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Teen without spirit
Norwegian Wood by Haruki Murakami. 1987 French title: La ballade de l’impossible.
That’s it, I’ve finished Norwegian Wood and I’m ready to write my thoughts about it.
When the books opens, Watanabe is on a plane, approaching Germany. Hearing Norwegian Wood by the Beatles triggers some memories of his youth. The memories flow out painfully.
Watanabe is 18, he’s moving in a student house in Tôkyô for his first year of university. When he was in high school, his best friend Kizuki committed suicide. Watanabe, Kizuki and his long-time girl-friend Naoko were often together, the three of them spending their free time together.
Naoko is also in Tôkyô now and she and Watanabe spend time wandering across the town in companionable silence. When Naoko turns 19, they celebrate together and one thing leading to the other, they have sex. Naoko leaves town and when Watanabe hears from her again, she’s in a nursing home. Naoko is unbalanced, her fragile mind hesitates on the verge of reason, on the verge of craziness, it depends of the day. Murakami describes Watanabe’s life in his student house and his later encounter with a fellow student Midori. She has her share of misery too: her mother is dead and now her father is dying too. She befriends with Watanabe; she craves for attention and Watanabe is hopelessly in love with Naoko. We also meet Reiko, Naoko’s room mate in the nursing house and Nagasawa, Watanabe’s friend at the university.
That’s basically all what happens, which is not a problem per se. I like contemplative books too. This one opens with melancholy and remains on a minor tone all along but I didn’t like it. Melancholy can be beautiful, here I found it flat and grey. This book is grey. Watanabe is numb, boneless. He winds himself up every morning – except on Sundays, he says – does what he has to do, studies, works in a music store, cleans his room, irons his clothes, eats, goes out with a friend, has flings. He’s on automatic pilot.
I know the main issues in this novel are depression, suicide, mental sickness and the difficulty to become an adult. Murakami succeeded in making me indifferent to his characters, in enveloping me in a cloud of grey thoughts, like Watanabe who tries to recover from Kizuki’s death. I felt as distant from him as he is from his life. I felt no compassion and that’s probably what bothers me. I could say it’s a coming of age novel but I’d rather say it’s a bildungsroman. It’s more appropriate as the whole story starts in Germany, as Watanabe studies German and reads The Magic Mountain. All the characters don’t “fit in”. They don’t feel “normal” and some manage better than others to cope with it.
I have difficulties with wimps, be it in real life or in literature. I wanted to shake Watanabe. In the three last Murakami I’ve tried or read (The Wind-Up Bird Chronicles, South of the Border, West of the Sun and this one), the men are pathetic. They don’t live their life, they put up with it. Even before Kizuki’s death, I imagined Watanabe as a follower, going where his friend went, playing gooseberry with Kizuki and Naoko, never thinking of refusing this awkward situation. He doesn’t have his own goals, his own wishes, his own hobbies.
On the back cover of my French edition, they compare Murakami to Francis Scott Fitzgerald. I don’t see why. Fitzgerald’s prose is like champagne, sparkling, light and heady. Murakami’s style is dull in comparison. 440 pages of book and I have no quote to share, which tells everything. And, as I wrote in my previous post, I have the feeling that Murakami writes some Murakami, which is not fair for this book as it’s among his first ones. It’s the others which are repetitions of this one and not the contrary. How can I say it? There’s a feeling of déjà vu, of literary tricks already used — like the stories in the story — , of an atmosphere I’ve already met. It was novelty when I read his other books, it’s not any more. So yes, I’m disappointed, I expected better from someone who receives so much praise. Definitely not reading the long IQ84.
Bellezza organizes a Japanese Literature challenge, this is my first contribution to her event.
She moves him in mysterious ways
South of the Border, West of the Sun by Haruki Murakami.
I don’t know where to start, I’m still knocked out by Murakami. Third book in six months about an unforgettable past love coming back in present time and upsetting a comfortable and happy routine. Journey Into the Past. The Art of Losing. South of the Border, West of the Sun. All three breathtaking. All three moving and questioning.
Hajime and Shimamoto-San were close friends when they were children. 12 years old, adolescence is timidly arriving, transforming this deep friendship into a love than cannot yet be mouthed. Desire is about to bloom. Then Shimamoto-San leaves the town. They stop seeing each other. Shimamoto-San moves out, Hajime moves on.
Hajime has a high school romance with Izumi which ends up in Izumi being hurt and Hajime moving to Tokyo. After university, he finds a boring job in a publishing house, spends 10 years there, bored and single. He meets Yukiko during a vacation and it is love at first sight. He is 30 now, it’s time to settle, they happily move in a new home. Two daughters arrive. Yukiko’s father helps Hajime to start his own business. He opens two jazz clubs in Tokyo. He loves his wife. He loves his daughters. He loves his job. He is successful. Life seems perfect.
But Shimamoto-San hides somewhere in his head, despite this happiness, this perfect life. She’s behind a door which stands ajar, as it cannot be shut, the relationship abruptly frozen by absence. One February night, the mysterious Shimamoto-San comes to the Robin’s Nest, one of Hajime’s bars. She is a sort of Japanese Santa Ana coming from the south of the border, a wind that opens wide the half-open door.
What will this throw on their lives? Can they find their love intact? What consequences will this have on Yukiko’s life? What’s the mystery surrounding Shimamoto-San?
Hajime is the narrator of this story, everything is seen through his eyes. It is a first person narrative. The language is perfect in precision and in its reserved tone. Feelings are dissected with clarity, lucidity. There’s a quiet sadness in the fatality of this story.
Yukiko looks like Naomi in The Art of Losing. She doesn’t deserve to be hurt. She’s facing something bigger than her. Though she’s pretty and loveable, she’s not enough. The relationships in the three novels I mentioned in my introduction have a common point: they stopped unexpectedly and couldn’t come to term. They linger in memories, tainted by ifs. If Shimamoto-San hadn’t moved away? If WWI hadn’t prevented Ludwig to come back to Germany in due time? If Lydia had left Martin when it was still simple to do it? They left a sweet-sour taste of unfinished and left behind an emptiness.
Like after A Journey into the Past, I’m terribly frustrated not to be able to share quotes and show how wonderful Murakami’s prose is. My copy is in French, translated by Corinne Atlan, the usual translator for Murakami. The story takes place in Japan but it could be anywhere else. Without the Japanese names of places and characters, the reader would forget it’s Japan. Hajime listens to jazz and Western classical music. No specific food is eaten. There are no descriptions of houses, furniture or traditional buildings. They go to cafés, drink whisky. At a moment, Hajime says it is Christmas. Do they celebrate Christmas in Japan? If they do, it is as sad as pumpkins all over France at the end of October. Murakami published South of the Border, West of the Sun in 1992 and he didn’t live in Japan at that time. Did that exile influence his writing?
There would be much to say on this book but I don’t want to ruin someone’s pleasure by giving away spoilers. However, if anyone has already read it and remembers it well, I’d be glad to discuss it further in the comments. I don’t like to be left alone with such a powerful book.
Book Around the Corner 