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Barn Burning
20 pages, Unknown Binding
First published January 1, 1983
21 people are currently reading
2386 people want to read
About the author
Haruki Murakami
603 books132k 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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March 3, 2021
Where do I even start? Murakami's Barn Burning took me by surprise and quite frankly, blew my fucking breath away. I’ve read the story before, in 2016, and paid no mind to it, but this time around I have been prompted to read it again, since I’m taking a course at university in which we analyse and interpret the story (in comparison to its movie adaption Burning, directed by Lee Chang-dong).
You can read the story here, since there’s really no point in reading this review if you haven’t read the story yourself. It’s 12 pages long. Just do it.
There’s a hint of obsession in the work as well. After a series of events that draw the narrator’s unnamed female friend to Algeria, where she meets a wealthy man who claims to be in trade and business, the narrator finds himself in a mysterious situation when the man suddenly reveals that he burns down barns. Subtle hints indicate the idea that there is something more than mere barns being burnt – there’s an air of foreboding when the man describes the barns as carefully chosen so as to not attract attention when they suddenly disappear. Informing the narrator that the next victim of arson will be close by, he takes it upon himself to mark all of the barns in nearby Tokyo that could be raised to the ground without notice, only to be disappointed by the lack of barn burning.
In The Wind-Up Bird Chronicle, the protagonist Toru Okada sees his wife and cat leave him suddenly and separately for equally mysterious reasons. It takes Okada confining himself to the pitch darkness at the bottom of a well to be able to see things from a more detached perspective.
In Norwegian Wood, Murakami writes, “if you’re in pitch blackness, all you can do is sit tight until your eyes get used to the dark.” The common denominator here is the fact that you need to patiently look at the nothingness contained in mundane corners of the world in order to see them as something extraordinary. So what’s so extraordinary about burning barns?
When the narrator goes months on end without seeing his female friend, it becomes clear that barn burning was merely a metaphor – and a powerful one at that – one that oozes mystery and silence, along with a hint of sadness at the ease with which things, including people, are forgotten in the world.
Barn Burning is a brilliant short story (novella?) by Haruki Muraki. Its main theme, in my opinion, is the construction and deconstruction of reality in said short story. There’s an underlying surrealism throughout the entire story which makes us question reality, on the one hand, but also the fictionality of the events, on the other hand.
It’s nearly impossible for the reader to decide what’s really “real” in this story … by the end of it, we are left with nearly nothing. We don’t know if barns are actually burned in the story … we don’t know if the woman, who seems to be the center of the story, has vanished, was maybe murdered or didn’t even exist in the first place. The ending is open and confusing and the reader is purposefully left in the dark.
Barn Burning is only on the surface a mystery-thriller. If you look underneath that surface we see that the mystery elements lead us into the mysteries of our lives, our politics, our economy and sociology. It also makes us question what we see and what we don’t see, what exists and doesn’t exist. It asks what is metaphor, what is storytelling? There are no answers to these questions. And that might be hard for some readers to swallow … since most of us want to have answers, we want to solve the mystery of our lives. But you won’t find any answers in Barn Burning. You have to perceive the story for what it is: this is not a murder mystery. This is a story which asks you to reflect on the meaning of life and the texture of existence.
In most conventionally told narratives we can trust the narrator. We, as readers, don’t have to scrutinise their words. We can classify everything they tell us as “real” and “true”. In Barn Burning however, we are faced with an extremely unreliable narrator. His unreliability is made known to us on several different occasions in the story. You definitely have to dig to catch all of them, but Murakami presents us with many different reasons not to trust our narrator.
First and foremost, the narrator, who is also the protagonist, is a writer himself. He lets us know that he is currently working on a story. So, whilst reading this short story, one cannot shake the dooming feeling that we might be watching a writer at work … are we just witnessing how he’s getting inspired to write a story? Are all of the other characters made up and just sprung from his mind? It seems likely.
The story is told in first person. Everything we see, we see through the eyes of the narrator/protagonist; which also means that we only see what he wants us to see. Nothing more. He is in the perfect position to manipulate us as readers. We have to distinguish this narrator in the part of him that actually lived through the events told in the story, and the part that is actually narrating the story in hindsight. The story is told in retrospect, which means that the narrator is recounting some events from his past. However, this is what the narrator says about himself:
There’s a great concept mentioned – the concept of “simultaneous existence”. It’s a concept that describes perfectly what Murakami does in his fiction. Reality and imagination seem to exist alongside each other. The lines are no longer clear. Murakami once said: “I am not religious. I only believe in the imagination. And that there is not just one reality. The real world and another, unreal world exist at the same time, they are very closely connected. Sometimes they get mixed up. And if I want to, if I concentrate hard, I can change sides. I can come and go. That happens in my literature. That's what it's all about. My stories play out sometimes on one side, sometimes on the other, and I don't even notice the difference anymore.”
You can read the story here, since there’s really no point in reading this review if you haven’t read the story yourself. It’s 12 pages long. Just do it.
You burn barns. I don’t burn barns. There’s this glaring difference, and to me, rather than say which of us is strange, first of all I’d like to clear up just what that difference is.Complete with nameless characters, a sense of loss, and an air of mystery tied to the true nature of reality, “Barn Burning” recounts a simplistic yet charged tale of arson.
There’s a hint of obsession in the work as well. After a series of events that draw the narrator’s unnamed female friend to Algeria, where she meets a wealthy man who claims to be in trade and business, the narrator finds himself in a mysterious situation when the man suddenly reveals that he burns down barns. Subtle hints indicate the idea that there is something more than mere barns being burnt – there’s an air of foreboding when the man describes the barns as carefully chosen so as to not attract attention when they suddenly disappear. Informing the narrator that the next victim of arson will be close by, he takes it upon himself to mark all of the barns in nearby Tokyo that could be raised to the ground without notice, only to be disappointed by the lack of barn burning.
In The Wind-Up Bird Chronicle, the protagonist Toru Okada sees his wife and cat leave him suddenly and separately for equally mysterious reasons. It takes Okada confining himself to the pitch darkness at the bottom of a well to be able to see things from a more detached perspective.
In Norwegian Wood, Murakami writes, “if you’re in pitch blackness, all you can do is sit tight until your eyes get used to the dark.” The common denominator here is the fact that you need to patiently look at the nothingness contained in mundane corners of the world in order to see them as something extraordinary. So what’s so extraordinary about burning barns?
When the narrator goes months on end without seeing his female friend, it becomes clear that barn burning was merely a metaphor – and a powerful one at that – one that oozes mystery and silence, along with a hint of sadness at the ease with which things, including people, are forgotten in the world.
Barn Burning is a brilliant short story (novella?) by Haruki Muraki. Its main theme, in my opinion, is the construction and deconstruction of reality in said short story. There’s an underlying surrealism throughout the entire story which makes us question reality, on the one hand, but also the fictionality of the events, on the other hand.
It’s nearly impossible for the reader to decide what’s really “real” in this story … by the end of it, we are left with nearly nothing. We don’t know if barns are actually burned in the story … we don’t know if the woman, who seems to be the center of the story, has vanished, was maybe murdered or didn’t even exist in the first place. The ending is open and confusing and the reader is purposefully left in the dark.
Barn Burning is only on the surface a mystery-thriller. If you look underneath that surface we see that the mystery elements lead us into the mysteries of our lives, our politics, our economy and sociology. It also makes us question what we see and what we don’t see, what exists and doesn’t exist. It asks what is metaphor, what is storytelling? There are no answers to these questions. And that might be hard for some readers to swallow … since most of us want to have answers, we want to solve the mystery of our lives. But you won’t find any answers in Barn Burning. You have to perceive the story for what it is: this is not a murder mystery. This is a story which asks you to reflect on the meaning of life and the texture of existence.
In most conventionally told narratives we can trust the narrator. We, as readers, don’t have to scrutinise their words. We can classify everything they tell us as “real” and “true”. In Barn Burning however, we are faced with an extremely unreliable narrator. His unreliability is made known to us on several different occasions in the story. You definitely have to dig to catch all of them, but Murakami presents us with many different reasons not to trust our narrator.
First and foremost, the narrator, who is also the protagonist, is a writer himself. He lets us know that he is currently working on a story. So, whilst reading this short story, one cannot shake the dooming feeling that we might be watching a writer at work … are we just witnessing how he’s getting inspired to write a story? Are all of the other characters made up and just sprung from his mind? It seems likely.
The story is told in first person. Everything we see, we see through the eyes of the narrator/protagonist; which also means that we only see what he wants us to see. Nothing more. He is in the perfect position to manipulate us as readers. We have to distinguish this narrator in the part of him that actually lived through the events told in the story, and the part that is actually narrating the story in hindsight. The story is told in retrospect, which means that the narrator is recounting some events from his past. However, this is what the narrator says about himself:
But perhaps my senses were wrong, too. I have a tendency to make my memory fit the circumstances.This means that we, as readers, have to question everything that he, as a narrator, tells us … his memories don’t have to be “real” or “true. He even admits that himself. In mimetically undecidable narration there is no stable and clearly determinable narrated world, so that the impression of unreliability is not only partial or temporary, but can apply to the whole text. There is a fundamental undecidability and uncertainty about what is actually the case in the narrated world. And that’s the exact case in Barn Burning. After reading the story one is so unsure that one cannot decide what is truthfully reported by the narrator and what is just his imagination.
And then she peeled mandarins. "Peeling tangerines" literally means peeling tangerines. On the left in front of her was a big glass bowl with a mountain of tangerines and on the right was a bowl for the peels - that was the arrangement - in reality there was nothing there. [...] If you tell it, it might not be anything special. But when I actually saw it directly in front of me for ten or twenty minutes, I felt as if I was deprived of any sense of reality.And that’s exactly how we as readers also feel when reading this story – we are deprived of any sense of reality. When the women explains why she mimes peeling tangerines, she explains: “Just don't think that there are tangerines here, just forget that there are not here. That's all.” For me, this is the key to understanding the story at hand. It’s a story about forgetting that something isn’t there. Our narrator, the author of this story, is practicing that act of pantomime. He himself has forgotten that the woman and the other man aren’t really there. The boundaries between fiction and reality blur. He only sees what he wants to see. And that also applies to us as readers. No matter who will read the story, you will always get a different look, a different interpretation of it. Everything depends on our on imagination, on what we want to see in this story.
There’s a great concept mentioned – the concept of “simultaneous existence”. It’s a concept that describes perfectly what Murakami does in his fiction. Reality and imagination seem to exist alongside each other. The lines are no longer clear. Murakami once said: “I am not religious. I only believe in the imagination. And that there is not just one reality. The real world and another, unreal world exist at the same time, they are very closely connected. Sometimes they get mixed up. And if I want to, if I concentrate hard, I can change sides. I can come and go. That happens in my literature. That's what it's all about. My stories play out sometimes on one side, sometimes on the other, and I don't even notice the difference anymore.”
August 28, 2022
انها الحظيرة الأولى التي تستحق الحرق منذ فترة طويلة"
في الواقع ..إنها مستعدة لتحرق مسبقا " كلمات قد تفسرها بمنطق السفاحين/مشعلي الحرائق /المساطيل/ المختلين المصممين ان الانسان=زرايب
لو كنت تريد مراجعة تفسر ما غمض فعليك بايمن جمعة و اذا كان خُلقك ضاق مثلي
ف لا تتعب نفسك كثيرا لأن
هناك قصص تستحق الحرق ايضا
قصص تتركك بين الشك و اليقين
قصص تتركك مشفقا على الروائي
قصص تتركك متعجبا من كوكب اليابان الاسطوري
قصص تذكرك ان" زودياك"حر طليق
قصص تذكرك بثرثرة فوق النيل💧
في الواقع ..إنها مستعدة لتحرق مسبقا " كلمات قد تفسرها بمنطق السفاحين/مشعلي الحرائق /المساطيل/ المختلين المصممين ان الانسان=زرايب
لو كنت تريد مراجعة تفسر ما غمض فعليك بايمن جمعة و اذا كان خُلقك ضاق مثلي
ف لا تتعب نفسك كثيرا لأن
هناك قصص تستحق الحرق ايضا
قصص تتركك بين الشك و اليقين
قصص تتركك مشفقا على الروائي
قصص تتركك متعجبا من كوكب اليابان الاسطوري
قصص تذكرك ان" زودياك"حر طليق
قصص تذكرك بثرثرة فوق النيل💧
December 25, 2025
حشيش فايدة فيك يا مورا و الله
كم من حظيرة أحرقنا خلفنا و كم من ضحية تنتظر الحريق
December 15, 2023
- ترجمة ممتازة وسلسلة وهذا يحسب للمترجمة.
- القصة قصيرة، سريعة، احداثها قليلة ورمزيتها واسعة.
- هل كانت الحظيرة ترمز الى الصديقة؟ وهل حارق الحظائر هو قاتل الأنفس؟.. اعتقد ذلك.. وخصوصا حين قال له ان الحظيرة قريبة جدا منك!.. لكن ما الدافع؟ اهو الغيرة، ام مرض نفسي؟ ام مجرد هوس لإشباع شيئ ما في ذاته؟
- القصة قصيرة، سريعة، احداثها قليلة ورمزيتها واسعة.
- هل كانت الحظيرة ترمز الى الصديقة؟ وهل حارق الحظائر هو قاتل الأنفس؟.. اعتقد ذلك.. وخصوصا حين قال له ان الحظيرة قريبة جدا منك!.. لكن ما الدافع؟ اهو الغيرة، ام مرض نفسي؟ ام مجرد هوس لإشباع شيئ ما في ذاته؟
January 28, 2020
انهى سنة 2018 ب الاعيب موراكامى و الغازه
اول تجربة مع هاروكى موراكامى الغريب العجيب الرائع ب الغازه
لا اعلم من اين أبدا حرق حظيرة
و لكن اعلم ان بى من التسأولات ما يجعلنى لا استطيع ان اتغلب عن التفكير عن الاحتمالات و الغموض بين السطور , الحظيرة استعارة نعم ف هل هى استعارة بالكثير الذى فى حياتنا نهمله و نفقده و هو قريب جدا و لكن لا نشعر بفقدانه .
قد كان من حظى و اقولها و هذا نادر ان ارى الفيلم المأخوذ عنها قبل قراتها بعدما قوبل ب حفاوة فى كل المهرجانات العالمي.
قليلة الافلام التى تناطح الرواية و تتغلب عليها و بما اننا نتكلم عن قصة قصيرة ف اقولها بلا نقاش
Burning 2018 من افضل افلام السنة و تغلب على القصة و سوف يتركك بتسأولات اكتر و الغاز اكتر , انتهيت من الفيلم الذى مدته ساعتين و ربع لاتفحص النت ل 3 ساعات متتالية على امل ان اجد اجابات لاسئلتى ف وجدت الاسئلة تتزايد و لا تكف لحد الان و سوف يظل الفيلم يؤرقنى لفترة من الوقت , فيلم رائع رائع رائع ل قصة رائعة غامضة
هذا هو هاروكى موراكامى ب قصة قصيرة انهى عامى الملل ب تشويق و اسئلة كثيرة .
هناك أشياء قريبة منك جداً .. لدرجة أنك لا تراها !
* بعد قراءة الرواية و مشاهدة الفيلم معآ سوف تبحث عن اسئلة كثيرة جدا و سوف تحتاج ان تتناقش فورا مع صديق ف لذلك انا مستعد لمناقشتها و الجدال معك لانها فعلا ارهقتنى و لدى اسئلة كثيرة ايضا تحتاج لاجابة و نظريات اكثر .
دمتم قراء
اول تجربة مع هاروكى موراكامى الغريب العجيب الرائع ب الغازه
لا اعلم من اين أبدا حرق حظيرة
و لكن اعلم ان بى من التسأولات ما يجعلنى لا استطيع ان اتغلب عن التفكير عن الاحتمالات و الغموض بين السطور , الحظيرة استعارة نعم ف هل هى استعارة بالكثير الذى فى حياتنا نهمله و نفقده و هو قريب جدا و لكن لا نشعر بفقدانه .
قد كان من حظى و اقولها و هذا نادر ان ارى الفيلم المأخوذ عنها قبل قراتها بعدما قوبل ب حفاوة فى كل المهرجانات العالمي.
قليلة الافلام التى تناطح الرواية و تتغلب عليها و بما اننا نتكلم عن قصة قصيرة ف اقولها بلا نقاش
Burning 2018 من افضل افلام السنة و تغلب على القصة و سوف يتركك بتسأولات اكتر و الغاز اكتر , انتهيت من الفيلم الذى مدته ساعتين و ربع لاتفحص النت ل 3 ساعات متتالية على امل ان اجد اجابات لاسئلتى ف وجدت الاسئلة تتزايد و لا تكف لحد الان و سوف يظل الفيلم يؤرقنى لفترة من الوقت , فيلم رائع رائع رائع ل قصة رائعة غامضة
هذا هو هاروكى موراكامى ب قصة قصيرة انهى عامى الملل ب تشويق و اسئلة كثيرة .
هناك أشياء قريبة منك جداً .. لدرجة أنك لا تراها !
* بعد قراءة الرواية و مشاهدة الفيلم معآ سوف تبحث عن اسئلة كثيرة جدا و سوف تحتاج ان تتناقش فورا مع صديق ف لذلك انا مستعد لمناقشتها و الجدال معك لانها فعلا ارهقتنى و لدى اسئلة كثيرة ايضا تحتاج لاجابة و نظريات اكثر .
دمتم قراء
February 4, 2020
I came across this short story “Barn Burning” after watching the South Korean movie “Burning” which was loosely based on it. It’s about a nameless narrator, a girl who barely gets by and her enigmatic new boyfriend. I liked the movie, but I felt it was rather slow in the build-up. Otherwise, I loved this story as it is sinisterly mysterious and requires you to read between the lines to grasp what’s happening.
September 14, 2018
بعيدٌ علي مقرُبة..
يحدث أن: تقتل نفسك هما و تفكيرا في كل احتمال بعيد و ما تبحث عنه هنا تمامًا، تحت أنفك
تبًا لك موراكامي.
للتحميل:
https://ia800208.us.archive.org/20/it...
يحدث أن: تقتل نفسك هما و تفكيرا في كل احتمال بعيد و ما تبحث عنه هنا تمامًا، تحت أنفك
تبًا لك موراكامي.
للتحميل:
https://ia800208.us.archive.org/20/it...
November 19, 2017
في هذه القصة القصيرة لغز يجب عليك حلُه او البحث عن حلِه
Read
March 23, 2019 لو ان "موراكامي" كاتباً متميزا فذلك لأنه يعرف كيف يستقطب قارئه لدائرته دونما أن يفرض قيد أو شرط ، بل أنت كقارىء ترحب بعالمه ولو حاولت مخالفة هوس هذا العالم لوخزك ضميرك 😊
حسنا ما جدوى حرق حظيرة أو الابقاء عليها ؟ بل بالأحرى ما الذي يدعو للتحدث بشأن حظيرة !!
ستدرك ان كم من الاشياء قريبة منا جدا ولكن لا نلحظها ابدا..
موراكامي ذكر هنا ما يدعى بالتزامنية بمعنى تفكر بشيء وتفعل ما يناقضه تماما ، لا بأس أنت على ما يرام ، كل ما هنالك ان المرء قد يقبل على قول شيء هام لأحدهم واذ بفكرة باهتة تطفو على السطح بغتة فتأتى ردة فعلك متناقضة مع ما كنت بصدد قوله 🤐
ترى مراوغات هذا التناقض بين ما يدور بأذهاننا وردة فعلنا سببا فى خيباتنا وخسارتنا والفرص المفوتة بحياتنا ؟!!...
حسنا ما جدوى حرق حظيرة أو الابقاء عليها ؟ بل بالأحرى ما الذي يدعو للتحدث بشأن حظيرة !!
ستدرك ان كم من الاشياء قريبة منا جدا ولكن لا نلحظها ابدا..
موراكامي ذكر هنا ما يدعى بالتزامنية بمعنى تفكر بشيء وتفعل ما يناقضه تماما ، لا بأس أنت على ما يرام ، كل ما هنالك ان المرء قد يقبل على قول شيء هام لأحدهم واذ بفكرة باهتة تطفو على السطح بغتة فتأتى ردة فعلك متناقضة مع ما كنت بصدد قوله 🤐
ترى مراوغات هذا التناقض بين ما يدور بأذهاننا وردة فعلنا سببا فى خيباتنا وخسارتنا والفرص المفوتة بحياتنا ؟!!...
October 22, 2016
قرأت اليوم أربعة قصص قصيرة للعزيز موراكامى، كانت حرق حظيرة هذه هى آخرهم.
ينجح دومًا فى إنارة شعلة صغيرة فى عقلك قد لا يلتفت لها أحدًا.
ينجح دومًا فى إنارة شعلة صغيرة فى عقلك قد لا يلتفت لها أحدًا.
April 18, 2018
حرق حظيرة أم قتل صديقة؟
هاروكى موراكامى مستمر فى العصف بعقلى وفى المزج بسلاسة بين الواقع والخيال بين الحقيقة والخرافة
كنت قد انتهيت من قراءة رائعته نعاس والتى جعلت النوم يجافينى والأرق كثيراً هو عادتى لمدة تجاوزت الأسبوعين المتتاليين وكأن قوة سحرية فى كلمات هذا المجنون قد أثرت على عقلى وتفكيرى وكـأن عقلى الباطن قد ربطه خيط غير مرئى بكلمات اليابانى جعلته لا يتوقف عن التفكير بها .... لذلك كنت حذراً هذه المرة من أن القوى السحرية فى كلمات اليابانى قد تؤثر سلباً على.
ولكننى هذه المرة وجدت نفسى مشغولاً منذ مدة بهذه الفكرة التى ربما يبدو الكثيرون منا على عكس ما يبطنون .. أو فكرة الإزدواجية النفسية قد تكون إنساناً هادئاً محباً للسلام لكن بداخلك ذلك القاتل حارق الحظائر الذى لا ينفك يفكر فى أن يكون عكس ما يبدو.
لأكون صريحاً معكم من منا لم يفكر أن يتحول من الطيبة إلى الشر ومن الحب إلى الكراهية إذا ما قوبلت طيبته ومحبته بالنقيض من بعض الناس وما أكثرهم فى زماننا! ... لا أخفيكم سراً ما دفعنى إلى التفكير السلبى هذا يوماً هو الموت.
نعم , الموت
فالموت فى حياتنا ينتقى ويختار الطيبون والحنونون والعطوفون وأصحاب الأحضان الدافئة والوجوه المشرقة والضحكة الصافية
ويبقى على من هم على عكس تلك الصفات فى حياتنا يزيدونها كآبة ويعصرون صفار وجوههم وقلوبهم ونواياهم فى سماءنا فيحجبون شمس الحياة.
هاروكى موراكامى مستمر فى العصف بعقلى وفى المزج بسلاسة بين الواقع والخيال بين الحقيقة والخرافة
كنت قد انتهيت من قراءة رائعته نعاس والتى جعلت النوم يجافينى والأرق كثيراً هو عادتى لمدة تجاوزت الأسبوعين المتتاليين وكأن قوة سحرية فى كلمات هذا المجنون قد أثرت على عقلى وتفكيرى وكـأن عقلى الباطن قد ربطه خيط غير مرئى بكلمات اليابانى جعلته لا يتوقف عن التفكير بها .... لذلك كنت حذراً هذه المرة من أن القوى السحرية فى كلمات اليابانى قد تؤثر سلباً على.
ولكننى هذه المرة وجدت نفسى مشغولاً منذ مدة بهذه الفكرة التى ربما يبدو الكثيرون منا على عكس ما يبطنون .. أو فكرة الإزدواجية النفسية قد تكون إنساناً هادئاً محباً للسلام لكن بداخلك ذلك القاتل حارق الحظائر الذى لا ينفك يفكر فى أن يكون عكس ما يبدو.
لأكون صريحاً معكم من منا لم يفكر أن يتحول من الطيبة إلى الشر ومن الحب إلى الكراهية إذا ما قوبلت طيبته ومحبته بالنقيض من بعض الناس وما أكثرهم فى زماننا! ... لا أخفيكم سراً ما دفعنى إلى التفكير السلبى هذا يوماً هو الموت.
نعم , الموت
فالموت فى حياتنا ينتقى ويختار الطيبون والحنونون والعطوفون وأصحاب الأحضان الدافئة والوجوه المشرقة والضحكة الصافية
ويبقى على من هم على عكس تلك الصفات فى حياتنا يزيدونها كآبة ويعصرون صفار وجوههم وقلوبهم ونواياهم فى سماءنا فيحجبون شمس الحياة.
April 29, 2016
موراكامي روائي من النوع الذي يكتفي بجعلنا نطرح الأسئلة حول الأحداث التي يكتبها، بشكل متتابع، مشتت حتى يطيب خاطرنا عن سماع أجابتها منه، يبعثر الأجواء من حولنا حتى نستلذ بالشرود الذي يشيعه في عقولنا، ننتهي بالإصغاء له بدل القراءة.
تعرض الروائي وهو الشخصية الرئيسية في القصة لحيلة مشابهة، لعبة الإصغاء! بينما تصغي هنالك لعبة تُحاك من خلفك، من يجعلك تصغي هو ينقل لرأسك شغف يشغلك بعيدًا عن مرماه، ليحرز هدفه بدقة يكتفي بانشغالك عن تحركاته، الأفضل أن يكون الشغف الذي ينقله لك جديد عليك كليًا حتى يكون استغراقك فيه حتى أذنيك مؤكد، من يجعلك تصغي له هو يصنع منك ذيلاً تفكر برأسه و ترى بعينه لتبقى يداه طليقتان.
و أخيرًا كيف تسكت حقوق الحظيرة عن هكذا قصص؟ الآن أصبحتم تعلمون....أن الإصغاء لا شك فعل مشتت مهما جمع من تركيز .
تعرض الروائي وهو الشخصية الرئيسية في القصة لحيلة مشابهة، لعبة الإصغاء! بينما تصغي هنالك لعبة تُحاك من خلفك، من يجعلك تصغي هو ينقل لرأسك شغف يشغلك بعيدًا عن مرماه، ليحرز هدفه بدقة يكتفي بانشغالك عن تحركاته، الأفضل أن يكون الشغف الذي ينقله لك جديد عليك كليًا حتى يكون استغراقك فيه حتى أذنيك مؤكد، من يجعلك تصغي له هو يصنع منك ذيلاً تفكر برأسه و ترى بعينه لتبقى يداه طليقتان.
و أخيرًا كيف تسكت حقوق الحظيرة عن هكذا قصص؟ الآن أصبحتم تعلمون....أن الإصغاء لا شك فعل مشتت مهما جمع من تركيز .
March 25, 2022
Murakami has a way of taking you on a magical trip, unlike fairy tales, it’s not filled to the brim with magical beings, rather ordinary characters and mundane events take on the cloak of magic and readers are transported to a new realm— so close yet so far away. What’s more-ordinarily extraordinary than this…!
This tale’s a strong recommendation for Murakami admirers.
Instead of drawing the gist of the tale, (as it's a work read and I'm being lazy asf) let me put the quotes that capture the heart of the tale and more importantly put Murakami’s secret of storytelling to the foreground— one needs a discerning eye to catch the subtle hints, but they are all there for grabs.
….Tangerine Peeling. As the name says, it involves peeling a tangerine. On her left was a bowl piled high with tangerines; on her right, a bowl for the peels. At least that was the idea. Actually, there wasn't anything there at all. She'd take an imaginary tangerine in her hand, slowly peel it, put one section in her mouth, and spit out the seeds. When she'd finished one tangerine, she'd wrap up all the seeds in the peel and deposit it in the bowl to her right. She repeated these movements over and over again. When you try to put it in words it doesn't sound like anything special. But if you see it with your own eyes for ten or twenty minutes (almost without thinking, she kept on performing it) gradually the sense of reality is sucked right out of everything around you. It's a very strange feeling.
…
"This? It's easy. It has nothing to do with talent. What you do isn't make yourself believe that there are tangerines there. You forget that the tangerines are not there. That's all."
What I was looking for was a certain feeling. A feeling that had nothing to do with sympathy—or understanding.
Sometimes I burn down barns.
I won't get caught. The police aren't going to comb the streets over a lousy little barn burning down.
"You're a writer, so I thought you must be interested in patterns of human behavior. Writers are supposed to appreciate something for what it is, before they hand down a judgment or whatever. If 'appreciate' isn't the right word, maybe you can say they can accept things for what they are.”
"The world's full of barns, that are, like, waiting for me to burn them down. A barn all by itself beside the ocean, a barn in the middle of a rice paddy . . . Anyhow, all kinds of barns. Give me fifteen minutes, and I'll burn them dear to the ground. So it looks like there was never any barn there to begin with. No one gets choked up over it. It just... disappears. Whoosh!"
"I don't judge anything. The barns are waiting to be burned. I just accept that. I merely accept what's there. It's like the rain. The rain falls. The river swells up. Something gets carried away in the flow. Is the rain making a judgment? It's not like I'm out to commit an immoral act. I have my own code of morality. A sense of morality is important; people can't live without it. I think of it like this: morality is the delicate balance that's involved in parallel existence.
"Parallel existence? What do you mean?"
"In other words, I'm right here, but I'm over there, too. I'm in Tokyo, and at the same time I'm in Tunis. I can blame people and forgive them, all at once. There's a balance involved, and without it I don't think we'd be able to live. It's like a clasp—if it came undone we'd fill to pieces. But because it's there we can experience this kind of parallel existence.
… I had no clue what I should say next. I felt as if I were looking through a train window watching a weird landscape flash in and out of view. My body was relaxed, yet I couldn't grasp the details of the scenes passing by. But I could grasp, quite distinctly, the presence of my own body. And with it a trace of parallel existence: here's me, over here thinking. And here's another me, watching the first me thinking. Time ticked by in polyrhythmic precision.
I have a tendency to rework my memories to suit me.
For more please refer to this review. Leynes put what I thought in words and more.
https://www.goodreads.com/review/show...
This tale’s a strong recommendation for Murakami admirers.
Instead of drawing the gist of the tale, (as it's a work read and I'm being lazy asf) let me put the quotes that capture the heart of the tale and more importantly put Murakami’s secret of storytelling to the foreground— one needs a discerning eye to catch the subtle hints, but they are all there for grabs.
….Tangerine Peeling. As the name says, it involves peeling a tangerine. On her left was a bowl piled high with tangerines; on her right, a bowl for the peels. At least that was the idea. Actually, there wasn't anything there at all. She'd take an imaginary tangerine in her hand, slowly peel it, put one section in her mouth, and spit out the seeds. When she'd finished one tangerine, she'd wrap up all the seeds in the peel and deposit it in the bowl to her right. She repeated these movements over and over again. When you try to put it in words it doesn't sound like anything special. But if you see it with your own eyes for ten or twenty minutes (almost without thinking, she kept on performing it) gradually the sense of reality is sucked right out of everything around you. It's a very strange feeling.
…
"This? It's easy. It has nothing to do with talent. What you do isn't make yourself believe that there are tangerines there. You forget that the tangerines are not there. That's all."
What I was looking for was a certain feeling. A feeling that had nothing to do with sympathy—or understanding.
Sometimes I burn down barns.
I won't get caught. The police aren't going to comb the streets over a lousy little barn burning down.
"You're a writer, so I thought you must be interested in patterns of human behavior. Writers are supposed to appreciate something for what it is, before they hand down a judgment or whatever. If 'appreciate' isn't the right word, maybe you can say they can accept things for what they are.”
"The world's full of barns, that are, like, waiting for me to burn them down. A barn all by itself beside the ocean, a barn in the middle of a rice paddy . . . Anyhow, all kinds of barns. Give me fifteen minutes, and I'll burn them dear to the ground. So it looks like there was never any barn there to begin with. No one gets choked up over it. It just... disappears. Whoosh!"
"I don't judge anything. The barns are waiting to be burned. I just accept that. I merely accept what's there. It's like the rain. The rain falls. The river swells up. Something gets carried away in the flow. Is the rain making a judgment? It's not like I'm out to commit an immoral act. I have my own code of morality. A sense of morality is important; people can't live without it. I think of it like this: morality is the delicate balance that's involved in parallel existence.
"Parallel existence? What do you mean?"
"In other words, I'm right here, but I'm over there, too. I'm in Tokyo, and at the same time I'm in Tunis. I can blame people and forgive them, all at once. There's a balance involved, and without it I don't think we'd be able to live. It's like a clasp—if it came undone we'd fill to pieces. But because it's there we can experience this kind of parallel existence.
… I had no clue what I should say next. I felt as if I were looking through a train window watching a weird landscape flash in and out of view. My body was relaxed, yet I couldn't grasp the details of the scenes passing by. But I could grasp, quite distinctly, the presence of my own body. And with it a trace of parallel existence: here's me, over here thinking. And here's another me, watching the first me thinking. Time ticked by in polyrhythmic precision.
I have a tendency to rework my memories to suit me.
For more please refer to this review. Leynes put what I thought in words and more.
https://www.goodreads.com/review/show...
Read
July 25, 2020🙄🙄🤔🤔
" كل مايمكنني قوله هو انك بلاشك قد فوت الامر.أمور كهذه تحدث، كما تعرف ، أشياء قريبة منك جدا الا أنها لا تلحظ حتى "
هززت راسى ولم تخرج مني أى كلمة . كالعادة حين أكون لوحدي مع هذا الرجل .أصبح عاجزا عن التعبير
٦ /٢٠٢٠
" كل مايمكنني قوله هو انك بلاشك قد فوت الامر.أمور كهذه تحدث، كما تعرف ، أشياء قريبة منك جدا الا أنها لا تلحظ حتى "
هززت راسى ولم تخرج مني أى كلمة . كالعادة حين أكون لوحدي مع هذا الرجل .أصبح عاجزا عن التعبير
٦ /٢٠٢٠
September 18, 2018
قرأت القصه علها تساعدني في فهم الفيلم الكوري Burning ( احتراق)
ومع الاسف مافادتني باي شي .. القصه بسيطه لكن الفيلم كان معقد جدا وغير قابل للفيلم رغم انه جميل وممتع .
ومع الاسف مافادتني باي شي .. القصه بسيطه لكن الفيلم كان معقد جدا وغير قابل للفيلم رغم انه جميل وممتع .
December 5, 2017
(كان علي يسارها وعاءًا زجاجياً مليئ بالبرتقال ووعاء أخر علي يمينها لوضع القشور . كانت قد أعدته لفعل ذلك . في الحقيقة لم يكن ثمة شئ . شرعت بالتقاط برتقالة خيالية ، ثم قشرتها بمهل ، ودفعت شرائح البرتقال إلي فمها ، بصقت بذورها دفعة واحدة في وقت واحد ، وأخيراً تخلصت من بقايا القشور في الإناء علي يمينها بينما كانت تأكل الفاكهة بأكملها ، أعادت هذه المناورة مرة بعد م��ة لمدة عشرين دقيقة
قلت : يبدو أنك موهوبة جدا
قالت : أوة . هذا لا شئ . لا علاقة للموهبة في هذا . ليس شيئاً أن تجعل نفسك تصدق أن هناك برتقالة ، ثم تنسي أنه لا توجد واحدة ، هذا كل ما في الأمر )
/
موراكامي أنت بارع بارع للغاية .. أنت أيضاً جعلتني أصدق أن هناك حظائر تُحرق ، وهناك أشياء ستختفي ، وهناك خسائر ستقع ، ولكن لم يحدث شئ ، ولن يحدث شئ ، فلا حظائر ولا حرق ولا برتقالة
فقط لا شئ ..
!!
حين تحيا في سراب تصنعه بنفسك .. وتُسجن في سجن من صنعك .. وتبحث في الواقع عما اختلقه خيالك
ستحيا .. وتنشغل .. وتتعب .. ويمر عمرك .. وأنت كما أنت مازلت تبحث .. ولا تعلم - ولا تريد أن تعلم - أن الحقيقة اقرب مما تتخيل ، علي بعد مليمترات قليلة من ذاكرة مشوشة بنسيان زائف
عندما تصنع قفلا خيالياً ، دون أن تصنع المفتاح .. ثم تنسي أنك تحيا من وراء قفلا خياليا من صنعك أنت ... حينها ستظل تقشر البرتقال إلي الأبد .. ثم توهم نفسك بأنك قد شبعت ، وعليك بعدها أن تنظف المكان
!!!
قلت : يبدو أنك موهوبة جدا
قالت : أوة . هذا لا شئ . لا علاقة للموهبة في هذا . ليس شيئاً أن تجعل نفسك تصدق أن هناك برتقالة ، ثم تنسي أنه لا توجد واحدة ، هذا كل ما في الأمر )
/
موراكامي أنت بارع بارع للغاية .. أنت أيضاً جعلتني أصدق أن هناك حظائر تُحرق ، وهناك أشياء ستختفي ، وهناك خسائر ستقع ، ولكن لم يحدث شئ ، ولن يحدث شئ ، فلا حظائر ولا حرق ولا برتقالة
فقط لا شئ ..
!!
حين تحيا في سراب تصنعه بنفسك .. وتُسجن في سجن من صنعك .. وتبحث في الواقع عما اختلقه خيالك
ستحيا .. وتنشغل .. وتتعب .. ويمر عمرك .. وأنت كما أنت مازلت تبحث .. ولا تعلم - ولا تريد أن تعلم - أن الحقيقة اقرب مما تتخيل ، علي بعد مليمترات قليلة من ذاكرة مشوشة بنسيان زائف
عندما تصنع قفلا خيالياً ، دون أن تصنع المفتاح .. ثم تنسي أنك تحيا من وراء قفلا خياليا من صنعك أنت ... حينها ستظل تقشر البرتقال إلي الأبد .. ثم توهم نفسك بأنك قد شبعت ، وعليك بعدها أن تنظف المكان
!!!
January 28, 2018
ما هو مش عشان انت حبيبي يا هاروكي تجنن اللي جابونا
فيه حظيرة ولا مفيش حظيرة قتل البنت ولا ايه روق كدا وفهمنا ولا هاروكي كان بيشرب معاهم حشيش ولا ايه :)
بردو مقدرش غير ان قصصه تعجبني مهما اتجنن
الي فهمته خير اللهم ما اجعله خير انه الواد لخم البطل في حرق الحظائر وفضي هو عشان يحرق البطلة اللي زي بقية الحظائر ملهاش لازمة ومش بتفيد حد
السؤال هنا بقي ليه اقسم بالله ولا اعرف وولا شفته :)
فيه حظيرة ولا مفيش حظيرة قتل البنت ولا ايه روق كدا وفهمنا ولا هاروكي كان بيشرب معاهم حشيش ولا ايه :)
بردو مقدرش غير ان قصصه تعجبني مهما اتجنن
الي فهمته خير اللهم ما اجعله خير انه الواد لخم البطل في حرق الحظائر وفضي هو عشان يحرق البطلة اللي زي بقية الحظائر ملهاش لازمة ومش بتفيد حد
السؤال هنا بقي ليه اقسم بالله ولا اعرف وولا شفته :)
Read
December 13, 2016هناك أشياء قريبة منك جداً .. لدرجة أنك لا تراها !
March 30, 2022
"في عبارة أخرى، أتعمد إشعال حظائر تخص أناسا آخرين. طبعاً أنا لا اختار واحدة تسبب حريقا ضخما. إن كل ما أريد عمله ببساطة هو حرق حظيرة"
ويتركنا موراكامي كالعادة مع العديد من التساؤلات والأفكار
ويتركنا موراكامي كالعادة مع العديد من التساؤلات والأفكار
September 25, 2019
It feels like nothing and everything at the same time.
December 26, 2021
احترقت الحظيرة بنجاح ...
قصص هاروكي تبهرني في كل مرة 💫
قصص هاروكي تبهرني في كل مرة 💫
December 24, 2022
Dark and unsettling but it’s only when you get to the end of the story that it becomes clearer(nothing is confirmed) what has actually happened.
July 22, 2019
My beloved mysterious Murakami <3
September 11, 2019
موراكامي وغموضه
October 19, 2022
بعد از تماشای فیلم "سوختن"، به سراغ منبع اقتباس آن، داستان کوتاه "انبارسوزان" از موراکامي رفتم تا مقایسه ای بین ام ها داشته باشم.
این داستان موراکامي که خود برداشتی از داستانی به همین نام از ویلیام فاکنر است، مثل بسیاری. از داستان های موراکامي، رازآلودگي ای در خود دارد؛ و اینکه رفتارهای شخصیت ها و افکارشان اگرچه برایت گاها غیرقابل درک می آیند، اما بسته ی شخصیتی آن ها را کاملا باور می کنی و آن ابهام و رازآميزي، نه تنها صدمه ای به خوانش و همراهی مخاطب با روایت نمی زند، بلکه به خوبی در مضمون و داستان گره خورده است.
حالا که به فیلم هم اشاره کردم، بگویم که کارگردان بخاطر علاقه اجتماعی ای که در اثر دیگرش هم دیده ام، تلاش کرده تا نگاه و حساسیت اجتماعی خودش را هم وارد داستان بکند و از نقاط مغفول مانده و تاریک جامعه کره پرده بردارد... همچنین بسته به اقتضای مدیوم سینما، تلاش کرده تا از ابهام و رازآميزي داستان، حداقل در پایان فیلم، بکاهد و نیز داستانک های ریز و جالبی را هم وارد داستان اصلی کرده است.
ضمنا، از این داستان کوتاه، یک ترجمه در وب وجود دارد که با مقايسه بخش ابتدایی ترجمه انگلیسی داستان با آن، متوجه شدم که بسیاری از ظرافت های داستان نویسی موراکامي را حذف کرده و یک نثر برهنه و ساده از آن بیرون کشیده است.
ترجمه انگلیسی داستان، زبانی ساده و روان دارد و خواندن از روی آن را توصیه می کنم.
این داستان موراکامي که خود برداشتی از داستانی به همین نام از ویلیام فاکنر است، مثل بسیاری. از داستان های موراکامي، رازآلودگي ای در خود دارد؛ و اینکه رفتارهای شخصیت ها و افکارشان اگرچه برایت گاها غیرقابل درک می آیند، اما بسته ی شخصیتی آن ها را کاملا باور می کنی و آن ابهام و رازآميزي، نه تنها صدمه ای به خوانش و همراهی مخاطب با روایت نمی زند، بلکه به خوبی در مضمون و داستان گره خورده است.
حالا که به فیلم هم اشاره کردم، بگویم که کارگردان بخاطر علاقه اجتماعی ای که در اثر دیگرش هم دیده ام، تلاش کرده تا نگاه و حساسیت اجتماعی خودش را هم وارد داستان بکند و از نقاط مغفول مانده و تاریک جامعه کره پرده بردارد... همچنین بسته به اقتضای مدیوم سینما، تلاش کرده تا از ابهام و رازآميزي داستان، حداقل در پایان فیلم، بکاهد و نیز داستانک های ریز و جالبی را هم وارد داستان اصلی کرده است.
ضمنا، از این داستان کوتاه، یک ترجمه در وب وجود دارد که با مقايسه بخش ابتدایی ترجمه انگلیسی داستان با آن، متوجه شدم که بسیاری از ظرافت های داستان نویسی موراکامي را حذف کرده و یک نثر برهنه و ساده از آن بیرون کشیده است.
ترجمه انگلیسی داستان، زبانی ساده و روان دارد و خواندن از روی آن را توصیه می کنم.
February 25, 2025
امروز، داستان کوتاهِ "سوختن انبار" از موراکامی رو خوندم و بعدش فیلم Burning که از همین داستان اقتباس شده رو دیدم.
گاهی درک موراکامی برام سخته. شاید هم خودم با دنبال معنا و نماد گشتن برای خودم سختش میکنم و همهچیز سادهتر از این حرفهاست.
داستان خیلی کوتاهست و خواننده خودش پازل رو توی ذهنش میچینه و داستان رو به سمتی که خودش حدس میزنه میکشه. یعنی هیچ اطمینانی نخواهی داشت که آیا داستان همونجور که تو فکر میکنی هست یا بیشتر مربوط به حقایقی میشه که تو ازشون بیخبری. یجور تعلیقی که خوشاینده.
فیلم Burning در واقع ایدهی اصلی داستان رو در مرکز قرار داده و از اطراف گسترشش داده. نمیتونم بگم بر اساس داستان ساخته شده اما کاملا وفادارانه هم نیست. انگار که اون تیکههای پازلِ توی ذهن خواننده رو به تصویر در آورده و جزئیات دیگهای هم به داستان افزوده که میشه گفت باعث بهبود داستان بوده. (مخصوصا پایانبندی فیلم)
بخش اصلی داستان/فیلم مربوط به اعتراف به سوزاندن انبار/گلخانههای دیگرانه. یعنی "بن" اعتراف میکنه که هر از چند گاهی انبارهایی که متعلق به خودش نیستند رو آتش میزنه و میگه که اون انبارها خودشون منتظرن تا به آتش کشیده بشن و من فقط این رو میپذیرم.
توی فیلم، یک سری تماسهای تلفنی رو داریم که فرد پشت خط بدون هیچ حرفی گوشی رو میذاره. این تیکهها من رو یاد داستان کوتاه "تهوع 1979" از موراکامی انداخت که مردی که با معشوقههای دوستاش رابطه داشته، مدام تماس تلفنی دریافت میکرده و این تماسها باعث تهوعش میشدن. قطعا که این دو ربطی به هم ندارن ولی تشابه کرکتر این داستان با نقش اصلی فیلم که عاشق دوستدختر یکی دیگهست، جالب بود برام.
گاهی درک موراکامی برام سخته. شاید هم خودم با دنبال معنا و نماد گشتن برای خودم سختش میکنم و همهچیز سادهتر از این حرفهاست.
داستان خیلی کوتاهست و خواننده خودش پازل رو توی ذهنش میچینه و داستان رو به سمتی که خودش حدس میزنه میکشه. یعنی هیچ اطمینانی نخواهی داشت که آیا داستان همونجور که تو فکر میکنی هست یا بیشتر مربوط به حقایقی میشه که تو ازشون بیخبری. یجور تعلیقی که خوشاینده.
فیلم Burning در واقع ایدهی اصلی داستان رو در مرکز قرار داده و از اطراف گسترشش داده. نمیتونم بگم بر اساس داستان ساخته شده اما کاملا وفادارانه هم نیست. انگار که اون تیکههای پازلِ توی ذهن خواننده رو به تصویر در آورده و جزئیات دیگهای هم به داستان افزوده که میشه گفت باعث بهبود داستان بوده. (مخصوصا پایانبندی فیلم)
بخش اصلی داستان/فیلم مربوط به اعتراف به سوزاندن انبار/گلخانههای دیگرانه. یعنی "بن" اعتراف میکنه که هر از چند گاهی انبارهایی که متعلق به خودش نیستند رو آتش میزنه و میگه که اون انبارها خودشون منتظرن تا به آتش کشیده بشن و من فقط این رو میپذیرم.
توی فیلم، یک سری تماسهای تلفنی رو داریم که فرد پشت خط بدون هیچ حرفی گوشی رو میذاره. این تیکهها من رو یاد داستان کوتاه "تهوع 1979" از موراکامی انداخت که مردی که با معشوقههای دوستاش رابطه داشته، مدام تماس تلفنی دریافت میکرده و این تماسها باعث تهوعش میشدن. قطعا که این دو ربطی به هم ندارن ولی تشابه کرکتر این داستان با نقش اصلی فیلم که عاشق دوستدختر یکی دیگهست، جالب بود برام.
September 6, 2022
VARDAMAN BUNDREN IN A KAFKAESQUE WORLD
“There was something about his wolflike independence and even courage when the advantage was at least neutral which impressed strangers, as if they got from his latent ravening ferocity not so much a sense of dependability as a feeling that his ferocious conviction in the rightness of his own actions would be of advantage to all whose interest lay with his.”
-William Faulkner, Barn Burning
I don’t know whether it is because of the Lee Chang-dong adaptation, or the fact that this story bears a resemblance to Murakami’s best lengthier works, yet remains effective as a much shorter, and compact version; it is one of my favourites. I wanted to go into a detailed analysis here but then decided against it, because it isn’t a very popular Murakami story as far as I can see here on Goodreads, and also because it’s, well, short.
The riddles in this story torment the reader with several questions (as does the film), but for justifiable, gravitating reasons. It's a winding road about the stories men tell themselves concerning women and other men, and also how our inaction exacerbates these stories. As intriguing as exhilarating, the plot revolves around a shackled author who, for the first time in this archetype's history, does not feel like a conscience of his competent creators.
The narrator here reluctantly, and maybe inadvertently, draws us along for a journey about what happens whenever a man no longer has control over his own and other people's tales. And therein he states his favourite author Faulkner. Undoubtedly, his character mimics that of Vardaman Bundren in Faulkner’s As I Lay Dying, who is a silent observer but isn’t either bright enough or capable enough to protest against all the wrongdoings he has been a witness.
There's a whole rabbit hole hollowed out for us to follow the characters down, developing curiosity by rapidly shifting the specifics around our protagonist but refusing to relieve the tension of not understanding; he denies him, and us, the luxury of answers, dragging him from question to question with a jerk.
Each riddle elicits his perplexed replies or frantic deeds. He's not sure if the cat he's been feeding is real or not. He's not sure if he's been hanging out with two friends or third-wheeling a couple. He has no idea where he fits in this scenario, due to a man with just enough resources to tell any story he wants and a woman who is growing past requiring him at all.
“I don’t know who I am, and who I’m not, I don’t know who I’m supposed to be, and I miss who I was; I miss it every day, Kate, but there’s no place for that August anymore. No place for the version of me who wanted to go to school, and have a life, and feel human, because this world doesn’t need that August. It needs someone else.”
― Victoria Schwab, Our Dark Duet
Murakami doesn't give us any answers to the questions in the story, at all. It kind of mimics what he usually does in his longer works like Kafka On The Shore. The narrator approaches the mysteries he’s confronted with as if they are not his to give, personal information and secrets just out of reach. It's a story recounted through his eyes about others, a story made inaccessible to him by the irritation of the class divide, which manifests as his sentiments of ownership over a lady he cares about.
You may as well question the portrayal of women in this story, but for me, it’s one of the few self-conscious portrayals that Murakami has ever managed to do. Hae-mi is a piece of the narrator’s story, not hers (or, worse, someone else in whose story he plays a supporting role).
The story paints a chilling depiction of the power structures that trap men and turn them rotten — or, more accurately, those that bring men's inner moral bankruptcy to the surface — when the stories they become accustomed to telling about money, women, power, and themselves are no longer under their control. Of course, if you think of it, the story necessitates a character who can be objectified, and what do you think someone like Murakami would use to showcase the psychological degradation of a frustrated, heterosexual male?
So much for a short story, and I haven't disclosed anything about the story that I could've helped. To be honest, it's a cumulative opinion that's affected by the movie as well, but notwithstanding that matter, all in all, a must-read. Or you can as well watch the movie in this case. Lee Chang-dong’s adaptation is an outstanding and well-replenished version of this story, vaguely similar to the plot, but undivided in the essence. Of course, the story also seems to be heavily inspired by Faulkner’s tale of the same name, but I haven’t read that yet but look forward to it.
“Then it was that the thought of death burst into my daily life. I would measure the years separating me from my end. I would look for examples of men of my age who were already dead. And I was tormented by the thought that I might not have time to accomplish my task. What task? I had no idea. Frankly, was what I was doing worth continuing?”
-Albert Camus, The Fall
“There was something about his wolflike independence and even courage when the advantage was at least neutral which impressed strangers, as if they got from his latent ravening ferocity not so much a sense of dependability as a feeling that his ferocious conviction in the rightness of his own actions would be of advantage to all whose interest lay with his.”
-William Faulkner, Barn Burning
I don’t know whether it is because of the Lee Chang-dong adaptation, or the fact that this story bears a resemblance to Murakami’s best lengthier works, yet remains effective as a much shorter, and compact version; it is one of my favourites. I wanted to go into a detailed analysis here but then decided against it, because it isn’t a very popular Murakami story as far as I can see here on Goodreads, and also because it’s, well, short.
The riddles in this story torment the reader with several questions (as does the film), but for justifiable, gravitating reasons. It's a winding road about the stories men tell themselves concerning women and other men, and also how our inaction exacerbates these stories. As intriguing as exhilarating, the plot revolves around a shackled author who, for the first time in this archetype's history, does not feel like a conscience of his competent creators.
The narrator here reluctantly, and maybe inadvertently, draws us along for a journey about what happens whenever a man no longer has control over his own and other people's tales. And therein he states his favourite author Faulkner. Undoubtedly, his character mimics that of Vardaman Bundren in Faulkner’s As I Lay Dying, who is a silent observer but isn’t either bright enough or capable enough to protest against all the wrongdoings he has been a witness.
There's a whole rabbit hole hollowed out for us to follow the characters down, developing curiosity by rapidly shifting the specifics around our protagonist but refusing to relieve the tension of not understanding; he denies him, and us, the luxury of answers, dragging him from question to question with a jerk.
Each riddle elicits his perplexed replies or frantic deeds. He's not sure if the cat he's been feeding is real or not. He's not sure if he's been hanging out with two friends or third-wheeling a couple. He has no idea where he fits in this scenario, due to a man with just enough resources to tell any story he wants and a woman who is growing past requiring him at all.
“I don’t know who I am, and who I’m not, I don’t know who I’m supposed to be, and I miss who I was; I miss it every day, Kate, but there’s no place for that August anymore. No place for the version of me who wanted to go to school, and have a life, and feel human, because this world doesn’t need that August. It needs someone else.”
― Victoria Schwab, Our Dark Duet
Murakami doesn't give us any answers to the questions in the story, at all. It kind of mimics what he usually does in his longer works like Kafka On The Shore. The narrator approaches the mysteries he’s confronted with as if they are not his to give, personal information and secrets just out of reach. It's a story recounted through his eyes about others, a story made inaccessible to him by the irritation of the class divide, which manifests as his sentiments of ownership over a lady he cares about.
You may as well question the portrayal of women in this story, but for me, it’s one of the few self-conscious portrayals that Murakami has ever managed to do. Hae-mi is a piece of the narrator’s story, not hers (or, worse, someone else in whose story he plays a supporting role).
The story paints a chilling depiction of the power structures that trap men and turn them rotten — or, more accurately, those that bring men's inner moral bankruptcy to the surface — when the stories they become accustomed to telling about money, women, power, and themselves are no longer under their control. Of course, if you think of it, the story necessitates a character who can be objectified, and what do you think someone like Murakami would use to showcase the psychological degradation of a frustrated, heterosexual male?
So much for a short story, and I haven't disclosed anything about the story that I could've helped. To be honest, it's a cumulative opinion that's affected by the movie as well, but notwithstanding that matter, all in all, a must-read. Or you can as well watch the movie in this case. Lee Chang-dong’s adaptation is an outstanding and well-replenished version of this story, vaguely similar to the plot, but undivided in the essence. Of course, the story also seems to be heavily inspired by Faulkner’s tale of the same name, but I haven’t read that yet but look forward to it.
“Then it was that the thought of death burst into my daily life. I would measure the years separating me from my end. I would look for examples of men of my age who were already dead. And I was tormented by the thought that I might not have time to accomplish my task. What task? I had no idea. Frankly, was what I was doing worth continuing?”
-Albert Camus, The Fall
November 4, 2025
A Mr. James Review: Berries
(Satan Fur photo: supplement)
He's a young man, an observer would think, must be twenty-nine.
He sits alone on the basement floor; his only companion is a middle aged woman sitting on the second to bottom step -- the staircase ascends into a glowing dark kitchen. She's eating blueberries form a china bowl, with drawings of full grown Chow-Chows wrestling in the mud.
The woman is always either chewing, choosing, or raising a berry to her lips: some are sour -- disrupting thought. This passes when she selects a plump, blue and sweet berry. It's in her mouth now -- see -- all bitterness forgotten.
Before sunrise she offers the man the bowl: grunting to get his attention, then motioning with her head, indicating he should take one.
He raises his hand dismissively, and resumes playing solitaire with a dirty deck: most of the face cards have been defaced.
The woman stops offering; the man continues to play. She pouts in disappointment; her berries are sweet -- she observes the precision of his play.
Does he ever win? The thought lingers for a moment then runs through muddy brunette curls: the current berry is bitter.
She gazes at the bowl; Chow-Chow dogs wrestle in the mud.
The man sits alone, most of the cards are defaced, but one King raises his arm, suggesting a need for berries. The woman doesn't notice; she's busy making a new selection, before she glances behind her, looking up into the dark kitchen -- the candlelight on the stove still burns.
(Satan Fur photo: supplement)
He's a young man, an observer would think, must be twenty-nine.
He sits alone on the basement floor; his only companion is a middle aged woman sitting on the second to bottom step -- the staircase ascends into a glowing dark kitchen. She's eating blueberries form a china bowl, with drawings of full grown Chow-Chows wrestling in the mud.
The woman is always either chewing, choosing, or raising a berry to her lips: some are sour -- disrupting thought. This passes when she selects a plump, blue and sweet berry. It's in her mouth now -- see -- all bitterness forgotten.
Before sunrise she offers the man the bowl: grunting to get his attention, then motioning with her head, indicating he should take one.
He raises his hand dismissively, and resumes playing solitaire with a dirty deck: most of the face cards have been defaced.
The woman stops offering; the man continues to play. She pouts in disappointment; her berries are sweet -- she observes the precision of his play.
Does he ever win? The thought lingers for a moment then runs through muddy brunette curls: the current berry is bitter.
She gazes at the bowl; Chow-Chow dogs wrestle in the mud.
The man sits alone, most of the cards are defaced, but one King raises his arm, suggesting a need for berries. The woman doesn't notice; she's busy making a new selection, before she glances behind her, looking up into the dark kitchen -- the candlelight on the stove still burns.
March 19, 2018
إن كانت لديك علامة استفهام حول قصة حرق الحظيرة قبل أن تقرأها، فستخرج منها بسؤال أكبر بعد القراءة.
March 17, 2024
قصة قصيرة حلوة وأفكارها متشابكة ، كل واحد بيفهمها بشكل مختلف برؤيته هو الخاصة ،اتحولت فيلم شوفت نصفه وماقدرتش اكمله من الرتم البطيء اللي ناشي بيه الفيلم وده شيء بيخنقني والممثل البطل ده مستفز وأبله وغايظني 😂ف خليت صديق ليا قرأنا الرواية وخليته يحرقلي الفيلم عشان اعرف النهاية😂وطلعت النهاية جامدة فعلاً الفيلم سد الفجوات اللي في القصة او جاوبلك على اسئله أو ساعدك تفهم القصة بشكل مختلف🌿
موراكامي دائمًا هيسيبك في نهاية القصة تشأل نفسك ، ازاي وامتى وليه؟ وعشان ايه ؟ طب ازاي ؟ طب ايه 😂ودي حلاوة القصة
تمّت 9/3/2024 📖
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