Some theatre each day keeps the doctor away…

Onward, Murakami

with 2 comments

Finished Hard-boiled Wonderland and the End of the World today.  Better than A Wild Sheep Chase, I think.  But it’s much closer in quality to Sheep than Sheep was to its predecessors.  Wonderland made me think more, methinks.  And laugh more, too.  I laughed on a few occasions, which is quite unusual for me.  Perhaps it was because of a quote on the back of the book, something to do with Murakami being intelligent enough to realise that Kafka was a comic writer.  (David Foster Wallace was of the opinion that Kafka was a comic writer, too.)  I really must delve into some more Kafka to see if I can find the humour.  I assume that maybe it comes from the absurdity of it all, and if we, as readers, do not empathise with the protagonists, then we can laugh at them?  Or maybe it’s something larger and more unseen than that.  I have a feeling that Wallace wrote an essay about it.  I will seek it out at some point.

Anyway, I thought the structure of the book was rather nice, with its two parallel stories that connect towards the end.  It didn’t connect in quite the way I thought it might, though.  But how it was structured, or a slight variation, would be a good way to structure a play.  A bit like Stoppard’s Arcadia, too, except the time gap there was much more pronounced, and the two timelines affected each other more directly.

17 lines on the play today.  Lines that leave me bursting with self-doubt, mind you.  But lines anyway.

74/393 in Dance Dance Dance.


Written by epistemysics

January 20, 2013 at 2:47 pm

Posted in Uncategorized

2 Responses

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  1. Personally I liked a wild sheep chase the best. It had a sense of mystery unlike any other Murakami novel. I think most of all I like a sense of mystery.

    Neil san

    January 21, 2013 at 7:56 am

  2. But what about the end of Wonderland? That’s so open ended as to what precisely will happen, and whether the narrator will recreate the librarian from the real world, and whether there was any cross-over that wasn’t in his mind… So I think it had mystery, too, but I suppose it’s a different kind, perhaps.

    Perhaps when you say ‘mystery’ you mean ‘depth’? I think one critic said he was ‘weak-kneed with admiration has to how Murakami makes poetry out of the contemporary and mundane’ (or something like that), and I think he meant that it was ‘deep’. I suppose that’s what poetic is, isn’t it? The bit you feel behind the words.

    Speaking of Murakami – is/was Kinokuniya a supermarket too? In Dance Dance Dance he’s gone to the “Kinokuniya supermarket” twice already.


    January 21, 2013 at 8:17 am

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