The fifth and final week of Murakami Fest 2026. See previous entries here.

The next chapter is “Rhodes” (ロードス), and as the title suggests, the Murakamis spend a few weeks on the island of Rhodes, at the expense of the Greek government. Apparently Murakami was invited to participate in a photography exhibit in Tokyo, and he agreed when they let his wife take the photos. (I’d be so curious to know whether any photos from this exhibit can be tracked down. Anyone fluent in Greek and looking for a research project?) There seem to be very few requirements other than taking the photos, so it sounds like they spend their time mostly eating on the island. They previously visited Rhodes in the off season, but Murakami didn’t write about it.

Murakami rents a busted Fiat and they drive around the island. Murakami spends time describing a couple restaurants, including a grill that they go back to multiple times for fish (sneaking in their own soy sauce). They also go to dinner with the owner of a hotel who discusses how dire the tourism situation is in Greece. Anything can end up affecting how many people visit, from terrorism to infectious diseases.

In terms of technique, Murakami uses distal style sentences to relay his conversation with the owner. It’s not quoted dialogue exactly—nothing is marked with quotes—but you get a sense of their back and forth even within the paragraphs. Very interesting technique.

I thought I’d share this passage about a restaurant that seems to be home to a flock of peacocks, which has a literary connection:

暇にまかせてけっこう島の隅々まで回った。僕が気に入ったのはエプタ・ピゲス（七つの滝）というレストランである。この店はリンドスに行く道路を途中で右に曲がった山の中にある。これは実に不思議なレストランで、美しい渓流に沿ってテーブルが並んでいる。ウェイターは料理を持って岩から岩へとひょいひょいと飛び移って給仕する。グリル料理が売りもので、調理場の煙突からは肉や魚を焼く煙が元気良くたちのぼっている。なかなか良い匂いもする。それからここには孔雀がいっぱいいる。どうしてこんなところに孔雀が存在するのかはよくわからないけれど、とにかくーダースくらいの数の孔雀の群れがしっかりと林に住み着いているのである。レイモンド・カーヴァーの短編小説に『羽根』というのがあって、そこに半分野生化した孔雀の話が出てくるのだけれど、ここに来て僕にもその話の雰囲気がよく理解できた。孔雀たちが枝にとまって、テーブルの客を見下ろしながら、その小説そのままに「メイオー、メイオー！」とわめくのである。そういえばカーヴァー氏もロードスに来たことがある。彼はずいぶんこの島が気に入ったらしく、ロードスを題材にしていくつか詩も書いている。あるいは彼もこのエプタ・ピゲスに来て孔雀を見て、あの話を思いついたのかもしれない。ふとそんなことを考えてしまった。そんなこんなで料理の味がどうだったかはすっかり忘れてしまった。まあ悪くはなかったと思うけれど。 (386-387)

Availing ourselves of our free time, we went around the nooks and crannies of the island pretty extensively. I really liked this restaurant called Epta Piges (Seven Springs). It’s up in the mountains if you take a right off the road on the way to Lindos. Epta Piges is a truly bizarre restaurant with tables set along a mountain stream. The waiters leap from rock to rock carrying the food when they serve it. Grilled meat is their specialty, and billows of smoke from grilled meats and fish puff out from the stovepipe above the grill. It smells incredible. They also have a lot of peacocks. I have no idea why they have peacocks in a place like this, but a group of a dozen or so peacocks have settled in the nearby forest. Raymond Carver has a short story titled “Feathers” that features a semi-feral peacock. Having visited this restaurant, I had a much clearer understanding of the atmosphere of the story. The peacocks sit in the tree branches staring down at everyone at their tables and screeching “May-awe, may-awe!” just like in the story. Come to mention it, Carver visited Rhodes. Supposedly he liked the island quite a bit and wrote several poems about Rhodes. Maybe he came to Epta Piges, saw the peacocks, and had the idea for the story. I started wondering about that. With all of that going on, I completely forgot what the food was like. I don’t think it was that bad.

Murakami really is obsessed with Carver. You can find a copy of “Feathers” on the internet, but I haven’t been able to track down any of the poems other than this explication of the poem “Rhodes,” which is interesting but doesn’t really provide much of the flavor of the original poem, unfortunately.

Epta Piges the restaurant is still around and seems to be doing quite well, judging from the website. Has anyone actually been?

And that’s all there is of Murakami Fest 2026. Thanks for joining in. See you again next year, unless I decide to blog about Distant Drums again sometime sooner.

Week 4 of Murakami Fest 2026. See previous entries here.

The next chapter is “Lancia” (ランチア), the make of the car Murakami buys. He goes with a Delta 1600 GTie (shown in the photo above), and he notes that it’s the first car he’s ever owned.

He chooses it over a classic Cinquecento (Fiat 500) because they want something that can handle highway driving, and Murakami goes over the process of tracking it down which seems quite difficult. He also details all the car’s inadequacies and challenges, including a very tricky theft alarm.

It’s interesting to see how much protectionism was on the minds of people around the world at the time. The dealer he works with is convinced that Italian cars would sell in Japan if not for protectionist policies, but Murakami is decidedly not convinced.

It’s also interesting that the cost is equivalent to 200,000 yen but Murakami is able to get it tax free at 150,000 yen. Even given the change in currency purchasing power, that feels quite cheap.

The chapter is another filler chapter, but it ends quite nicely:

内装についてぶつぶつ文句を言ったあとで、ふと燃料計を見ると、燃料がまったくのゼロになっている。針が左端までびよーんと振りきれてしまっている。「燃料ほとんど入れてないから、すぐその辺で入れてくださいね。あまり走ると切れちゃいますよ」とファクトリーの人が軽く言う。冗談じゃないよ、まったく。時計はもう一時過ぎをさしている。ガソリン・スタンドが閉まる時間である。自動式のセルフ・サービスのスタンドはあるが、いずれにせよこれからそれを捜さなくてはならない。ひどい話である。親切気というものがまるでない。

でもまあなんとかガソリンが切れる前にセルフ・サービスのスタンドを見つけてとりあえず一万リラ（約千円）分のガソリンを入れた。これでオーケーである。ヴィアレ・マンツォーニの通りから、壁際の地下道に入り、ポポロ門の脇を通ってテヴェレ河を渡り、コーラ・ディ・リエンツオからリソルジメント広場に行き、そして家に戻る。昼休みのラッシュ・アワーの最中だ。そして昼前から激しい雨がローマの町に降りつづけている。おかげで買ったばかりの車がどろどろになる。

車の調子そのものはとてもいい。いかにもホヤホヤの新車という雰囲気である。アクセルを踏みこむと、エンジンはトゥィーーーンというとても気持ちのいい音を立てているし、ハンドルの切れは明瞭で、ブレーキはびしっと効く。サスペンションは少し硬めだが、コリコリとしていて気持ちがいい。

ランチア・デルタ1600GTie、まあとにかくこれが僕の買った記念すべき最初の車である。さて、うまく行きますかどうか。 (382-383)

After grumbling about the interior, I glance at the fuel gauge and happen and to see that it’s completely empty. The needle is glued to the left edge of the fuel gauge. “It’s just about empty, so fill it up somewhere nearby right away,” the guy from the factory says casually. “You’ll run out of gas if you go very far.” And he wasn’t kidding, at all. It’s already past 1:00 p.m. Gas stations are closed. There are automated self-service stations, but we were going to have to look for one. Pretty awful treatment. Like they had no compassion whatsoever.

But we somehow manage to find a self-service gas station before we run out of gas, and I fill up with 10,000 lira (around 1,000 yen) of gas. Now we should be fine. From Viale Manzoni, I take the underground road along the city walls, pass by the Porta del Popolo and cross the Tiber River, take Cola di Rienzo to Piazza del Risorgimento, and then go home. All in the middle of the lunch break rush hour. And Rome was covered by heavy rain from just before noon. Thanks to which my brand new car was filthy.

The car itself ran very well. Rip roaring, and ready to go, just like you’d expect of a new car. When I stepped on the pedal, the engine made a satisfying vroooom, the turns were crisp, and the brakes extremely tight. The suspension was a little stiff, but it was pleasantly firm.

The Lancia Delta 1600 GTie, this is the very first car I get to celebrate purchasing. I hope everything goes well.

I was able to track down just about every landmark that Murakami mentions, but the “underground road” near/along the walls is a bit unclear. It seems like it’s the Aurelian Walls, but I’m not quite sure. At any rate, this is the center of the historic district in Rome that Murakami seems to be skirting around. If anyone knows better, please let me know.

The only other tidbit of interest that I have is that there’s a cafe near me in Osaka named Cinquecento that has a Fiat 500 parked out front. It’s a great little neighborhood spot! Not worth going out of your way to find, but definitely worth including in your regular spots if you live in the neighborhood like I do.

In the next chapter, we’ll see Murakami head back to Greece.

Week 3 in Murakami Fest 2026! See the other entries here.

The next chapter is “The Roman Parking Situation” (ローマ駐車事情), a mostly filler chapter that Murakami uses, as the title suggests, to describe the parking situation in Rome.

He goes over how and why the parking is so difficult (historic buildings that can’t be torn down) and why cars are still necessary (public transportation isn’t as good as other major cities). He then gets into how Italian cars fit the Italian cityscape (smaller cars for smaller roads), and the importance of sidewalks and parallel parking skills (many drivers end up parking on the sidewalk, double- and even triple-parking happens regularly).

I imagine this must be interesting to anyone in Japan and potentially anyone who didn’t grow up in an older city, but being from New Orleans originally, I was totally familiar with this scene that he describes:

ぎりぎりに車が一台入るか入らないかというくらいのスペースがあれば、これはもう見物として言うことない。そのうちに車がやってくる。ドライヴァーがスピードを緩める。「入るかなあ？」と目測する。「やってみるか」と思う。少し前で停めて、ハザード・ランプをつけて、ゆつくりバックを始める。そのあたりで見物人が出てくる。だいたいは暇そうなおじさんである。僕のように妻が買い物しているあいだ、ぼんやり時間潰しをしているという人間もいる。日本でよく工事現場なんかを腕組みしてぼおおっと見物しているお暇おじさんがいるけれど、なんとなくあの雰囲気に似ている。ドライヴァーはアウトビアンキY10に乗って商店街に買い物に来た普通のシニョーラ（奥さん）だったりするわけだが、これがまた上手い。慣れた手付きですっとお尻をつっこんで、きゅっきゅっと素早く何度か切りかえす。そしてぎりぎりにすぽっと収めてしまう。こういうのは「ブラーヴァ！」である。ものすごく上手いと、ぱちぱちと手を叩く人もいる。みんな肯いたり、「ベルフェット（最高）」と声をかけたりする。イタリア・オペラのアリアと同じである。シニョーラもにこっとして、賞賛に素直に答える。おかしい国である。 (374-375)

There’s no spectacle greater than a space that’s just large enough to be uncertain whether or not a car will fit. Soon enough, a car comes along. The driver slows down. They eyeball the spot: “Wonder if I’ll fit.” And then decide: “Let’s give it a shot.” They stop slightly ahead of the space, turn on their hazards, and start to slowly back up. This is around the point at which spectators start to appear. Usually they are old men who seem to have too much time on their hands. And others like me who are just killing time while their wife shops. In Japan, there are these bored old men who spend all day watching construction sites with their arms crossed. That’s kind of what this resembles. It’s even better when the driver is someone like a regular signora who’s come to shop on the market in her Autobianchi Y10. She points the rear of the car into the spot with an experienced handle and nimbly cuts the wheel back and forth a couple times. And then just barely slides the car in. “Brava!” is what you’d say here. Some people even clap out of admiration. Everyone nods, and someone shouts out “Perfetto!” Just like with an aria at the Italian opera. The signora smiles, a modest response to the praise. It’s a funny country.

My mother drove an El Camino for many years in New Orleans and was able to impress people with her parking skills in the French Quarter. Murakami cites 5.1m as the length of a Mercedes 560 (2.1m longer than the Italian Fiat 500), and an El Camino is just over 5.3 meters. European and Japanese minds cannot conceive of parallel parking a beast like this.

This chapter is a nice transition to the next chapter, in which Murakami will buy a car of his own to cruise around Europe.

Week 2 of Murakami Fest 2026. See previous entries here.

The next section of the book is called “1988, Year of Recovery” (1988年、回復の年), and the first essay is “Canali’s Apartment” (カナーリさんのアパートメント). After living in an inconvenient location in Rome previously, the Murakamis are determined to live somewhere more convenient and end up in a basement apartment of a man named Canali, mostly because they like the guy. He’s a tall Italian in his mid-70s who rides around on a Vespa wearing a “funky” green jacket. He’s also extremely nice, so when they meet him after stumbling upon the apartment and calling to see if there are any availabilities, they take the half basement unit.

Canali does have a first floor unit, but it’s currently occupied by an American businessman who is in the process of moving back to Torino, a process that seems to be interminable. So the Murakamis rent a Mitsubishi Pajero (the same one that Murakami drove to Turkey) and drive around Italy rather than put up with the cold, wet apartment (which Canali is quick to repair for them whenever something goes wrong). It seems like the worst part of their setup is having to do laundry by hand.

They do go back to Japan temporarily during this part of their trip, during which Murakami turns 40 and the Showa Emperor dies (January 7, 1989).

The first floor apartment eventually opens up, and they are able return to a refreshing location with a view of the street below and a lot more light. Murakami puts together a makeshift office and seems to be in a much better position to write. He ends the section writing about how cars can have “expressions,” and how Italian cars have expressions that can change based on circumstances, as opposed to Mercedes Benz and BMW, which only have set expressions.

This is a great chapter and a return to form, so there are a lot of things I could quote from, but I think the death of the Emperor and its effect on Japan is probably the most interesting, so I’ll share this passage:

日本に帰ると、日本のマスコミは天皇報道で埋めつくされていた。大喪の礼というのがあって、日本中の警官が東京に集まって、マンホールの蓋を開けてはそれに封印を貼っていた。たぶん過激派のテロ封じのためなのだろうけれど、イタリアから帰ってきてすぐにそういうのを目にすると、なんだか神経の具合がおかしくなってしまう。我々は日本に帰ったときはずっと渋谷区のアパートに住んでいたのだが、東京で繰り広げられているその手の気違い沙汰にうんざりしたし、しょっちゅう警官が訪ねてくるのがうっとうしかったし、新幹線に乗って九州に行って、騒ぎがおさまるまでのんびり由布院の温泉につかっていることにした。こう言っては語弊があるかもしれないけれど、九州の普通の人たちは大喪の礼のことなんてとくに気にせずに生きていたみたいだった。東京にいると、世界がそれ一色に染まってしまっているみたいに見える。誰に会ってもその話になるし、みんなそれぞれに何のかんのと意見を言う。いろんな意見やら感想やらが細かい塵のように空中を舞って、ぴりぴりと震えている。そういう話をしているだけでなんだかうんざりしてくる。でもありがたいことに、九州ではそういうことはなかった。天皇のお葬式も日常生活とはあまり関係のない「遠くの話」という感じだった。 (364-365)

When we returned to Japan, the mass media was completely saturated with coverage of the emperor. There was his funeral service, and police officers from across Japan had gathered in Tokyo and were opening manhole covers and then affixing seals to them. This was likely to close them off from extremist terrorists, but seeing this right after returning from Italy put me in a bizarre state of mind. We were living in an apartment in Shibuya after returning to Japan, and I got fed up with seeing this madness unfold in Tokyo, plus it was depressing having the police around all the time, so we decided to get on the shinkansen, go to Kyushu, and take it easy at an onsen in Yufuin until everything died down. This might not be completely accurate, but your average person in Kyushu didn’t seem to be fussed about the emperor’s funeral procession. In Tokyo, the entire world was dominated by that single event. Anyone you ran into would end up talking about it and had this or that opinion about it. All these opinions and thoughts and whatnot danced around like a fine dust shimmering in the air. Even just talking about it started to frustrate me. But thankfully there was none of that in Kyushu. The emperor’s funeral felt like “something from afar” without anything to do with daily life.

I don’t think I’d realized that the funeral was taken this seriously (notably before the 1995 subway attacks). Also, very cool that Murakami decided to go down to Yufuin to relax. I mentioned this as one of my favorite spots in Japan on a recent podcast.

It’s interesting that Murakami uses the word うんざり (unzari, tedious/boring/be fed up with) so frequently. This is a word I called out as important in his second novel, Pinball, 1973, when I did my podcast series about his books back in 2023 ahead of The City and Its Uncertain Walls. Just as Murakami was likely sick of the politics of Japan after the end of the student movement, I can see that he was sick of the politics of the emperor’s funeral, describing them both with this word.

Year 19 of Murakami Fest! Unbelievable. See previous entries on this page. This year I’m continuing my read through Murakami’s travel memoir Distant Drums. I would really like to be getting through it at a faster pace, but there’s so much else to do, so this yearly activity might be the only way I do.

The next chapter is titled “1988, A Blank Year” (1988年、空白の年), and Murakami explains that the year is blank because he’s drained after writing Dance Dance Dance. He stops writing the travel sketches that he’s been gradually accumulating over the course of his trip to recover, but because the book is a chronological account of his travels in Europe, he summarizes the period from April to October 1988.

It’s a really interesting period! He’s become a celebrity in Japan and is putting out his next big novel. He’s gone from selling 10,000 copies of his books to selling hundreds of thousands, and several million in the case of Norwegian Wood.

He returns to Japan to go over the proofs for DDD, to work on a book about F. Scott Fitzgerald, and to get his driver’s license because he’s planning to drive in Turkey that fall. While in Japan, Murakami feels isolated. Norwegian Wood is on the bestseller lists, and Kodansha headquarters is draped in green and red, inspired by the covers of the book. It’s impossible for him to gauge his readers, and he feels isolated and even hated, despite the fact that everything is coming up Murakami. He can’t even write, so he translates. He calls translation a 治療行為 (chiryō kōi, a therapeutic act).

He and his wife go to Hawaii to warm up for a month, and he later goes on a writing trip with a photographer and editor to Mt. Athos and to Turkey, but he notes that it isn’t until he translates Tim O’Brien’s The Nuclear Age that he is really able to kick the chill from the Roman winter. He’s so inspired from the book, his translation of which doesn’t sell quite as well as he expects.

The whole chapter is pretty interesting. It’s not as scene-driven as the rest of the book, which is what makes it such strong writing, but it’s so interesting to get inside his mind at that point in time, so I think the piece that I’ll quote from is at the end that ties together translation with how he felt about being a writer:

この作品を訳したあとで、僕はもう一度小説を書きたいという気持ちになっていた。僕という人間の存在証明はおそらく生きながらえ、書きつづけるという行為そのものの中にあるのだと僕は思った。それが何かを失いつづけ、世界に憎まれつづけることを意味するとしても、僕はやはりそのようにして生きていくしかないのだ。それが僕という人間であり、それが僕の場所なのだ。 (355)

After I finished translating this book (The Nuclear Age), I felt like writing a novel again. I started to believe that my proof of existence might be located within the act of living and writing as long as I can. That’s the only way for me to live in the end, even if it means I’ll go on losing things and being hated. That is me as a person, and that is my place.

Murakami refers back to feeling lost on return to Japan. Of not having a “place” after returning from the road. He’s able to find himself in the work, and this is really just the beginning. I’d have to go through and count, but from this point in time onward, he does spend long periods of time outside of Japan. He goes to the U.S. a number of times, including when he was writing Wind-up Bird and some of his essay collections in the 90s, and then he’s back again in the 2000s.