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Haruki Murakami delivers an enthralling First Person Singular
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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.
Ann Levin April 05, 2021 - 11:34 AM
âFirst Person Singular,â by Haruki Murakami (Alfred A. Knopf)
Haruki Murakami has a new collection of stories told in the first person by an unnamed older man obsessed with baseball, music, and the porous borders between memory, reality and dreams.
He may describe himself as a âbland, run-of-the-mill guy,â as in the story âCreamâ â about a young manâs encounter with an aging mystic â but Murakami Man is more like a walking encyclopedia who has a problem with women â mainly, that he canât seem to get past their physical appearance.
Thus, in âOn a Stone Pillow,â we have his memories of a melancholy poet and her âshapely round breastsâ; in âWith the Beatles,â a first girlfriend with âsmall yet full lipsâ and a wire bra. (Both, by the way, are suicidal.) In âCarnaval,â the one story where a woman has agency, we are
First Person Singular. Elena Seibert
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 mea
Eight Ways of Looking at Haruki Murakami
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