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수리부엉이는 황혼에 날아오른다
전 세계에 광범위한 독자층을 지닌 스타 작가이면서, 데뷔 당시부터 자국 문단에서는 늘 변방에 속해왔던 무라카미 하루키. 십대 시절부터 그의 작품을 읽어온 오랜 팬이자 아쿠타가와 상과 다니자키 준이치로 상을 수상한 소설가 가와카미 미에코가, 2015년에서 2017년에 걸쳐 네 차례의 길고도 심도 있는 인터뷰를 통해 그간 밝혀지지 않았던 무라카미 하루키의 내밀한 이야기들을 끄집어낸다.
'이데아'와 '메타포'란 대체 무엇인가? 소설 속의 비현실적인 등장인물과 눈이 번쩍 뜨이는 비유들은 어디서 나오는가? 노벨문학상 시즌마다 쏟아지는 관심이 부담스럽지는 않은가? 첫 장부터 독자들을 끌어들이는 흡인력의 비결은? <기사단장 죽이기>를 비롯한 장편소설 구상 과정의 에피소드부터 창작의 원천이 된 유소년기의 경험, 일상적인 작업방식, 페미니즘적 비판에 대한 생각 등, 누구나 알고 싶었지만 묻지 못했던 의문들에 대한 답을 숨김없이 펼쳐놓는다.
'이데아'와 '메타포'란 대체 무엇인가? 소설 속의 비현실적인 등장인물과 눈이 번쩍 뜨이는 비유들은 어디서 나오는가? 노벨문학상 시즌마다 쏟아지는 관심이 부담스럽지는 않은가? 첫 장부터 독자들을 끌어들이는 흡인력의 비결은? <기사단장 죽이기>를 비롯한 장편소설 구상 과정의 에피소드부터 창작의 원천이 된 유소년기의 경험, 일상적인 작업방식, 페미니즘적 비판에 대한 생각 등, 누구나 알고 싶었지만 묻지 못했던 의문들에 대한 답을 숨김없이 펼쳐놓는다.
- GenresJapanese LiteratureJapan
360 pages, Paperback
First published April 25, 2017
9 people are currently reading
501 people want to read
About the author
Haruki Murakami
605 books133k followersHaruki Murakami (村上春樹) is a Japanese writer. His novels, essays, and short stories have been best-sellers in Japan and internationally, with his work translated into 50 languages and having sold millions of copies outside Japan. He has received numerous awards for his work, including the Gunzo Prize for New Writers, the World Fantasy Award, the Tanizaki Prize, Yomiuri Prize for Literature, the Frank O'Connor International Short Story Award, the Noma Literary Prize, the Franz Kafka Prize, the Kiriyama Prize for Fiction, the Goodreads Choice Awards for Best Fiction, the Jerusalem Prize, and the Princess of Asturias Awards.
Growing up in Ashiya, near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for his use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.
Growing up in Ashiya, near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for his use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.
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Displaying 1 - 7 of 7 reviews
February 8, 2024
In this collection of interviews mainly focused on KILLING COMRADE, Kawakami invites the readers to peer into Murakami's writing process and philosophies. There's nothing more joyful than reading two of my fav authors talk about writing. There are so many interesting conversations, from how Murakami comes up with ideas, his belief that novels should be "kind", his refusal to explain his stories, to his seemingly apolitical stories, I relished every moment of these interviews.
March 30, 2022
read in korean — really challenging my reading skills
March 20, 2019
《貓頭鷹在黃昏飛翔》
村上春樹與川上未映子的對談。
好像很容易給大家一種我很著迷村上春樹的感覺，是也不是。一如書中所說我確實締結了「信用關係」，只要一有村上的書一定買。另外，也是十年誠品講堂的訓練，讓我從「看氣氛」的慢慢成長到「看內容的」，而村上的書確實陪我走過了這段成長期。
—說故事最重要的還是語調，也就是文體，能夠產生信賴感的、親切感的，多半是要靠語調。（以及善的內容）。
—川普的確有點像古代祭司，很懂得替人的無意識煽風點火。
—對學運世代虛偽言語的厭惡與不信任。
—「惡」有多樣面貌，不過身為個人主義者的村上，惡有一大部分來自於「系統」。
說得更明白的話，是國家、社會或制度這種堅固僵硬的系統無可避免會釀成、萃取出的惡。（p.319)
—到了末尾，也慢慢跟未映子一樣產生村上真的無法為自己的小說做具體的分析說明，小說，真的就是忠實的把他無法明說的整體挖掘出來，呈現給讀者。
「我已徹底明白，針對小說中的種種事物的意義請教您，是無意義之舉。」
—村上的小說是「假定過去式」
—免色看不到騎士團長是小說中相當重要的關鍵點（不過無法說明）
—idea的說明在p.156.
—如果能畫出無臉男的肖像，便可拿回企鵝護身符，但或許很困難。不過，那也許是他的人生一大課題，而且那個課題或許不是會改變他。
—一生之中，真正衷心信賴、或者很感動的小說其實寥寥無幾。許多人會一再重讀，仔細反芻回味。⋯⋯而且到頭來，這少數幾本書，會成為我們的精神支柱。
（對我來說是朱少麟的燕子）
— 人生三大小說：大亨小傳、漫長的告別。
—生動的對話/生動的比喻。
—挪威的森林中，直子與綠各自努力活在意識下的世界與意識上的世界。⋯⋯玲子啦、初美啦，至今想起他們還是會有點心口發熱。
—「私」嚴格來說是善於觀察的人。至於「僕」會被周遭各種強大的力量帶領、左右。⋯⋯「私」會觀察，意志堅定的設法維持、保持自己的立場。
—作家必須創作的不是那種迴路閉鎖的惡意故事，應該是更廣泛開放的故事。不是把人關起來詐取什麼，必須是向世界提示、提案一個互相接納，互相給予的狀況。
本月第二本書完成，真正認識我的人都知道我書看的多麽少，希望今年能有每月兩本的進度（努力、努力）。我曾經對村上什麼都不講感到不奈（也越來越少看藝術品因為實在太多創作者的故弄玄虛而我無從分辨）。
但我慢慢能接受那或許就是他們對世界的處理方式（並非邏輯分析，而是整體包納）。
雖然我的重心會越朝向這世界可了解的部分就是了（畢竟，我們過的，是極其有限、分分秒秒的人生）。
村上春樹與川上未映子的對談。
好像很容易給大家一種我很著迷村上春樹的感覺，是也不是。一如書中所說我確實締結了「信用關係」，只要一有村上的書一定買。另外，也是十年誠品講堂的訓練，讓我從「看氣氛」的慢慢成長到「看內容的」，而村上的書確實陪我走過了這段成長期。
—說故事最重要的還是語調，也就是文體，能夠產生信賴感的、親切感的，多半是要靠語調。（以及善的內容）。
—川普的確有點像古代祭司，很懂得替人的無意識煽風點火。
—對學運世代虛偽言語的厭惡與不信任。
—「惡」有多樣面貌，不過身為個人主義者的村上，惡有一大部分來自於「系統」。
說得更明白的話，是國家、社會或制度這種堅固僵硬的系統無可避免會釀成、萃取出的惡。（p.319)
—到了末尾，也慢慢跟未映子一樣產生村上真的無法為自己的小說做具體的分析說明，小說，真的就是忠實的把他無法明說的整體挖掘出來，呈現給讀者。
「我已徹底明白，針對小說中的種種事物的意義請教您，是無意義之舉。」
—村上的小說是「假定過去式」
—免色看不到騎士團長是小說中相當重要的關鍵點（不過無法說明）
—idea的說明在p.156.
—如果能畫出無臉男的肖像，便可拿回企鵝護身符，但或許很困難。不過，那也許是他的人生一大課題，而且那個課題或許不是會改變他。
—一生之中，真正衷心信賴、或者很感動的小說其實寥寥無幾。許多人會一再重讀，仔細反芻回味。⋯⋯而且到頭來，這少數幾本書，會成為我們的精神支柱。
（對我來說是朱少麟的燕子）
— 人生三大小說：大亨小傳、漫長的告別。
—生動的對話/生動的比喻。
—挪威的森林中，直子與綠各自努力活在意識下的世界與意識上的世界。⋯⋯玲子啦、初美啦，至今想起他們還是會有點心口發熱。
—「私」嚴格來說是善於觀察的人。至於「僕」會被周遭各種強大的力量帶領、左右。⋯⋯「私」會觀察，意志堅定的設法維持、保持自己的立場。
—作家必須創作的不是那種迴路閉鎖的惡意故事，應該是更廣泛開放的故事。不是把人關起來詐取什麼，必須是向世界提示、提案一個互相接納，互相給予的狀況。
本月第二本書完成，真正認識我的人都知道我書看的多麽少，希望今年能有每月兩本的進度（努力、努力）。我曾經對村上什麼都不講感到不奈（也越來越少看藝術品因為實在太多創作者的故弄玄虛而我無從分辨）。
但我慢慢能接受那或許就是他們對世界的處理方式（並非邏輯分析，而是整體包納）。
雖然我的重心會越朝向這世界可了解的部分就是了（畢竟，我們過的，是極其有限、分分秒秒的人生）。
March 23, 2021
超喜歡這次的訪談集! 內容生動有趣，雖然談到的話題多少跟"身為職業小說家"以及村上其他的隨筆文多有重複，但覺得有更深一層認識到村上的創作文脈與想法，而且讀起來讓人欲罷不能，簡直比小說還精彩。(常跟著笑出來！)我想採訪者川上未映子居功厥偉，因為村上其他的訪談集我覺得就沒這麼有趣了。對於內容"地下二樓"的比喻令我印象最深刻，提及"惡"的主題我也很喜歡。另外我也喜歡村上談"刺殺騎士團長"的角色，忍不住讓人想要立刻回去重讀。雖然刺殺騎士團長的結尾讓我感到不滿意，但認真說來除了結局的其餘整體真的是寫得非常精彩。現在讀了村上自己說的，我深深被他說服，也為他的層次(不管是文筆上或是氣度上)果然又更上一層樓感到高興。身為村上春樹的書迷差不多也有25年了，持續讀著他的書到現在，恍然悟到自己身為讀者能跟著作者一起成長的同伴情操，果然是很快樂也很難得的。希望村上持續寫更多!
Read
August 20, 2023文件櫃的存在，「惡」的形式好像改變了，《挪威的森林》的夢幻劇本，你認為死了以後會怎樣
October 2, 2018
Get a glimpse of the scene behind Murakami's magic?
It is always quite amusing to see the process of creative activity.
Interesting to see Murakami's obsession (?) for style,
and how he described how the process of shaping/ polishing his style (sentences) becomes the self-seeking (self-knowing) step for him (it's not the theme or actual story, but his tireless work/re-work on the style that he learns about himself).
I think the interviewer, Kawakami did a great job bringing out Murakami's magic. She did bring out some really interesting questions; roles of fiction writer in society (in the face of social problems) and also view of women in Marakami's works. Would love to check-out her fictions as well.
It is always quite amusing to see the process of creative activity.
Interesting to see Murakami's obsession (?) for style,
and how he described how the process of shaping/ polishing his style (sentences) becomes the self-seeking (self-knowing) step for him (it's not the theme or actual story, but his tireless work/re-work on the style that he learns about himself).
I think the interviewer, Kawakami did a great job bringing out Murakami's magic. She did bring out some really interesting questions; roles of fiction writer in society (in the face of social problems) and also view of women in Marakami's works. Would love to check-out her fictions as well.
Displaying 1 - 7 of 7 reviews