Two Books from Haruki Murakami 117
| A Wild Sheep Chase and Dance, Dance, Dance | |
| author | Haruki Muarkami |
| pages | 304 / 393 |
| publisher | Vintage Books |
| rating | 8.5 |
| reviewer | David Mazzotta |
| ISBN | 037571894X / 0679753976 |
| summary | The real and surreal clash in post-modern Japan. |
In A Wild Sheep Chase (1989) the main character and narrator lives a mediocre existence. He is passionless; seemingly unaffected by his wife's betrayal and subsequent divorce, and only attracted to his current girlfriend because he finds her ears to be "marvels of creation" that can incite irresistible desire in any man who sees them. This shallow view of life is further emphasized by the fact that, throughout the book, no characters are referred to by proper names.
When the "Rat," a nomadic friend of the narrator, sends him a photograph of some sheep from Hokkaido, a chain of events is set in motion. The sheep picture comes to the attention of a shadowy figure simply known as the "Boss" -- a mythically powerful underworld kingpin -- who has a dire need to get a hold of one of the sheep in the photo. The Boss sends a messenger to the narrator making it clear that unless he finds that sheep, he will face financial ruin, if not worse.
What follows is a surreal journey from Tokyo to Sapporo and points north, including a hotel that could be right out of a Kubrick film and creature known as the Sheep-Man, who is worthy of David Lynch. In the course of this journey, and in the face of extraordinary events, our narrator confronts his superficial world view and the affect it has had on his life.
Set six years later, Dance, Dance, Dance (1994) is murder mystery, but one in which the clues are revealed by chance rather than dogged investigation - often by a seemingly random psychic encounter. Our narrator has resumed a normal life as a freelance copywriter. He refers to this as "shoveling cultural snow" -- doing the thoughtless and thankless work that needs to be done to clear the path. He is fairly well disengaged from humanity, spending a lot of time alone doing absolutely nothing. Yet, in the midst of this anti-social life, he finds that his long missing girlfriend, the one with the amazing ears -- is calling to him as if in a dream, and she is weeping.
Once again, a chain of events is set in motion. He travels back to the strange hotel to find it modernized and corporate. He has another encounter with the Sheep-Man who tells him to "keep dancing." In the course of story he encounters, and finds sympathy for, a disaffected adolescent girl from a dysfunctional family, and an old high-school acquaintance who has become a famous movie star. Through his relationship with these characters he solves the mystery of his missing girlfriend, not through directed investigation but just by staying engaged with life and society -- by keeping up the "dance."
As a Westerner reading these novels, I was struck by how different the Japan portrayed here is from the hyper-efficient, sanitized, sexless and safe Japan of common impression. This is late twentieth-century post-modern Japan. References to Western pop culture are incessant. Call girls abound. Characters find themselves entangled in confusing, neurotic relationships worthy of HBO original programming. And nobody is practicing Kendo.
These books are hard-boiled -- that is to say, they are written in the hard-boiled style defined in the mid-twentieth century by U.S. mystery writers Raymond Chandler and Dashiell Hammet. There is a stark contrast between the blunt, gritty realism of hard-boiled style and the surreal, supernatural events that occur. This causes the stories to seem solidly planted in the real world, despite the occasional bizarre episodes.
There are certain shortcomings; the camera's eye perspective of the hard-boiled school lends itself to a bit too much dwelling on the details of setting. This is primarily in evidence at the beginning of A Wild Sheep Chase. And one suspects something is lost in the translation from the original Japanese. For example, this passage from Dance, Dance, Dance:
"... and if you consider the telephone as an object, it has this truly weird form. Ordinarily, you never notice it, but if you stare at it long enough, the sheer oddity of its form hits home. The phone either looks like it's dying to say something, or else it's resenting that it's trapped inside its form. Pure idea vested with a clunky body. That's the telephone."
There is a certain vagueness that may not be intentional. One is left with the feeling that "form" doesn't quite convey the same meaning it did in the original language.
Reading Murakami has been described feeling like you've just awakened from a deep sleep and you aren't sure if you're still dreaming. These are fascinating, engrossing books that will leave you full of ideas and impressions to dwell on for a long time to come.
You can purchase A Wild Sheep Chase and Dance,Dance,Dance from bn.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.
Re:Who translated these? (Score:3, Informative)
Short story online (Score:5, Informative)
Re:Even better than either of those... (Score:3, Informative)
I'd agree. Wind Up Bird Chronicles is my favorite book, tied with David Foster Wallace's Infinite Jest.
About a year ago, a friend recommendeded it to me, the first time I'd encountered Murakami other than having eyed Norwegian Wood because of it's cover design.
The first thing I noticed about Murakami was his pacing. It's a little on the slow side, but feels just right. The characters are honest and seem very real, especially his ubiquitous disaffected male leads. The story got weirder and weirder, but as the reviewer says, his hard-boiled style makes it all seem plausible, somehow.
After I finished it, I read 6 more of his books all in the next 8 months, and a couple of those twice.
The only one I found disappointing was Sputnik Sweetheart, it felt like a weaker Norwegian Wood or South of the Boarder, West of the Sun (both of which I read twice.)
As for the Philp K. Dick angle....
if you like the structural weirdness that Dick frequently employes, his habit for changing EVERYTHING you know to be true half way through a story, or the way the aforementioned make you think about stories in general, I *highly* recommend Italo Calvino and Jorges Luis-Borges.
Specifically: The Collected Short Fiction of Jorges Luis-Borges, and "If on a winter's night a stranger" by Calvino.
late-showa era lit. (hm's predecessors) (Score:3, Informative)
kobo abe - "woman in the dunes" [kirjasto.sci.fi]. existentialist tragedy that makes camus look like a comic book. avoid the movie (thankfully).
yukio mishima - "the sailor who fell from grace with the sea" [thingsasian.com]. mishima tried to overthrow the japanese government by force of arms in the 70's and committed suicide after failing. let's see thomas pynchon do that! alarming parable of post-war reconstruction of japan. depravity, vengence, ennui... it's all here. avoid the movie.
kenzeburo oe - nip the buds shoot the kids [geraldinesherman.com]. oe won the 1994 nobel prize for literature. this first novel is his grittiest. it's often compared to the lord of the flies but this is only because the main characters are children faced with the difficult decisions of wartime that even adults often cannot deal with. no movie.