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First Person Singular: Haruki Murakami s proustian prose

I once asked a Haruki Murakami reader, where would you place his books? Not Harold Bloom but equally opinionated, the faithful reader immediately replied, and added, “Magical realism; the plots are plausible, yet they are not.” He, of course, was referring to the absurd scenarios in Murakami’s stories made superbly feasible by his elegant storytelling; for example, A Shingawa Monkey (2006), in which a monkey from one of Tokyo’s special wards steals names of young women whom he desires. I refer to this essay only because the monkey and its story reappear in this collection. There are eight stories in all and the magic unleashed is a testament to not only Murakami but also his polyglot translator Philip Gabriel. In Murakami’s book What I Talk About When I Talk About Running, we get to understand his passion for running. Likewise in this, the author’s relationship with music is reinforced, almost to the point of being didactic. In fact, reading First Person Singular will ge

First Person Singular, by Haruki Murakami book review

Haruki Murakami delivers an enthralling First Person Singular

Haruki Murakami delivers an enthralling First Person Singular
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Haruki Murakami: I ve Had All Sorts Of Strange Experiences In My Life

First Person Singular. The stories in Haruki Murakami s new collection, First Person Singular, have a sort of fractal nature you re reading a story by a middle-aged Japanese man in which a middle-aged Japanese man is telling you a story (and sometimes that story involves him telling other stories). You get drawn into the spiral, and soon you re in that strange world where many of his stories exist, a place full of his favorite things (jazz, baseball, the Beatles, though surprisingly few cats this time) and yet unmistakably odd, existing at a slight, unexplained angle to reality. In this book, I wanted to try pursuing a first person singular format, but I don t like relating my experiences just the way they are, Murakami tells me in an email interview. So I reshape them over and over and fictionalize them, to the point where, in some cases, you can t detect what they were modeled after. Through these steps, I gain a deeper understanding of the meaning behind the experience.

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