Blind Willow, Sleeping Woman: 24 Stories

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Overview

Here are animated crows, a criminal monkey, and an iceman, as well as the dreams that shape us and the things we might wish for. Whether during a chance reunion in Italy, a romantic exile in Greece, a holiday in Hawaii, or in the grip of everyday life, Murakami's characters confront grievous loss, or sexuality, or the glow of a firefly, or the impossible distances between those who ought to be the closest of all.

RunTime: 13 hrs 30 min, 2 CDs. * Mp3 CD Format *. ...

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2006 Hard cover New in very good dust jacket. Glued binding. Paper over boards. With dust jacket. 333 p. Audience: General/trade. NEW

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Blind Willow, Sleeping Woman: 24 Stories

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Overview

Here are animated crows, a criminal monkey, and an iceman, as well as the dreams that shape us and the things we might wish for. Whether during a chance reunion in Italy, a romantic exile in Greece, a holiday in Hawaii, or in the grip of everyday life, Murakami's characters confront grievous loss, or sexuality, or the glow of a firefly, or the impossible distances between those who ought to be the closest of all.

RunTime: 13 hrs 30 min, 2 CDs. * Mp3 CD Format *. Following the best-selling triumph of "Kafka on the Shore," comes a collection that generously expresses Murakami's mastery. From the surreal to the mundane, these stories exhibit his ability to transform the full range of human experience in ways that are instructive, surprising, and relentlessly entertaining. As Richard Eder has written in the "Los Angeles Times Book Review," "He addresses the fantastic and the natural, each with the same mix of gravity and lightness."

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Editorial Reviews

From Barnes & Noble
Beautiful, ephemeral, and profoundly weird, the short stories in this collection by internationally acclaimed novelist Haruki Murakami are nearly impossible to describe. Characters move through thoroughly contemporary settings (high-rise apartments, holiday resorts, etc.) in a sort of fever dream, haunted by ghosts and spirits of the past. Including 24 tales, each one more surreal than the one before, this follow-up to Kafka on the Shore includes all the strange events, bizarre epiphanies, and mystifying twists and turns we have come to expect from Murakami.
Publishers Weekly
One of my favorite Haruki Murakami stories is "The Elephant Vanishes"-part of an earlier collection published in 1991-in which the narrator watches as an elephant in a zoo grows smaller and smaller until finally the elephant disappears. No explanation is given, there is no resolution, the vanished elephant remains a mystery at the same time that the narrator's life is changed forever. Blind Willow, Sleeping Woman, Murakami's new collection of 25 stories, many of which have appeared in the New Yorker and other publications, also describes these epiphanic instances. In the title story, a character who is half deaf, alludes to a John Ford movie, Fort Apache, in which John Wayne tells the newly arrived colonel that if he actually saw some Indians on his way to the fort that means there weren't any. Everything is a bit off-including of course the blind willow trees whose pollen carry flies that burrow inside a sleeping woman's ears-as in a dream, where explanations are always lacking but where interpretations are plentiful. In "Mirror," the narrator sees someone who appears to be both himself and not himself in a mirror and then finds out the mirror does not exist; the disaffected woman-a lot of Murakami's characters are handicapped or incapacitated in some physical way-in "The Shinagawa Monkey," loses her own name; in "Man-Eating Cats," the narrator's girlfriend disappears and as he searches for her finds that "with each step I took, I felt myself sinking deeper into a quicksand where my identity vanished." Murakami's stories are difficult to describe and one should, I think, resist attempts to overanalyze them. Their beauty lies in their ephemeral and incantatory qualities and in his uncanny ability to tap into a sort of collective unconscious. In addition, a part of Murakami's genius is that he uses images as plot points, going from image to image, like in the marvelous story "Airplane," where, while making love, the narrator imagines strings hanging from the ceiling and how each one might open up a different possibility-good and bad. It is clear that Murakami is well acquainted with the teachings of Buddhism, western philosophies, Jungian theory; he has a deep knowledge of music and, also, I have been told, is a dedicated, strong swimmer. In his stories, he roams freely and convincingly through all these elements (and no doubt many more) without differentiating to create a world where cats talk and elephants disappear. In the introduction to this collection, Murakami writes how, for him, writing a novel is a challenge and how writing short stories is a joy-these stories are a joy for his readers as well. Lily Tuck's most recent novel, The News from Paraguay, won the 2004 National Book Award. Copyright 2006 Reed Business Information.
Library Journal
Murakami (Kafka on the Shore) is currently the West's most popular Japanese author, and each story in his new collection bears his imprimatur, a matter-of-fact style combined with plausible but surreal premises to produce a dizzying adventure. People lose themselves in mirrors; talking monkeys steal people's names until a clever psychologist solves the problem; a mother loses her only son to a shark attack in Hawaii and then travels to the site of the accident for a vacation every year, where surfers there are able to see his ghost. In the "Rise and Fall of Sharpie Cakes," Murakami skewers the staid literary establishment, whose members he caricatures as fat, blind crows, unwilling to try anything new. Magical animals and the power of natural disasters sweep through his characters' lives, transforming what came before. Yet people seem to survive, either numbed or strengthened by their ordeals. The wonderful weirdness of his vision and his unique voice are difficult to describe. They must be experienced. Recommended for all but the smallest libraries.-Andrea Kempf, Johnson Cty. Community Coll. Lib., Overland Park, KS Copyright 2006 Reed Business Information.
Kirkus Reviews
Unrequited or lost love, unrealized dreams and bizarre experiences that unfold into deeper mysteries, in 25 stories drawn from the prominent Japanese writer's entire career. A handful seem too thinly developed to make an impression: memories of high school and youth heightened by a pop song's imagery ("The 1963/1982 Girl from Ipanema"); a satire on rampant commercialism and consumer gullibility ("The Rise and Fall of Sharpie Cakes"); an obsessive daily routine through which a lonely bachelor avoids "getting caught up in other people's messes" ("The Year of Spaghetti"). But more often than not, Murakami's matchless gift for making the unconventional and even the surreal inviting and gratifying creates hard little narrative gems. In the beautiful title story, a young man's paternalistic relationship with his ingenuous cousin (who has sustained permanent hearing loss) becomes the avenue to a more intense awareness of both others' sufferings and his own alienated state. A nightwatchman sees his doppelganger in "The Mirror" (which isn't there, as he very well knows), and understands that he has somehow failed or antagonized his essential self. The vacationing narrator of "Hunting Knife" experiences several odd encounters at a tourist hotel, climaxing in a conversation with a wheelchair-bound young man whose possession of the title object amounts to a silent, secret rebellion against his fate. Successive images of loss or regret or alienation are dramatized in brisk sentences that decline to offer rational explanations, yet tease us with the manifold implications of things left unsaid. Murakami's well-known love of American jazz and nostalgic fascination with the 1960s sound recurring themes,and he's often present, under his own name or as "the writer." These techniques work to perfection in a virtuosic exploration of the phenomenon of coincidence ("Chance Traveler") and a searching Kafkaesque parable about disappearance, loss and coping ("Where I'm Likely to Find It"). A superlative display of a great writer's wares. Absolutely essential. First printing of 75,000
From the Publisher
"Murakami's stories are difficult to describe.... Their beauty lies in their ephemeral and incantatory qualities and in his uncanny ability to tap into a sort of collective unconscious.... These stories are a joy." —-Publishers Weekly Starred Review
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Product Details

  • ISBN-13: 9781400044610
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 8/29/2006
  • Pages: 352
  • Product dimensions: 6.30 (w) x 9.40 (h) x 1.20 (d)

Meet the Author

Haruki Murakami

Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many honors is the Yomiuri Literary Prize, whose previous recipients include Yukio Mishima, Kenzaburo Oe, and Kobo Abe.

Biography

The The story of how Haruki Murakami decided to become a novelist says a lot about his work, because it is as strange and culturally diffuse as the works he writes. While watching a baseball game in Toyko in 1978 between the Yakult Swallows and the Hiroshima Carp, Murakami witnessed an American hit a double. At the crack of the bat, Murakami -- who had never had any ambition to write because he assumed he didn't have the talent -- decided that he should begin a novel. He then started his first book, in the night hours after work.

If you're waiting for a connection between the double and the epiphany, there isn't one. It's often that way in Murakami's fiction, where cultures blend and seemingly incongruous, inexplicable events move the story forward. People disappear or transform as quickly as the worlds around them, and the result is a dreamlike atmosphere that blends mystery, magic realism and sci-fi while remaining unmistakably distinct from all three.

Murakami was brought up in a suburb of Kobe by parents who were teachers of Japanese literature; but the literature of his parents did not interest him and he read mostly American authors, listened to American jazz and watched American shows. For this reason, though his books are set in Japan and originally written in Japanese, they do not seem terribly foreign to English speakers. South of the Border, West of the Sun's title derives from a Nat King Cole song; and you're as likely to find a reference to McDonald's, Cutty Sark or F. Scott Fitzgerald as you are to anything Japanese.

Murakami began his career with the coming-of-age novels Hear the Wind Sing and Pinball 1973, but he hit his stride with A Wild Sheep Chase, a novel about a twentysomething ad executive who is drawn into the quest for an elusive, mutant sheep. The novel appeared in the U.S. seven years after its 1982 publication, introducing American audiences to this unclassifiable author. It contained many of the traits that mark Murakami's novels: a solitary male protagonist who drifts just outside society; first-person narration; and philosophical passages nestled within outlandish, unconventional plots. An admiring New York Times Book Review called Murakami a "mythmaker for the millennium."

The author's commercial breakthrough in Japan had come with the publication of Norwegian Wood in 1987, which sold two million copies. The story of a man who becomes involved with his best friend's girlfriend after the friend's suicide, it stands alone as the author's most straightforward, realistic work. Murakami acknowledges the book's impact on his career, and stands behind it; but he is also aware that it represented a departure from the surreal books that had made him a "cult" author with a modest following. "After Norwegian Wood, I have not written any purely realistic novels," Murakami said in a 2001 publisher's interview, "and have no intention of writing any more at this time."

Murakami's return to surrealism with Dance Dance Dance (the sequel to A Wild Sheep Chase), however, did not slow his career growth. Further translations of his work and publication of his stories in the New Yorker assured a growing following in the States, where his best known (and, to some, his best) work is The Wind-Up Bird Chronicle, which appeared here in 1997. It's a masterful work that draws together all of the themes Murakami had been exploring in his fiction up until then: modern ennui, the unpredictability of relationships, a haunting backdrop of Japanese history.

In addition to his sublime and profoundly strange short stories and novels (Sputnik Sweetheart; Kafka on the Shore; Blind Willow, Sleeping Woman, etc.), Murakami has made occasional forays into nonfiction -- most notably with Underground, a compilation of interviews with victims of the 1995 sarin gas attack on the Tokyo subway, and his 2008 memoir of the New York City Marathon, What I Talk About When I Talk About Running. He has also translated several works by American authors into Japanese, including title by F. Scott Fitzgerald, Raymond Carver, and John Irving.

Good To Know

Murakami owned a small jazz bar in Tokyo for seven years after college, an experience that he enjoyed and called upon when creating the main character of South of the Border, West of the Sun, who also owns a Tokyo jazz bar.

Murakami's first three novels, -- Hear the Wind Sing, Pinball 1973, and A Wild Sheep Chase -- comprise The Trilogy of the Rat.

His most often cited influences are Raymond Chandler, Kurt Vonnegut and Richard Brautigan.

Murakami told an interviewer from Publishers Weekly in 1991 that he considers his first two novels, Hear the Wind Sing and Pinball 1973 "weak," and was not eager to have them translated into English. The translations were published, but are not available in the U.S. Third novel A Wild Sheep Chase was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."

Daniel Handler, aka children's author Lemony Snicket, is a vocal fan of Murakami's who once wrote a review/paean to the author in the Village Voice entitled "I Love Murakami." "Haruki Murakami is our greatest living practitioner of fiction," he wrote. "....The novels aren't afraid to pull tricks usually banned from serious fiction: They are suspenseful, corny, spooky, and hilarious; they're airplane reading, but when you're through you spend the rest of the flight, the rest of the month, rethinking life."

Murakami has taught at Princeton University, where he wrote most of The Wind-Up Bird Chronicle, and Tufts University. The twin disasters of a gas attack on the Tokyo subway and the Kobe earthquake in 1995 drew the author back to Japan from the United States.

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    1. Hometown:
      Tokyo, Japan
    1. Date of Birth:
      January 12, 1949
    2. Place of Birth:
      Kyoto, Japan
    1. Education:
      Waseda University, 1973
    2. Website:

Read an Excerpt

Blind Willow, Sleeping WomanWhen I closed my eyes, the scent of the wind wafted up toward me. A May wind, swelling up like a piece of fruit, with a rough outer skin, slimy flesh, dozens of seeds. The flesh split open in midair, spraying seeds like gentle buckshot into the bare skin of my arms, leaving behind a faint trace of pain.“What time is it?” my cousin asked me. About eight inches shorter than me, he had to look up when he talked.I glanced at my watch. “Ten twenty.”“Does that watch tell good time?”“Yeah, I think so.”My cousin grabbed my wrist to look at the watch. His slim, smooth fingers were surprisingly strong. “Did it cost a lot?”“No, it’s pretty cheap,” I said, glancing again at the timetable.No response.My cousin looked confused. The white teeth between his parted lips looked like bones that had atrophied.“It’s pretty cheap,” I said, looking right at him, carefully repeating the words. “It’s pretty cheap, but it keeps good time.”My cousin nodded silently. My cousin can’t hear well out of his right ear. Soon after he went into elementary school he was hit by a baseball and it screwed up his hearing. That doesn’t keep him from functioning normally most of the time. He attends a regular school, leads an entirely normal life. In his classroom, he always sits in the front row, on the right, so he can keep his left ear toward the teacher. And his grades aren’t so bad. The thing is, though, he goes through periods when he can hear sounds pretty well, and periods when he can’t. It’s cyclical, like the tides. And sometimes, maybe twice a year, he can barely hear anything out of either ear. It’s like the silence in his right ear deepens to the point where it crushes out any sound on the left side. When that happens, ordinary life goes out the window and he has to take some time off from school. The doctors are basi- cally stumped. They’ve never seen a case like it, so there’s nothing they can do.“Just because a watch is expensive doesn’t mean it’s accurate,” my cousin said, as if trying to convince himself. “I used to have a pretty expensive watch, but it was always off. I got it when I started junior high, but I lost it a year later. Since then I’ve gone without a watch. They won’t buy me a new one.”“Must be tough to get along without one,” I said.“What?” he asked.“Isn’t it hard to get along without a watch?” I repeated, looking right at him.“No, it isn’t,” he replied, shaking his head. “It’s not like I’m living off in the mountains or something. If I want to know the time I just ask somebody.”“True enough,” I said.We were silent again for a while.I knew I should say something more, try to be kind to him, try to make him relax a little until we arrived at the hospital. But it had been five years since I saw him last. In the meanwhile he’d grown from nine to fourteen, and I’d gone from twenty to twenty-five. And that span of time had created a translucent barrier between us that was hard to traverse. Even when I had to say something, the right words just wouldn’t come out. And every time I hesitated, every time I swallowed back something I was about to say, my cousin looked at me with a slightly confused look on his face. His left ear tilted ever so slightly toward me.“What time is it now?” he asked me.“Ten twenty-nine,” I replied.It was ten thirty-two when the bus finally rolled into view. Visit Haruki Murakami's official website to read more from Blind Willow, Sleeping Woman.www.harukimurakami.com
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Table of Contents

Blind willow, sleeping woman 3
Birthday girl 19
New York mining disaster 33
Airplane : or, how he talked to himself as if reciting poetry 45
The mirror 55
A folklore for my generation : a pre-history of late-stage capitalism 61
Hunting knife 81
A perfect day for kangaroos 95
Dabchick 101
Man-eating cats 109
A "poor aunt" story 125
Nausea 1979 143
The seventh man 155
The year of spaghetti 169
Tony Takitani 175
The rise and fall of Sharpie cakes 193
The ice man 199
Crabs 209
Firefly 215
Chance traveler 235
Hanalei bay 253
Where I'm likely to find it 273
The kidney-shaped stone that moves every day 291
A Shinagawa monkey 309
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First Chapter

Blind Willow, Sleeping Woman


By Haruki Murakami

Knopf

Copyright © 2006 Haruki Murakami
All right reserved.

ISBN: 1-4000-4461-8


Chapter One

When I closed my eyes, the scent of the wind wafted up toward me. A May wind, swelling up like a piece of fruit, with a rough outer skin, slimy flesh, dozens of seeds. The flesh split open in midair, spraying seeds like gentle buckshot into the bare skin of my arms, leaving behind a faint trace of pain.

"What time is it?" my cousin asked me. About eight inches shorter than me, he had to look up when he talked.

I glanced at my watch. "Ten twenty."

"Does that watch tell good time?"

"Yeah, I think so."

My cousin grabbed my wrist to look at the watch. His slim, smooth fingers were surprisingly strong. "Did it cost a lot?"

"No, it's pretty cheap," I said, glancing again at the timetable.

No response.

My cousin looked confused. The white teeth between his parted lips looked like bones that had atrophied.

"It's pretty cheap," I said, looking right at him, carefully repeating the words. "It's pretty cheap, but it keeps good time."

My cousin nodded silently.

My cousin can't hear well out of his right ear. Soon after he went into elementary school he was hit by a baseball and it screwed up his hearing. That doesn't keep him from functioning normally most of the time. He attends a regular school, leads an entirely normal life. Inhis classroom, he always sits in the front row, on the right, so he can keep his left ear toward the teacher. And his grades aren't so bad. The thing is, though, he goes through periods when he can hear sounds pretty well, and periods when he can't. It's cyclical, like the tides. And sometimes, maybe twice a year, he can barely hear anything out of either ear. It's like the silence in his right ear deepens to the point where it crushes out any sound on the left side. When that happens, ordinary life goes out the window and he has to take some time off from school. The doctors are basically stumped. They've never seen a case like it, so there's nothing they can do.

"Just because a watch is expensive doesn't mean it's accurate," my cousin said, as if trying to convince himself. "I used to have a pretty expensive watch, but it was always off. I got it when I started junior high, but I lost it a year later. Since then I've gone without a watch. They won't buy me a new one."

"Must be tough to get along without one," I said.

"What?" he asked.

"Isn't it hard to get along without a watch?" I repeated, looking right at him.

"No, it isn't," he replied, shaking his head. "It's not like I'm living off in the mountains or something. If I want to know the time I just ask somebody."

"True enough," I said.

We were silent again for a while.

I knew I should say something more, try to be kind to him, try to make him relax a little until we arrived at the hospital. But it had been five years since I saw him last. In the meanwhile he'd grown from nine to fourteen, and I'd gone from twenty to twenty-five. And that span of time had created a translucent barrier between us that was hard to traverse. Even when I had to say something, the right words just wouldn't come out. And every time I hesitated, every time I swallowed back something I was about to say, my cousin looked at me with a slightly confused look on his face. His left ear tilted ever so slightly toward me.

"What time is it now?" he asked me.

"Ten twenty-nine," I replied.

It was ten thirty-two when the bus finally rolled into view.



Excerpted from Blind Willow, Sleeping Woman by Haruki Murakami Copyright © 2006 by Haruki Murakami. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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