When he hears her favourite Beatles song, Toru Watanabe recalls his first love Naoko, the girlfriend of his best friend Kizuki. Immediately he is transported back almost twenty years to his student days in Tokyo, adrift in a world of uneasy friendships, casual sex, passion, loss and desire - to a time when an impetuous young woman called Midori marches into his life and he has to choose between the future and the past.
** Murakami’s new novel is coming **
COLORLESS TSUKURU TAZAKI AND HIS YEARS OF PILGRIMAGE
'The reason why death had such a hold on Tsukuru Tazaki was clear. One day his four closest friends, the friends he’d known for a long time, announced that they did not want to see him, or talk with him, ever again'
Norwegian Wood is a simple coming-of-age tale, primarily set in 1969-70, when the author was attending university. The political upheavals and student strikes of the period form the novel's backdrop. But the focus here is the young Watanabe's love affairs, and the pain and pleasure and attendant losses of growing up. The collapse of a romance (and this is one among many!) leaves him in a metaphysical shambles:
I read Naoko's letter again and again, and each time I read it I would be filled with the same unbearable sadness I used to feel whenever Naoko stared into my eyes. I had no way to deal with it, no place I could take it to or hide it away. Like the wind passing over my body, it had neither shape nor weight, nor could I wrap myself in it.This account of a young man's sentimental education sometimes reads like a cross between Sylvia Plath's The Bell Jar and Stephen Vizinczey's In Praise of Older Women. It is less complex and perhaps ultimately less satisfying than Murakami's other, more allegorical work. Still, Norwegian Wood captures the huge expectation of youth--and of this particular time in history--for the future and for the place of love in it. It is also a work saturated with sadness, an emotion that can sometimes cripple a novel but which here merely underscores its youthful poignancy. --Mark Thwaite