of saying Uzumaki neko:

猫に名前をつけるというのは、英国の先人も述べておられたとおり、なかなか難しいものである。僕は学生時代、三鷹のアパートに住んでいたときに、一匹の雄の子猫を拾った。拾ったというか、アルバイトの帰り、夜中に道を歩いていたら勝手にうしろからにゃあにゃあとついてきて、僕のアパートの部屋にいついてしまったのである。茶色の虎猫で、長毛がかかって頬がふわふわしたもみ上げみたいな感じになっていて、なかなか可愛かった。けっこう性格のきつい猫だったが、僕とすっかり意気投合して、それから長いあいだ二人で一緒に暮らすことになった。

この猫にはしばらくの間名前をつけていなかったのだが(名前を呼ぶ必要もとくになかったので)、ある日ラジオの深夜番組−確か『オールナイト・ニッポン』だったと思うな−を聞いていたら、「私はピーターという名前の可愛い猫を飼っていたのですが、それがどこかにいなくなってしまって、今はすごくさびしい」というリスナーからの投書があった。それを聞いて、「そうか、じゃあ、この猫はとりあえずピーターという名前にしよう」と思ったのである。それだけのことで、名前に関してとくに深い意味はない。

このピーターはすごくしっかりした猫で、僕が大学の休みで帰省しているあいだは野良猫として、そのへんでなんとか自活して生きていて、僕が帰ってくるとちゃんとまたうちの飼い猫になった。そういう生活を僕らは何年にも渡って続けていたわけである。僕がいないあいだ、彼が一体どこでどんなものを食べて暮らしていたのか、僕にはよくわからなかった。しかしあとになって行動を観察しているうちに、彼が食料源の多くを略奪と野生動物の捕獲に頼っていたらしいことがだんだん判明してきた。そのようにして、学校が休みになって僕が帰省するごとに、ピーターはますますたくましくワイルドな雄猫に育って行ったわけだ。

その当時、僕が住んでいたところにはまだ武蔵野の面影が色濃く残っていて、まわりには野生動物なんかもけっこうたくさんいた。ある朝ピーターがなんかをくわえて持ってきて、僕の枕元にはなり出すので、「やれやれ、おまえまたネズミを捕まえてきたのかよ」とぶつぶつ言いながらよく見ると、それは小さなもぐらだった。実物のもぐらなんかみたのは僕も生まれて初めてである。きっとピーターはもぐらの穴の前で夜中じゅうじっと待ち受けていて、出てきたところをすかさずばしっと捕まえたのだろう。そして首をくわえて、「ほら、どうですか」と得意げに僕に見せに来たのである。もぐらには気の毒だと思ったけれど、そこに至るまでのピーターの苦労を思うと、やはり「よしよし」と頭を撫でて、何か美味しいものを与えてやらないわけにはいかなかった。

当時、猫を飼うことの問題点といえば、僕の経済状況が往々にして逼迫していたということだった。飼い主がろくに飯を食べる金もないのに、猫が食べるものなんてあるわけない。僕には当時経済的計画性というものが全くなかったので(今でもそれほどあるとは思えないけれど)、全くの無一文状態が一ヶ月のあいだにだいたい一週間くらい続くことになった。そういうときは、よくクラスの女の子に頼み込んでお金を借りた。僕が金がなくて腹を減らせていると言っても、「知らないわよ。そんなことはムラカミくんの事業自得でしょうが」と相手にもされないのがおちだが、「金がなくて、うちの猫に食べさせるものもない」と言うと、多くの人は同情して「しょうがないわねえ」と言いながら、ちょっとくらいは金を貸してくれた。とにかくそんなことをして、猫と飼い主と二人で必死に貧困と飢餓を耐え忍んだものである。ちょっとしかない食べ物を猫と文字どおり奪い拾ったこともある。今考えても情けない生活だった。楽しかったけど。 (220-224)

The naming of cats, as one of our British predecessors stated, is a difficult matter. During my college years when I was living in an apartment in Mitaka, I found a kitten. I say found, but I was walking along the street at night on the way home from my part time job when he came up behind me meowing and followed me all the way back to my apartment. He was a brown tabby with long hair and fluffy cheeks that made it seem like he had sideburns; he was pretty cute. He was somewhat fierce, but we got along right away, and from then on the two of us lived together for a long time.

I didn’t give the cat a name for a while (I didn’t really need to call him by name), but one day I was listening to a late night radio program—I think it was “All Night Nippon”—and a listener called in and said, “I had a cute cat named Peter, but he’s run off somewhere and I’m really sad.” I heard that and thought, “Ah, well, I’ll name this cat Peter for now.” That’s it, his name doesn’t have deep meaning.

Peter was an incredibly clever cat; while I returned home during university vacation, he managed to survive on his own in the area, and when I got back he was my cat again. We lived that way for a number of years. I didn’t really know what he was eating to survive when I was gone. However, later on as I observed his behavior, it gradually became clear that he relied on stealing and hunting wild animals as his major sources of food. As we lived this way, Peter became stronger and grew into a wilder cat each time university vacation rolled around and I went home.

At that time, traces of Musashino were still relatively pronounced, and there were a lot of wild animals in the area. One morning Peter came in with something in his mouth and dropped it by the bed, so I grumbled, “Great, have you caught a rat?” but when I looked over it was a mole. It was my first time ever seeing an actual mole. Peter must’ve camped out at the mole’s hole the entire night and then pounced on it the second it came out. And then he took it by the neck in his mouth and proudly brought it to show me: “Check this out. Whaddya think?” It was too bad for the mole, but when I thought of the effort that Peter went to, I said, “Good kitty,” pet him on the head, and felt obligated to give him some sort of tasty snack.

At the time the problem of having a cat was that my financial situation was tight every now and then. If an owner doesn’t have money to eat well, of course there won’t be anything for a cat to eat. I had zero financial plan back then (I don’t think I have that much of one even now), so each month there was usually a week or so when I was flat broke. During those times I would often ask girls in my class to borrow money. If I told them I had no money and was hungry, they’d always end up saying, “Whatever. You get what you deserve, Murakami” and wouldn’t pay attention to me, but if I said, “I don’t have any money to feed my cat,” most of them would sympathize, say, “I guess I have to,” and lend me a little money. That’s how a cat and his owner were somehow able to stave off poverty and starvation. Sometimes I literally stole a meager amount of food with my cat. When I think back, it was a pathetic life. But it was fun.

This essay is sweet. Murakami has a true affection for cats, and it comes through here. It’s also interesting to read about what his college life was like and how poor he was…although he came from a well-to-do family and attended a private university, so I wonder how true to life this is. He didn’t get along well with his father, so he might have mostly been on his own during this time, but we do know that he was visiting home.

The rest of the essay is worth tracking down if you’re into cats, and this is a very easy reading collection, so I’d recommend it to intermediate students. It’s also nice because the essays are in chronological order and build on each other as Murakami lives through this time in the U.S.

It also goes to show how much publishable material you can put out if you set it in your mind to journal every day. This is good advice to all aspiring writers. Take down details of events and conversations, what you did and where you went. You never know what kind of work you could turn it into later.

For the last two weeks there’s an (I hope) interesting supplement that came with the book. I’ll hopefully take something from it. Otherwise I’ll dig back through the essays.

Wandering and Belonging

Welcome to the Tenth 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: WarmthRebirthWastelandHard-onsSeventeenEmbrace
Year Eight: PigeonEditsMagazinesAwkwardnessBack Issues
Year Nine: WaterSnæfellsnesCannonballDistant Drumming
Year Ten: Vermonters

We’re continuing on with Murakami’s essay collection Uzumaki neko no mitsukekata. This week I’m looking at 「小説を書いていること、スカッシュを始めたこと、またヴァーモントに行ったこと」 (Shōsetsu o kaite iru koto, sukasshu o hajimeta koto, mata Vaamonto ni itta koto, Writing a novel, starting squash, going to Vermont again), a very short essay.

The title basically says it all. Murakami gives another long account of his daily writing routine (go to bed at 9pm, wake up at 5am to write, exercise, have lunch, and then take the afternoon to run errands, relax, or work on other writing projects), talks about how he’s taken up squash, and then visits Vermont with a friend (and talks about the Japanese association of Vermont with curry).

Murakami gives a pretty interesting account of living and writing abroad and notes where he wrote his past novels:

しかし日々こういう内向的な生活を送っていると、正直なところ、自分が外国に住んでいるという実感があまり湧いてこない。いうまでもなく家の中では女房とずっと日本語で会話しているし(英語に上達するためには夫婦でも英語で会話しなさいとよく忠告されるけど、そんなことできないよ)、外に出てすれちがう人がみんな英語を話しているのを耳にして「あ、そうだ、そうだ、ここはアメリカだったんだ」と改めて実感することもしばしばである。毎日机に向かってこせこせと小説を書いているのなら、結局のところ世界中どこにいても同じじゃないかという気がしてくる。

よく「アメリカで書いているのと、日本で書くのとでは、できる小説がずいぶん違うでしょう?」と質問する人がいるけれど、どうでしょうね、それほどのこともないじゃないだろうか。人間というのは、とくに僕くらいの年配になると、生き方にせよ書き方にせよ、よくも悪くも、場所によってガラッと大幅に変われるものではないからだ。とくに僕の場合は「外国に住んでいるから、外国を舞台にした作品を書く」というわけではないのだし。

それに僕はこれまで長いあいだ引っ越しマニアな放浪、非定着の人生を送ってきたので(とくに望んでやっていたわけでもないのだが)、他の人に比べて場所の移動というものがあまり気にならない身体になってしまったみたいだ。考えてみれば、これまでに僕が書いた長編小説はそれぞれぜんぶ違う場所で執筆された。『ダンス・ダンス・ダンス』という小説の一部をイタリアで書いて、一部をロンドンで書いたけれど、どこが違うかと訊かれてもぜんぜんわからない。『ノルウェイの森』はギリシャとイタリアを行ったり来たりしながら書いたけれど、どこの部分をどこの場所で書いたかなんてもうほとんど覚えていない。スコット・フィッツジェラルドは『グレート・ギャッツビイ』の大部分を南フランスで書いたが、ここきわめて優れたアメリカ小説について、執筆された場所を今更気にする人もいないだろう。小説というのはそういうものではないか。 (97-100)

However, as I spend days living this introverted life, I have to say that I’m not overwhelmed with the sense that I’m living in a foreign country. Needless to say, I talk with my wife in Japanese in the house (people often tell me, speak English with your wife to improve, but I can’t do that), and I often realize once again, “Oh yeah, oh yeah, I’m in the U.S.” when I go out and hear people I run into speaking English. If you’re sitting at a desk obsessively writing a novel, in the end I’ve come feel like it doesn’t matter where you are.

People often ask me “The novels you can write in the U.S. and the novels you write in Japan, they must be very different, right?” But I’m not sure, I don’t think they are that much. People, especially once they get up to about my age, don’t suddenly change, whether it’s the way they live or the way they write, for better or worse. And for me especially, it isn’t like I decide to set my work in a foreign country because I’m living in a foreign country.

Besides, I’ve lived a wandering, unattached, moving-obsessed life for a long time (not that I really wanted it that way), so compared to other people my body has become unconcerned with change of place. When I think about it, all of the full-length novels I’ve written to this point were written in different places. I wrote one part of the novel Dance Dance Dance in Italy and one part in London, but I wouldn’t have any idea how they differ if asked. I wrote Norwegian Wood while traveling back and forth between Greece and Italy, but I can hardly remember which part I wrote where. Scott Fitzgerald wrote most of The Great Gatsby in the south of France, but now nobody cares about where this superlative American novel was written. Fiction is that kind of thing.

Pretty interesting. I don’t think I knew that he lived in London. (And, ugh, my translation feels stilted on reread.)

And Murakami is still thinking about the organization-individual dynamic, this time finding the benefit of belonging:

アメリカの大学に所属していて嬉しいことのひとつは、体育館やその他の体育設備がこのようにとても充実していて、しかもそれほど混んでいないことである。東京近郊の民間スポーツ・クラブの混雑と会費の高さを思うと、これはまさに天国と言ってもいいだろう。プールだって時間さえ選べばほとんどの場合二十五メートル・プールの一レーンが一人で好きなだけ使える。僕はこれまでの人生においてどこの組織にも所属してこなかったので、こういう「所属することの喜び」は楽しめるうちにたっぷりと楽しでおこうと思う。アメリカに在住する日本人の大部分は学校に通って熱心に英語を勉強し、せっせと美術館や博物館を訪れるのだが、それに比べてスポーツ・ジムを積極的に利用する人はそれほど多くないという統計が何かに出ていた。もしそれがほんとうだとしたら、これはいささかもったいないことではないか。しかしそう言われて考えてみたら、ケンブリッジに住むようになってから美術館に行ったことなんてたった一度しかない(有名なボストン美術館。大きな声では言えないけれど、

あまり面白くなかった

)。 (101-102)

One of the nice things about belonging to an American university is that the gym and other fitness equipment is top notch, and on top of that not all that crowded. When I think of the crowd and costs of municipal sports clubs in Tokyo, it makes me think I’m in paradise. Take the pool here. Pick a time and in most cases you can use a lane of a 25m pool all to yourself as long as you want. I haven’t belonged to any organization in my life so far, so I’m planning to enjoy the “joy of belonging” as much as I can. There was a statistic that came out somewhere saying most of the Japanese living in the U.S. study hard and industriously visit museums, art or otherwise, but that in comparison there aren’t many who actively use the gyms. Assuming this is true, I feel like it’s a bit of a waste. But it does make me think back and realize that since I’ve lived in Cambridge, I’ve only been to the art museum one time. (The famous Boston Museum of Fine Arts. I shouldn’t say this loudly,

but it wasn’t that great.

)

Murakami gets pretty creative with the text here and actually gives that final clause in a smaller font. Pretty nice. It was tough to recreate in html. I’ve done the best I can. Let me know if you know how to fix it so that I can modify the font size without making it a separate <p>.

I’ve said it once already, and I’ll say it again: Murakami writes well for the Internet age. In many ways he was the first blogger…a writer who interacted with readers and played around with his text. The content, too, is nice and light. These are pretty fun reads.

Vermonters

Year Ten! Goddamn. When I began this exercise I was living in a very small room in Tokyo, working at a translation company, using Japanese every day. Today I’m sitting here in my modest Chicago apartment (cool breeze coming in off the lake through my living room windows), working during the week at a Japanese office but using the language very little. My reading group, writing for the Japan Times, and translation exercises here are my main connections to the language. Consistency matters, so we continue, even if my feelings about Murakami have shifted over the years and are as different as my living conditions then and now.

Thus, without further ado:

Welcome to the Tenth 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: WarmthRebirthWastelandHard-onsSeventeenEmbrace
Year Eight: PigeonEditsMagazinesAwkwardnessBack Issues
Year Nine: WaterSnæfellsnesCannonball, Distant Drumming

This year I’m (lazily) looking at essays from the collection 『うずまき猫のみつけかた』 (Uzumaki neko no mitsukekata, How to Find Tabby Cats). This is a spiritual successor to 『やがて哀しき外国語』 (Yagate kanashiki gaikokugo, Foreign Languages, Sad in the End [?]), which Murakami wrote while he was in Princeton. He wrote and published the essays in Uzumaki neko in the magazine SINRA from the spring of 1994 to the fall of 1995. He was living in Cambridge, Massachusetts, and working (I think) as a writer in residence at Tufts University.

The essays are chronological and read a lot like extended blog posts. I’m not quite sure which essay generated the title, as I haven’t read the whole collection. I’m picking out essays here and there to read, and it seems like cats figure somewhere in most of them, but never as the central character.

The first essay I’m looking at is from the summer of 1994 and is titled ダイエット、避暑地の猫 (Daietto, hishochi no neko, Diets, Summer Resort Cats). Murakami is back in Tokyo briefly, suffering from the heat, before he returns to Boston and then takes a summer trip to Vermont. Here are some passages:

今更あれこれと言い立ててどうなるというものでもないけれど、今年の日本の夏は本当に暑かった。死ぬほど暑かった。いくら用事があったとはいえ、わざわざこんな時期に日本に帰ってきて馬鹿だった。何をする気も起きなくて、しょうがないから毎日ビールばかり飲んでいた。

ある暑い日の午後、新宿のデパートの展示会場に永沢まことさんのトスカナの絵の個展を見にいって、そこにあった宮本『世にも美しいダイエット』美智子さんのパネルを読んでいたら、「年をとって酒を飲むのはろくなことではない」というようなことが−もちろんもっと丁寧な表現で−書いてあった。それで「確かにそうだな、僕もビールを飲むのを少し控えなくてはな」とそのときは思ったのだけれど(この人の説明にはすごく納得力がある)、一歩外に出たらもう暑くて暑くて、とにかく冷たいビールを飲むことしか考えられない。というわけで、いや、やはり飲んでますね。今年の夏は僕はおおむねキリンのラガービールを飲んでいた。とくに銘柄の好みが保守的なわけではないのだが、日本に帰ってくるたびにわけのわからない見慣れないビールが次から次へと酒屋の棚に並んでいるし、暑くてどれにしようかいちいち考えるのが面倒だったからだ。 (064)

I don’t mean to over-insist, but summer in Japan was hot. Hot enough to kill a man. I was pretty dumb to schedule a return trip to Japan during this period, even if I had things to take care of. I wasn’t motivated to do anything so I gave in and drank beer every day.

One hot afternoon, I went to see Makoto Nagasawa’s solo exhibit of Tuscany paintings at a Shinjuku department store, and I read a panel displayed there for Michiko “A Beautiful Diet” Miyamoto that read “Drinking alcohol isn’t great for you as you age,” of course expressed in much nicer language. I thought to myself at the time, “That’s true, I should cut back on the beer” (her explanation was really persuasive), but I took one step outside and it was so damn hot that all I could think about was having a cold beer. So, of course, I drank. This summer I mostly drank Kirin Lager. I’m not really a stickler about the brand I drink, but when I was back in Japan, there were so many unfamiliar beers on the shelves of liquor stores and it was so hot that trying to consider all of them was a chore.

It’s interesting to see Murakami’s take on beer. This was in 1994, right after the laws were changed to allow smaller breweries. I don’t know much about Miyamoto. It must’ve been a short-lived fad diet, although Murakami sees similarities between her and himself:

僕らのようにどこにも属していない人間は自分のことはとにかく一から十まで自分で護るしかないわけだし、そしてそのためには、それがダイエットであるにせよ、フィジカル・ワークアウトであるにせよ、自分の身体をある程度きちんと把握して、方向性を定めて自己管理して行くしかない。 (65)

People like us who don’t belong anywhere have to protect ourselves in every way, and in order to do that, you have to have a somewhat firm grasp on your body to manage yourself and determine your direction, whether it’s through a diet or through physical fitness.

There are some sections that read similar to Hard-boiled Wonderland and some of his political speeches about “individuals versus the system” and how the system generally wins.

And here’s one final passage with an unflattering look at the ladies in Vermont:

ヴァーモントには素敵なカントリー・インが数多くあって、そのような旅館を泊まり歩くのも楽しみのひとつである。まあなにしろアメリカだから、トスカナみたいに目から鱗が落ちるほど料理がおいしいとは言えないけれど、素材は新鮮だし、空気が美味くて知らず知らずお腹が減るので、ご飯は楽しく食べられる。ただし、ヴァーモントは乳製品とメイプル・シロップとが名産品なので、おいしいおいしいといって食べていると、これは確実に「世にも美しくない」ことになってしまう。実際にヴァーモントで出会った女の人の八十五パーセントまでは完全な「トド体系」であった。みんなで揃ってよくこんなに肥れるよなあと感心してしまう。腰のまわりなんか布団を巻いて歩いているんじゃないかというくらいむくむくしている。アメリカも方々をまわったけれど、こんな肥った人が多い地方も初めてである。みんなに宮本さんの本を読ませてあげたいと思ったくらいである。あって、毎日昼御飯を抜いていたのだが、それでも食事はけっこうヘビーだった。旅行するのは楽しいだけれど、トシを取ってくると、毎日外食を続けることがだんだんきつくなってくる。 (73)

There are many pleasant country inns in Vermont, and hopping around between these lodgings is also fun. It’s the United States, so the food isn’t going to blow you away like it might in Tuscany, but the ingredients are fresh, and the air is clean, and before you know it you’re hungry and can enjoy eating the meals. However, Vermont is known for dairy products and maple syrup, so while they’re delicious, you definitely end up “Not Beautiful.” About 85% of the women I actually met in Vermont were total “walruses.” I was impressed that everyone was able to get so fat. They’re so ponderous when walking around it looks like they have futon strapped to their waists. I’ve been all over the U.S., and this is the first time I’ve seen this many fat people. I wanted to make them all read Miyamoto’s book. This the case, I went without lunch every day, but even so the food was fairly heavy. Traveling is fun, but it gets harder and harder to eat out repeatedly as you get older.

Ha. What gives with the body shaming, Murakami? Maybe we can chalk this up to a 1990s lack of political correctness? Murakami doesn’t seem to realize that not everyone can/could just up and run a marathon like he does/did. Or maybe he does and attributes his fitness to a strength of character, which borders on paranoia at times. “This is what I do to maintain my independent sense of self, to maintain my direction and focus.” If there’s a weakness to this system of beliefs, I think it’s a tendency to see oneself (or the system) as flawless. I think most artists need a good portion of this attitude in order to complete any project, but too much of it can perhaps lead to an inability to self-correct…which is maybe what we’ve seen recently with Murakami.

This collection, on the other hand, seems to be one of those side projects that Murakami takes on between larger fiction projects. It’s necessarily more casual than his other work. We’ll see more next week!