With the goal of stirring up even more interest in Murakami between now and mid-October, when the Nobel Prizes are announced, I will post a small piece of Murakami translation once a week from now until the announcement. You can see the other entries in this year’s series here: More Drawers, Phone Calls, Metaphors.

More of 1Q84 Book 2 this week. I’m not quite sure why I’m stuck in Book 2. I promise to check out Book 3 next week.

The big Murakami news of late was that a school in New Jersey decided to ban Norwegian Wood because it has naughty bits. The naughty bits were distorted by parents playing the telephone game: lesbian sex became lesbian statutory rape. This is ironic because it’s exactly what happens in the book – a thirteen-year-old girl tricks the neighbors into believing that Reiko abused her when it was actually the girl who took advantage of thirty-one-year-old Reiko. Reiko snaps from the pressure, divorces her husband, and ends up in the mental hospital with Naoko.

So this week, rather than picking a random section based on the notes I took above the pages, I sought out the naughty bits of 1Q84. The bits I found aren’t the naughtiest, I don’t think, but they do a nice job of obfuscating other important plot details, so there will be no spoiler. Book 2, page 242:

Aomame said, “You’ve raped countless young girls. Girls who were barely ten years old.”

“You’re right,” the man said. “By conventional wisdom, that’s how it would be taken. Judging by the laws of the world, I am a sinner. I had physical relations with girls who hadn’t yet reached maturity. Even though it wasn’t what I wanted.”

Aomame just sighed deeply. She didn’t know how to suppress the intense convection of emotions running through her body. Her face distorted, and her right and left hand seemed to be demanding something different entirely.

Yes, dude. Baby raping. Rereading this section reminded me exactly how weird and tedious this book can get at times. This section is getting toward the final quarter of the book. We’re seeing the encounter we’ve been waiting 750 pages to see. And now there’s a long-ass discussion of morality to draw the whole thing out and ruin any sense of movement. If you were wondering why baby raping comes into discussion at all, it seems to be an example of how there is no absolute good or evil in the world – it’s constantly shifting, and things that were good can soon become evil and vice versa. This happens to be exactly what Dostoevsky was trying to portray in The Brothers Karamazov, apparently. Conveniently, both of the characters in this scene have read the book, so they can discuss it at length.

Not that any of this will matter to some people. They’ll just hear the baby raping part and put on their lynching shoes. I’m not sure I have the interpretive abilities to stop them. I’m very curious to read the translation and see the reaction to this part of the novel.

On a side note, Aomame is constantly scrunching up her face. In this case, the Japanese is 彼女の顔が歪められ, the first clause in that last sentence. Her face is described pretty horrifically in the beginning of the book. I’m interested to see how Rubin handles this in English. I can’t say anything about her hands because that would spoiler, but I promise the last clause makes sense in the original.

With the goal of stirring up even more interest in Murakami between now and mid-October, when the Nobel Prizes are announced, I will post a small piece of Murakami translation once a week from now until the announcement. You can see the other entries in this year’s series here: More Drawers, Phone Calls.

We’re looking at Book 2 again on page 336, and this time the note to myself is “world is a big model room – nice.” Let’s check it out:

Aomame slowly looked around the inside of the room again. This is like a model room, she thought. It was clean, had a sense of uniformity, and all the necessary items had been arranged. However, it was cold and lacked any individuality – it was just an imitation. Dying in a place like this probably wouldn’t be a very pleasant way to die. But even with a nicer backdrop, was there really such thing as a pleasant way to die? As she considered this, Aomame realized that the world in which we live is itself something like a giant model room in the end. We come in, take a seat, have some tea, watch the scenery outside the window, and when the time comes we say our thanks and leave. All of the furniture inside is nothing more than makeshift knock-offs. Even the moon shining through the window could be an imitation made of paper.

I can’t remember who I had this conversation with – possibly a translator friend – but I remember talking with someone about Murakami, and that person remarked that the strongest part of Murakami’s writing is his metaphors. He can write damn good metaphors. This one appealed to me when I first read it, and I still think it’s pretty good. It has that ever-present Murakami theme that reality isn’t much more than a place where we eat, live, shit, and fuck before we die. やれやれ.

The passage also refers to the “It’s Only a Paper Moon” epigraph. I can’t remember if he refers to it this specifically anywhere earlier in the novel, but the moon is important throughout the book.

One interesting language note: Murakami mentions that he wrote the book entirely in third person – his first one – but he still has lines like this: もし私がこんなところで死ぬことになるとしたら、それはあまり心愉しい死に方とは言えないだろう. (Which I rendered above as “Dying in a place like this probably wouldn’t be a very pleasant way to die.”) I’m not certain, but I feel like Murakami uses the 私 to show that this is being filtered through Aomame’s consciousness, so I guess it equates to something like free indirect speech in English? It’s first person kind of, but it’s actually third person. The goal is to make it feel like that initial “she thought” (彼女は思った) covers the entire paragraph, which is why I translated it as Aomame might think it to herself in English rather than using the “If I” that you might normally use. Anyone have thoughts on this?

I was also curious about tense. It jumps to present in the “As she considered this” sentence. Does that seem to work?

One last note – papier-mâché is はりぼて in Japanese. The Google Images search makes this pretty clear. The word gets used twice in the passage above. The first usage is just はりぼて, but the second is 紙で作られたはりぼて, which would seem redundant unless there’s another meaning for the word, and Yahoo Dictionary notes the other meaning is metaphorical, so I went with “imitation.”

With the goal of stirring up even more interest in Murakami between now and mid-October, when the Nobel Prizes are announced, I will post a small piece of Murakami translation once a week from now until the announcement. You can see the other entries in this year’s series here: More Drawers.

Okay, let me set the scene: I’m listening to Zoot Sims, I’ve had a beer (and hell I’ll have another – it’s Murakami Fest and I don’t have class tomorrow), the cats have been fed, and now it’s time to translate a nugget of 1Q84.

Today’s nugget comes courtesy of Book 2 page 125, above which I wrote the note “random phone calls → WUBC & Yoru no kumozaru.” Let’s see what the page has to say – we’re in Chapter 6, so we’re following Tengo, whom you should be familiar with from “Town of Cats”:

The telephone rang just after nine on Tuesday night. Tengo was reading a book while listening to music – his favorite time of the day. He read as much as he wanted before he went to sleep, and when he got tired, he fell asleep right where he was.

It was the first telephone ring he had heard in a while, and it seemed to have a sort of ominous echo. It wasn’t a call from Komatsu. Phone calls from Komatsu had a different sort of ring. For a moment, Tengo wasn’t sure whether he should pick up the phone or not. He let it ring five times. Then he lifted the needle on the record player and picked up the phone. It might have been his girlfriend calling.

“Is this the residence of Tengo Kawana?” a man said. The voice was that of a middle-aged man, deep and soft. It was an unfamiliar voice.

“This is he,” Tengo said cautiously.

“I’m sorry for calling so late at night. My name is Yasuda,” the man said. His voice was very neutral. Neither friendly nor hostile. Neither businesslike nor intimate.

Yasuda? Tengo couldn’t remember anyone by the name of Yasuda.

“I’ve called because there’s something I need to tell you,” the person said. And then he paused for a brief moment, like he was inserting a bookmark into the pages of a book.

And that’s all you get. Otherwise I would spoiler, and spoiler is no fun.

This passage illustrates Murakami’s near obsession with phone calls as well as 1Q84’s unfortunate reliance on phone calls to drive the plot. As noted in my note above, Murakami began his magnum opus Wind-up Bird Chronicle (WUBC) with a random phone call (which also happened on a Tuesday!), and he used it in a number of stories in Yoru no kumozaru, a collection of short-shorts, notably “Eel,” which features May Kasahara, another character from Wind-up Bird Chronicle.

Something about that ability of the telephone to connect people in two completely different places seems to fascinate Murakami, and he uses it often to show how individuals often occupy two entirely different “worlds,” whether they realize it or not. Magically, the telephone can connect these worlds and bring people together, enabling them to communicate in ways they could not before.

Now that I think about it, Norwegian Wood ends with a telephone call between Toru and Midori. I’ve always thought that Rubin’s translation of that final line was interesting. He creatively invokes death:

Again and again, I called out for Midori from the dead center of this place that was no place.

Whereas Birnbaum does not:

I held onto the line to Midori from there in the middle of nowhere.

The Japanese is:

僕はどこでもない場所のまん中から緑を呼びつづけていた。

Birnbaum’s translation feels a little awkward. I still haven’t read his translation all the way through, but there were a number of places that made me wonder if the final text had been edited by a non-native speaker.

Okay, I’m rambling now, but you get the idea – phones are powerful symbols in Murakami’s fiction, and 1Q84 continues this trend.