Wind/Pinball: Two novels (英語) ハードカバー – 2015/8/4
Kindle 端末は必要ありません。無料 Kindle アプリのいずれかをダウンロードすると、スマートフォン、タブレットPCで Kindle 本をお読みいただけます。
In the spring of 1978, a young Haruki Murakami sat down at his kitchen table and began to write. The result: two remarkable short novels—Hear the Wind Sing and Pinball, 1973—that launched the career of one of the most acclaimed authors of our time.
These powerful, at times surreal, works about two young men coming of age—the unnamed narrator and his friend the Rat—are stories of loneliness, obsession, and eroticism. They bear all the hallmarks of Murakami’s later books, and form the first two-thirds, with A Wild Sheep Chase, of the trilogy of the Rat.
Widely available in English for the first time ever, newly translated, and featuring a new introduction by Murakami himself, Wind/Pinball gives us a fascinating insight into a great writer’s beginnings.
“More than anyone, Haruki Murakami invented 21st-century fiction. . . . He is the novelist of our mash-up epoch and the subversive who, by intent or not, lit the fuse to whatever 'canon' of the previous century anybody still takes seriously. . . .Murakami is the first major Japanese author born in the radioactive white light of the modern age. . . . [His] atomic sensibility characterizes world literature. . . . If Murakami’s hybrid futurism is a product of Japanese tradition clashing with local postmodernism, then the greatest revelation of his debut is how this contradiction has raged in Murakami from the outset. . . . Recalling the prologue that Thomas Pynchon wrote more than 30 years ago for his collection 'Slow Learner,' Murakami’s introduction to Wind/Pinball affords the reader a rare glimpse behind the curtain of a mysterious creative process. . . . On some subliminal level the tension and power of Murakami’s stories reside in the reader’s hope, sometimes fulfilled and sometimes dashed, for reconciliation between the storyteller and his story.” —The New York Times Book Review
“Powerful, unsettling, mature novels, replete with many of the same distinctive traits that characterize [Murakami’s] later fiction: jazz, beer, a gentle surrealism, a tendency to treat the strange and the mysterious as mundane facts of life and characters haunted by an ineffable, pervasive melancholy. . . . Murakami gives his characters' quirks a humanizing legitimacy. . . . Both novels' metaphors, which are often beautifully suggestive, also cluster around certain core themes.” —Chicago Tribune
“Murakami's trademark postmodernist flourishes abound—disrupting the narrative to insert a song lyric, say, or a graphic of a T-shirt—and never fail to surprise and delight.” —O, The Oprah Magazine
“A fresh, heart-warming dose of the Japanese master. . . . These new-old books are short but by no means slight. Nor are they only for hard-core Murakami fans.” —The Economist
“[Wind/Pinball] clearly show[s] a writer of innovation emerging and developing his formidable talent. . . . Both books have that unique blend of melancholy and beauty that Murakami manages so well; they are mysterious, moreish. . . . Novella-sized, they incorporate the themes that preoccupy Murakami to the present day, and bear much of the same style. . . . What is also there, especially in Hear the Wind Sing, is reflections on writing itself, as if Murakami were stating his reasons, and his need, to tell stories. . . . What stands out in both books is the writing, beautiful in its simplicity, and also the deadpan humour and one-liners. . . . The dialogue is sparklingly clever, drunkenly witty.” —The Independent
“Elegiac, ambient, and matter-of-fact in [its] strangeness. . . . Given Murakami’s fervent fan base and the enduring strangeness that characterizes his work, it’s not surprising that an aura of mystery surrounds his first two novels: the only previous English translations were published in Japan and they’ve been difficult to find in the West. Now 1979’s Hear the Wind Sing and the following year’s Pinball, 1973, written while the budding author operated a Tokyo jazz club, are finally available in one volume as Wind/Pinball, and Murakami obsessives are in for a treat. All the hallmarks of Murakami are here at their genesis, including his seemingly simple style, which he describes in an indispensable foreword. . . . Both novels, of course, feature digressions on beer, historical oddballs, obscure trivia, and jazz.” —Publishers Weekly
“What establishes these two novellas as quintessential Murakami are not just the themes of isolation and loneliness that will characterise many of his later works, nor their colloquial style that positions them firmly in the familiar territory of classic American coming-of-age novels. It’s that both stories hint at the unique, postmodern blend of the real and the surreal, the quotidian and the allegorical for which Murakami would later become famous. . . . Murakami fans will no doubt delight in this new publication. For newcomers, these early works are an excellent introduction to a writer who has since become one of the most influential novelists of his generation.” —The Guardian
“Electric. . . . A singular work—actually two singular works. . . . These short works are among Murakami’s most carefully crafted offerings, full of raw talent, energy and magic, and totally worth getting lost in. . . . .. Murakami uses white space like Raymond Carver. . . . [Wind/Pinball] ranks with Murakami’s strongest prose.” —Electric Literature
“Though these stories—two of the so-called Rat Trilogy—are more than 40 years old, marking the very beginning of Murakami’s career, they are full of trademark turns. . . . There’s a Beatles record on the turntable at all times, of course, offering the possibility of peace and love and unity. . . . It’s interesting to see hints of the masterly novels to come.” —Kirkus Reviews
“The writing and, above all, Murakami’s way of making emotionally resonant images and symbols bump around on the page, and in one’s mind, remains fresh, miraculously, more than 35 years on.” —Evening Standard
"Indispensable." —The Free Lance-Star
“Electric. . . . A singular work—actually two singular works. . . . Among Murakami’s most carefully crafted offerings, full of raw talent, energy and magic, and totally worth getting lost in. . . . .. Murakami uses white space like Raymond Carver. . . . [Wind/Pinball] ranks with Murakami’s strongest prose.” —Electric Literature
“Short, darkly magical coming-of-age tales.” —Elle
“A sympathetic work that reads almost like a memoir. . . . Wind/Pinball is a playful introduction to Murakami’s inventive style, tropes and all. . . . With a funhouse twist, the casual adventures of Wind/Pinball impart a self-aware honesty that will serve as inspiration for any aspiring writer while acting as mirrors to the emotional landscapes of our lives.” —The Daily Californian
“A reading experience that causes personal reflection [and] thoughts larger than ourselves. . . . Even though they were released separately, combining the two works into one volume fits perfectly, as they feel like two sides of a tape, and when one side reaches its conclusion, the other is ready to begin.” —Huffington Post
“Utterly delightful. . . . [The novellas] both have that indelible sense of detachment that permeates all of Murakami's fiction, a deadpan dreaminess that fatalistically accepts all manner of remarkable goings-on.” —Northwest Arkansas Democrat-Gazette
“A great treat—both for Murakami enthusiasts and for the more casually interested reader. . . . A pair of early literary excursions that are never less than insightful and intelligent; brisk and diverting; unusual and transporting; and that offer a fascinating insight into the imagination of a young writer. . . . The vigour and playfulness with which Murakami handles these peculiar, shifting stories makes for a volume that even those unfamiliar with his writing are likely to enjoy, and there is plenty here for the aficionado, too.” —The National (UAE)
Why? Not nice at all to young readers. Another cover design of kindle version is still 1,500 yen.
Please compare both.
Good book but can't recommend this kindle version if the publisher only consider the price. Hope not.
THE BIRTH OF MY KITCHEN-TABLE FICTION
How wonderful it is that those sensations still reside within me today. JUNE 2014
Amazon.com で最も参考になったカスタマーレビュー (beta)
Is there a plot to these stories? Yes, but like much of Murakami’s oeuvre (especially his early works), the enjoyment is in the journey, not the destination. The “journey” in these works is a leisurely, almost aimless one that is as much a meditation on the only certainty in life being that the connections formed between people are made to be broken; we are all fundamentally alone, the comfort provided by companionship and love is illusory at best. Hear the wind sing, says Murakami … but what the wind (i.e., the collective consciousness of humanity) has to say apparently drives one to suicidal despair, in what is Murakami’s first, brief, yet hauntingly beautiful foray into the metaphysical realm toward the end of Hear the Wind Sing. Indeed, if you have not read early Murakami for a while, it is slightly shocking to be reminded of not just the detachment, but even the quiet despair and nihilism that pervade his youthful characters’ thoughts. This makes for a notable contrast with the works Murakami wrote after the sarin gas attack on Tokyo in 1995, which seems to have triggered a rather profound shift from a fundamentally detached perspective to a more engaged and pro-active one.
So how does this work stand up to his other works? These are certainly not Murakami’s masterpieces, but these are not bad works either … there is something simple and pure, undistilled, if you will, that puts these works in my personal list of “Top 10 Murakami novels”, even if they fall short of the “Top 5”. Let me put it this way: if you like Murakami, especially his early works, you’ll like Wind/Pinball. Even though this is clearly Murakami at his greenest, this is still Murakami World: although the plot is simple, the themes and ideas that will pervade his entire oeuvre are present here already in nascent form. If you’re new to Murakami, should you start here? That’s a difficult question. If you do and you love these books, keep on reading and know that you can say something that virtually no one can: that your first exposure to a living legend started with his debut works (even in Japan, Murakami did not really gain widespread attention or readership until he wrote Norwegian Wood, his fifth novel). If you read these books first and come away intrigued, even if you are not ready to declare undying love, keep on reading before passing judgment … perhaps proceed with the next book in this “Trilogy of the Rat” (A Wild Sheep Chase), try his short stories, or perhaps jump ahead to a more recent book to see if Murakami’s newer books resonate more strongly. If you read these stories and don’t like them at all, then quite frankly Murakami might not be for you … and that’s ok! He elicits very strong love/hate feelings (even as a fan, I’ve fallen in love—then out, and then in again!—with Murakami’s works over time), and there’s no sense torturing yourself if the fit just isn’t there.
Having taken this foray into Murakami’s beginnings, I am curious to see what the future holds. Lately, Murakami seems to be in a stretch of high productivity, with a new novel (Colorless Tsukuru Tazaki) and new short story collection (Men Without Women) coming out within a short span of time. At ‘just’ 66 years of age, I imagine there is plenty of time for another chapter (or two or three!) in Murakami’s constantly evolving literary journey. I look forward to going along for the ride!
First off, let me say that the book cover design and the Apollo typeface is lovely. Knopf knows how to put out great looking books, that's for sure. The interior had a ton of pauses and stops in both stories (this book is broken into two narratives), and that got to be somewhat distracting by the 10th page of the book. By the end I was pulling my hair out in frustration because I started to feel like I was reading random diary entries than two coherent stories. So that wasn't so good.
Then there's the story content for both narratives. I would argue that the second story had me slightly more interested in what was going on, being that the narrator is living with a set of twins. I found it rather amusing to imagine in my head, and thankfully, in true Murakami fashion, it's easy to imagine because he's so perfect with all the mundane details of everyday life.
Aside from some rather extraneous descriptions in sections of each narrative, there were glimmers of a story here and there in both narratives. And a few memorable characters as well, besides the twins. But both stories just kind of went nowhere. I didn't feel I gained anything at all from reading them, which kind of is disappointing because when I finished 1Q84, I had tears in my eyes. I was so deeply moved by that story. I guess I can't be too hard on Murakami though... this WAS his first two attempts at writing, but still... I just had hoped for even more of a basic story, and instead I got diary entries pretending to be stories.
I would say if you are a Murakami fan, get this book and add it to your collection of his works. If you are interested in reading Murakami but never have, avoid this book like the plague. Start with Hard-Boiled Wonderland, or 1Q84 if you feel like tackling a Bible-sized novel. Am I glad I read this? Sure, but I actually enjoyed the preface more than anything else, which is where Murakami talks about his introduction to writing and his inspiration for wanting to write in the first place. That was ten times more fascinating and interesting than anything else in the book, especially given the fact that we may never hear or see Murakami in real life talk about these things because he seemingly doesn't know what a book signing event is, or maybe he does book signings and speaking only in Japan? Who knows. But anytime we get some autobiographical discussion by Murakami, it's always brilliant and heart-warming.
A good read, but not an essential one, by my favorite author of all time.
“Pinball, 1973” is the Murakami we know today. Having been written at almost the same time as “Wind,” it is a remarkable advance. The unnamed narrator is a translator who hangs out with his friend Rat at J’s bar and sleeps with twins. That’s what there is of a storyline, but as usual it’s the whimsical vignettes that define the novel. Here, the narrator starts by telling us how he interviewed people to hear their stories of faraway places. One of interviews was with someone from Saturn and another from Venus, and the narrator accepts this at face value. The twins insist they hold a funeral for a discarded switch panel, which they all agree is dying. We eventually hear the history of pinball machines and the model “Spaceship,” to which the narrator has become emotionally attached. Overall, this is a work that defines existentialism. Both the narrator and Rat will appear in "A Wild Sheep Chase," one of Murakami's greatest novels.
There is a strong sense of nostalgic longing and a feeling of lost direction in the main narrator and the other characters he has relationships with during "Pinball" which is definitely the more polished of the two short works. Muarakami's ability to give the reader a strong sense of characters inner feelings by use of very little narrative was already very apparent here.
After reading this I would more than recommend continuing with "A Wild Sheep Chase" which rounds out the story line. Certain topics and thematic references are repeated thoughout Mr Murakam's later work. An example would be "Windup Bird Chronicles" which I personally consider to be his masterpiece.
Read this book, read anything by Murakami and keep on reading.
I have to agree that this two book special is going to hold the most interest for a reader who already likes later works by Murakami. I also second those reviewers who suggest that the best parts of this two for one book is Murakami telling how he came to be a writer. That I am among that group may be the only reason why I have posted four stars. These are the first books by this author, they have not been published in English before and this edition may be the only way to get them. Properly novellas, Pinball, 1973 is 123 pages And Hear the Wind Song is 101. If you are the kind of reader who likes to start at the beginning with a writer you will not regret starting with this author. Pinball, 1973 and Hear the Wind
Sing introduce us to the unnamed narrator, his drinking buddy and sometime philosopher. I found them somewhat interesting. The two story lines are weak but there are flashes of good writing. I promise that Murakami gets better.
Pinball will take us through the back story of an unnamed narrator/character. He is somewhat aimless but at least a capable translator. His luck with women is wildly uneven entirely credible and not entirely complementary towards women. One girl friend has left him via a suicide before the beginning of the book and he spends most of the book living with twins who names he never learns. They cater this animal needs, cooking and bedroom and never seem all that critical to the story. They seem to prefer being nameless and are in not in any kind of thrall to his power or worldliness. They are not exactly powerless victims of their man, but neither are they given any depth of personality.
The Rat is one of two mentors to the narrator. He is apparently of independent means, something of a radical, and sometime center of the narrative. He also has a love life but seems unable to connect his happiness with her as something worth working to keep. The other major characters include J the local Chinese bartender and the people who work with the Narrator in his Translator shop. The Woman who works as the main secretarial staff between the Narrator and his partner seems to be the one person who cares about him and he never seems to notice.
The two stories do not have a much plotting. There is a great deal about Pinball machines a topic Murakami eventually drops and a great deal about mostly American pop music and European classical music. These are topics that will reappear in every other Murakami book.
If this sounds less than enthusiastic. That is how I felt at the end of the two stories. There are some wonderful moments. I enjoyed the flashes of how the author will develop. The books combine into a series of small more or less connected events and images that kept me reading.