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성보경 [작성일 : 2006-08-11 09:11:20 ] 
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며칠간의 마루쿠스 ...


성/보/경/입/니/다

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음식과 술로 아님 기교로 . 삶과 운명의 흐름을 바꾸고 죽음을 피할수 있다고 생각 하는가 ?

그런 일은 있을수 없다 . 그대 자신의 내면으로 돌아가 은둔하라 !

사람이 지배하는 이성은 오직 본인 내면의 올/바/름/을 통해 마음의 평온을

가져다 준다고 생각하라 . 그리고 인내하라 그리고 아파하라 . 단순해 질때까지

- 마르쿠스 아우레리우스 명상록 중에서 -

................................................................................


지루한 장마 며칠간 . 누군가 내삶을 대신 살고 있다는 어이없는(?)상념이 들었을때
쪽지에 적어 틈틈이 눈에 넣었던 구겨진 한구절 입니다 . 요즘은 노가다 생활이 비오면
비오는대로 할일이 많네요. 결론을 위해 전 아직도 꾸준 합니다. 건강 챙기시고 ...


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반갑구만이라..그대나 나나
상(上) 노가다.. 시간을 짊어지고 언덕의 야생화들은 누구를 위하여 이 더위속에..ㅜㅜ
하는수 없이 에어콘 바람쏘이며 사랑과 행복은 마음이 열린 준비된자를 위하여 있다손쳐도
습한 골자기에서 한옥으로 기어 내려 왔소이다. 에어콘이 있으니 조금 낫기는 한데.ㅉ


06.08.08 삭제
^Q^
자리를 마련하고자 했었는데 모두들 또 못 뵈었죠.날씨도 그렇고..다음 주 미술에 관계되는 아주 좋은분이 뉴욕에서 오십니다.... 한번 딱.. 눈동자가 해맑고 고운 미국여성아줌마...겸사 겸사 자리를 같이 할 테니 꼭 시간을 비워두시구랴....모든게 이즈음 이상하게 거꾸로 가고 있는것 같습니다.... 내가 뉴욕으로 가야하는건데..이리저리 지구가 왔다 갔다 거꾸로 돌고 있는듯..너무도 열심히들 뜨겁게 살고들있는데... <누군가 내삶을 대신 살 사람없다 이거죠>... 하늘도 구멍이 나 뻥 뚤렸는가?.. 그렇게 심하게 장대빗눈물을 흘렸으니 ...ㅎ..아닌가요.. 너무 웃다보니 그냥 눈물을 쏟았나?... 어젠 말복인가 소복인가..글구 동시에 또 입추(入秋)라니..ㅇㅣ일도 그냥 믿어줘야지...믿기지가 않네요.. 뜨거운 가을을 맞았읍니다. 성이사가 은둔을 하는 건지 내가 은둔을 하는건지.. 섞어찌게 가을 맞이 진짜배기 모임엔 꼭 참석하시구랴... 조용히 소곤소곤..말복이 갔으니 돼지복이 오겠지..

06.08.10 삭제
성보경
지내다 보니 은둔^^-이 되어 버렸습니다 . 8월 3째주에는 7일동안 일본 출장이 잡혀 있어서 그안에는 전화드리고 꼭 한번 찾아 뵙겠습니다. 이번 출장 중에 무리해서라도 개인적인 짬을내어 설한의 야외온천에 몸담구는거 하나 . 동 시대에 한번쯤은 봐야 할것같은 노르웨이의 숲 저자 무라카미 하루키를 봤음 합니다. 성사가 될지는 모르겠지만 . 뭏튼 더운 날에 식사 챙기시고 . 가기전 들르겠습니다 .

06.08.10 삭제
감꽃
열대야를 느끼기에는 마음이 너무 차가워졌었다.... 흐~ 흐~ 누군가 또 한 사람 살아있음을 확인했으니 이제 조금씩 따스해지려나.....요즘은 달력만 바라보며 시간을 죽이고 있다.....설한의 야외온천도 좋고 무라카미 하루기를 보는 것도 좋지만 머리 화상입지 않도록 조심하시게 보경 아우님~~~^*^시간나면 연락주시게~~~ 만난지가 꽤 오래되었지 아마~~~~

06.08.10 삭제
^Q^
http://www.salon.com/books/int/1997/12/cov_si_16int.html

06.08.11 삭제
^Q^
http://www.worldpress.org/0801books1.htm

06.08.11 삭제
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In person, Murakami gives an impression of self-containment. His manner is earnest, but he has a ready and dark sense of humor. He was brought up in the Kyoto area; his father was the son of a Buddhist priest and his mother the daughter of an Osaka merchant. Today he lives in the suburb of Osio (about 70 minutes from Tokyo on a fast commuter train). Very spacious, steel-framed, his home is modernist in style&#8212;though there were traditional tatami mats on the floor. The room we spoke in was dominated by two enormous loudspeakers and a wall of vinyl: 7,000 records, a legacy of his time running a Tokyo jazz club. At that time he was, he says, running away from himself. “I was a hermit in a wonderland of jazz.”

Murakami’s many references to Western culture&#8212;Le Figaro, Duran Duran, spaghetti&#8212;make older Japanese readers uneasy. They prefer the formal beauty of Mishima, Tanizaki, or Kawabata. Murakami sees this as part of a more general retreat into formalism: “After the war and modernization, the Japanese lost their sense of home and were deeply hurt. By collecting and depicting the beauty of Japanese nature, traditional clothes, or Japanese food, they tried to reassemble that Japanese home.”

06.08.11 삭제
.
그의 작품을 직접 읽지않고 평문들만을 읽고 난 후 유추된 느낌은 ..(1)일본인들 특유의 Iluisive, mythology 요소를 안고 있고 (2) 서구 지향적 (western inclined) 관념적,현상학적에 일본 특유의 신비주의적 색채가 짙다 (3)다재다능하다 (4) Sex 관념이 심상치 않다...ㅎㅎ 맞나요?

기대할점은 이제까지 감상적 fiction 위주의 글에서 Non fiction글을 쓰겠다는 점인데. 이런 중도적 자세 ..관념적 인 작가의 모습에서 현장 (Real Story)의 Reality를 부각시키는 점이 기대됩니다..그런점이 무라가와 다운점일 겁니다.

중도적 실천과 현장성이 없는 언어 는 가끔 심미주의( Mishima, Tanizaki, or Kawabata)에 빠지는데...작가의 진솔한 호흡과 맥박이 뛰는...긴장감 과 평온이 조화된 세계를 그려야 된다고 봅니다., 미시마처럼극단쪽으로 흐를 때 에너지들의 손실이 보여지는 경우가 많습니다.

06.08.11 삭제
^Q^
오늘 밤 시내에서 도봉산 구룹들괴 수유동 골자기에서 한잔 끄윽하고 들어와 한시에 들어왔는데 새벽에
잠이 않와 이렇게 썰을 풀었읍니다. 작품을 사러 일부러 서점에 나갈 시간이 없어..번역 판 얇은것 한권 가져다 주이소

06.08.11 삭제
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http://www.randomhouse.com/features/murakami/site.php?id=

06.08.11 삭제
성보경

제가 무라카미하루키를 맘에 들어 하는 이유는 그의 소설에는 늘 재즈가 흐르고 맥주향이 난다는 것과 자기 job을 가지고 있으면서 제가 하고 싶어하는 재즈바를 운영하고 있다는것과 본인의 재주는 특출나지 않다고 하는 겸손함과 주변을 유혹 하지 않고 홀로 작업을 한다는것과 그런 외로움을 세련되게 즐기는것 것과 ...

^Q^ 글속에서 하루키를 다른 각도에서 볼수 있었습니다 . 올라 갈때 꾸려 가&#44248;읍니다. 이만 회의 들어가야하 시간이네요 ^^!

06.08.11 삭제
^Q^
내가 잘모르니 무라까와 작품을 꼭읽어야겠네요. 시간이 있을러나? 허지만 이미 그에 관한글...평문을 조금 찾았읍니다. 그중 아랫것이 눈에 띄었읍니다.런던 가디안 Thompson의 평입니다. 5년전에 올렸던글인데 그때 52살이면 그리고 프린스톤대에 있었으면 나와 비슷한 감각을 갖고 있을 터..아주 좋은 작가이겠지요.


The Elusive Murakami

Matt Thompson, The Guardian (liberal), London, England, May 26, 2001.


Haruki Murakami in 1996 (Photo: AFP)
He has been made the subject of breathless comparisons: Auster, Salinger, Chandler, Borges. His books sell in millions to under-30s in Japan; now he is gaining large readerships worldwide. One day, his growing legions of supporters insist, he will win the Nobel Prize. Magazine editors hunt him down in vain. It seems that everyone wants a piece of Haruki Murakami.

No wonder, as this elusive man tells me in a rare interview, he wants to hang on to himself: “I’m looking for my own story...and descending to my own soul.” This kind of introspection is the key to his work, and the inner journey may also be the source of his appeal for young Japanese readers. Economic woes have transformed a country once famous for its discipline and formality. Young people no longer want to buy into all that. Murakami hopes that “my books can offer them a sense of freedom&#8212;freedom from the real world.”

In person, Murakami gives an impression of self-containment. His manner is earnest, but he has a ready and dark sense of humor. He was brought up in the Kyoto area; his father was the son of a Buddhist priest and his mother the daughter of an Osaka merchant. Today he lives in the suburb of Osio (about 70 minutes from Tokyo on a fast commuter train). Very spacious, steel-framed, his home is modernist in style&#8212;though there were traditional tatami mats on the floor. The room we spoke in was dominated by two enormous loudspeakers and a wall of vinyl: 7,000 records, a legacy of his time running a Tokyo jazz club. At that time he was, he says, running away from himself. “I was a hermit in a wonderland of jazz.”

Murakami’s many references to Western culture&#8212;Le Figaro, Duran Duran, spaghetti&#8212;make older Japanese readers uneasy. They prefer the formal beauty of Mishima, Tanizaki, or Kawabata. Murakami sees this as part of a more general retreat into formalism: “After the war and modernization, the Japanese lost their sense of home and were deeply hurt. By collecting and depicting the beauty of Japanese nature, traditional clothes, or Japanese food, they tried to reassemble that Japanese home.”

Murakami himself tries to recover the realm of the spirit by other means; he doesn’t look back. When I asked him about the traditional puppets, the Bunraku, he said: “I find them very boring.” It is this sort of attitude that older Japanese find threatening. Sex is another issue. His blockbuster Norwegian Wood is the Japanese equivalent of The Catcher in the Rye: Every young Japanese person has read it. The uncharitable said it sold so well because its characters have so much sex, and talk about it so freely. Murakami takes another view: “Sex is a key to enter a spirit....Sex is like a dream when you are awake; I think dreams are collective. Some parts do not belong to yourself.”

His books tend to fall into two camps. On the one hand there are love stories such as Norwegian Wood and his new novel Sputnik Sweetheart. On the other there are fantastical fables such as A Wild Sheep Chase, in which an advertising executive is involved in a labyrinthine quest for a mysterious sheep.

Murakami has recently ventured into nonfiction too. Underground: The Tokyo Gas Attack and the Japanese Psyche is a collection of thoughts and interviews with survivors and members of the Aum cult led by Shoko Asahara. “It was so sad to listen to the cult people. There was something missing....They were criticizing the social system of Japan, so they went to the guru, who offered a new system....The Japanese system offered a fantasy that the harder you work, the richer you get. The guru offered his system, his fantasy and story, so that people could dream. But it was dangerous.”

It is no surprise to discover that 52-year-old Murakami’s own narrative as a writer winds itself back to an eccentric epiphany&#8212;at a baseball match on the afternoon of April 1, 1978. “All of a sudden I got the idea I could write: that simple.” He was noticed by a literary magazine, and won a competition with his first novel, Hear the Wind Sing, in which&#8212;through a cynical deejay being moved by a young girl’s story&#8212;he developed his recurring theme: that despite our loneliness we are all connected.

He reads a lot and widely, from Dostoyevsky to Agatha Christie. Raymond Chandler is another favorite. “Philip Marlowe is Chandler’s fantasy but he’s real to me.” When he was younger, he explains, after a turbulent time as a student, “I just wanted to live like Marlowe.” Murakami also admires the Jungian mythographer Joseph Campbell and Jung himself. He examines the structure of his own fantasies in forensic detail. “I’ve been married for 30 years. Sometimes I wonder what would it be like if I had been single....If and if and if. I could go along that passage and find new strange rooms.”
It is through just such a divagation, he tells me, that his fictions begin. “That’s the beginning of the story. We have rooms in ourselves. Most of them we have not visited yet....From time to time we can find the passage. We find strange things...old phonographs, pictures, books...they belong to us, but it is the first time we have found them.”

Murakami’s own protagonists are not unlike detectives. They find clues by speaking to peculiar people in out-of-the-way places: under cities, down deep wells. This reflects the visionary way Murakami himself goes about writing. “If I knew everything before I wrote, it would be boring. The things and the people come to me automatically. I don’t ‘make up’ anything.”

It is more a case of “finding something.” To generalize, Murakami’s main character tends to be a man who is somewhat out of touch with his own feelings. Through his encounters with women, he discovers clues as to how his sense of self became unraveled. The man is a detective, but the crime has somehow happened within himself.

The hero’s unpicking of a Hitchcock-style mystery dovetails with Murakami’s own self-analysis through writing. As he puts it: “I’m looking for my own story in myself....That’s why I like Joseph Campbell. People are looking for their tales inside themselves. Without tales people can’t live their lives.”

He is aware that the dark dream world offered by the Aum cult shares some qualities with the creation of novels. But there is also a lightness of touch to his books: “My protagonist is acting like he’s playing a video game. He’s detached. He has to respond to what’s happening.” This has provoked criticism&#8212;“Some people criticize my books as frivolous.” But, he adds, these days “it is a video-type world” that we live in.

06.08.11 삭제
^ Q ^
한잠자고 그림그리기전에 대충 소설의 뼉다귀를 읽었읍니다. 대충 소설의 줄거리를 훔쳐 읽었읍니다..무엇보다 죽음 자살이랑 일본 특유의 자살에 대한 맹목적 무의식적 심층구조.버려진 생태적 불안 ,심미욕, 언젠가 읽은 "He against Himself"란 프로이드 융 칼마이닌저의 파도를 타고 있는듯,꼭 읽어보아야겠읍니다.

영문이라..좀그런데..지금당장은 무료한 사람만 읽으시면 되겠지요. 전세계 주요 문학평론가들의 점 수는 A 입니다. 한두명의 A-를 빼곤.. 모두 압권 A 대단한 호평을 받았네요. 우! 와!.. '놀웨이의 숲'
비틀즈 노래를 딴...,<생략>..

Norwegian Wood

by
Murakami Haruki




general information | review summaries | our review | links | about the author




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Title: Norwegian Wood
Author: Murakami Haruki
Genre: Novel
Written: 1987
Length: 494 pages
Original in: Japanese
Availability: Norwegian Wood - US
Norwegian Wood - UK
Norwegian Wood - Canada
La Ballade de l'impossible - France
Naokos L&auml;cheln - Deutschland

Norwegian Wood was previously translated into English (by Alfred Birnbaum, 1989) in an edition published by Kodansha and intended solely for sale in Japan. This review refers to the new edition, published in 2000, the authorized English translation by Jay Rubin.
UK-publisher Harvill originally published this book in two small Japanese-style paperbacks, one with a red and one with a green cover. (The Japanese original was presented the same way.) The two volumes come in a box which itself is the size of your average hardcover -- very nice packaging -- but, unfortunately, apparently now out of print. The current UK edition is as boring as the US one.
US-publisher Vintage has published this book in a bland, boring trade-paperback edition.


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Our Assessment:


A- : nice, well-told autobiographically tinged story of a young Japanese student around 1970

See our review for fuller assessment.



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Review Summaries Source Rating Date Reviewer
The Age A 4/9/2000 Nicholas Jose
Chicago Tribune A 20/8/2000 Justin Coffin
Daily Telegraph B- 2/6/2000 Nicola McAllister
The Guardian A 27/5/2000 Steven Poole
The LA Times A+ 3/9/2000 Jonathan Levi
Melody Maker . 7/6/2000 Jay Brooks
The New Yorker . 11/12/2000 .
The NY Times Book Rev. A 24/9/2000 Janice P. Nimura
Rev. of Contemp. Fiction A Fall/1993 Brooke Horvath
Salon A 13/9/2000 Mary E. Williams
TLS . 2/6/2000 Paul Quinn
Die Welt . 3/3/2001 Wieland Freund
Die Zeit A (13/2001) Ulrich Greiner

Please note that Brooke Horvath's review in the Review of Contemporary Fiction refers to an earlier translation (by Alfred Birnbaum), and not the Jay Rubin translation under review here.


Review Consensus:

Almost (but not quite) all are very enthusiastic.

From the Reviews:

"It is superbly crafted and full of wonderful things (.....) The narrator is reading The Magic Mountain and his favorite novel is The Great Gatsby. In Norwegian Wood Murakami has updated those two classics into the best sort of pop song: romantic, sad, deceptively simple, and impossible to forget." - Nicholas Jose, The Age


"(T)he big surprise in reading Norwegian Wood is the sense that one has stumbled upon more than a mere literary artifact or an overture to a career. It is an early work that not only points to but manifests the author's genius." - Justin Coffin, Chicago Tribune


"There are certain authors, such as John Irving and Stephen King, whose narrative voices are so powerful that they might write about the temperature and keep the reader transfixed; however cheap the tune, the sound remains superb. Murakami shares this gift, but uses it to poor effect here: the story is far weaker than its cast. (...) (L)ike beautifully carved puppets, they have nowhere to go and very little to do." - Nicola McAllister, Daily Telegraph


"Such is the exquisite, gossamer construction of Murakami's writing that everything he chooses to describe trembles with symbolic possibility: a shirt on a washing-line, a string of paper cut-outs, a butterfly hairslide. (...) For all its metaphysical gloom, however, Norwegian Wood also flutters with sympathetic comedy." - Steven Poole, The Guardian


"Within this simple, sad love story -- a story that deserves to garner Murakami as large a readership as he has in Japan -- lives a fascinating cultural portrait of the Summer of Love, Japan-style." - Jonathan Levi, The Los Angeles Times


"This elegiac meditation on the impossibility (and terror) of love is chilling, but Murakami's true achievement lies in the humor and vision he brings to even the most despairing moments of his story." - The New Yorker


"(A) masterly novel of late-60's love. (...) Though it may feel uncharacteristically straightforward to his American following, Norwegian Wood bears the unmistakable marks of Murakami's hand." - Janice P. Nimura, The New York Times Book Review


"Murakami's prose is surprisingly gentle (...) and captures beautifully both Watanabe's buffeted anomie and late-sixties Tokyo, a milder if still recognisably similar version of American sixties. Indeed, I would say that the novel is no more or less "western" than Sheep Chase or Hard-Boiled Wonderland. What makes it seem so different is that beyond the slightly otherworldly sanatorium, Norwegian Wood is exclusively a work of realism. As such, is a less startling novel than the earlier two, a quieter novel, but no less rewarding." - Brooke Horvath, Review of Contemporary Fiction


"Murakami's tale is a melancholy memory of what was and what could have been, a deft combination of adult wisdom and youthful heart." - Mary Elizabeth Williams, Salon


"Quietly compulsive and finally moving, Murakami's experiment in realism is largely successful, managing to repress his more exuberant impulses as effectively as his characters repress the historical forces around them; but along with the compacted and charged quality this gives the novel there is a loss of sweep and risk" - Paul Quinn, Times Literary Supplement


"Der Unterschied zu einem bloß trivialen Liebesroman besteht ganz einfach im Weglassen. Murakami schildert selten das &Auml;ußere seiner Personen." - Ulrich Greiner, Die Zeit


Please note that these ratings solely represent the complete review's biased interpretation and subjective opinion of the actual reviews and do not claim to accurately reflect or represent the views of the reviewers. Similarly the illustrative quotes chosen here are merely those the complete review subjectively believes represent the tenor and judgment of the review as a whole. We acknowledge (and remind and warn you) that they may, in fact, be entirely unrepresentative of the actual reviews by any other measure.


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The complete review's Review:

The British edition of Norwegian Wood is a neatly presented novel. Divided exactly in two (separated right in the middle of a chapter, in fact) it comes in two handy, almost truly pocket-sized volumes of exactly 247 pages each, neatly contained in an attractive box the size of a slim hardback. The cover of the first volume is an almost alarmingly bright red, the second a subdued forest green. The Japanese edition was apparently presented the same way. It seems appropriate, highlighting the contrasts in the text as the narrative moves forward. (Needless to say, the American edition is a bland, unwieldy single-volume trade paperback -- we recommend that, if at all possible, you purchase the British edition (you can get it here))
Norwegian Wood is a fairly early work by Murakami, first published in Japan in 1987. It was also his most resounding success there, a phenomenal bestseller. It was translated into English, by Alfred Birnbaum, but that edition was basically only made available in Japan itself. Now, finally, the book appears in an authorized translation by Jay Rubin.
The novel is not as wildly imagined as much of Murakami's work that Western audiences are familiar with. It is a fairly straightforward Bildungsroman, closest in feel to Murakami's recent South of the Border, West of the Sun (see our review).
The Beatles song from which the book takes its title echoes throughout the novel, the melancholy tune and sentiment imbuing the work. The novel begins with a brief introductory chapter in which the 37 year old narrator, Toru Watanabe, once again hears the song, a "sweet orchestral cover version" this time. It reminds him of his life almost twenty years earlier, and the rest of the book retells the events of those times.
The murky ambiguity and confusion of The Beatles song is similar to that in the novel. It is a love story, or several love stories, as baffling as love often is. The Beatles sang: "I once had a girl / or should I say / she once had me". Toru is similarly unclear as to how he should consider his relationships.
There are two women involved. One is Naoko. In high school she was Toru's best (and only) friend's girlfriend, and the three of them got along very well. Then the friend, Kizuki, only 17 at the time, committed suicide; Toru and Naoko would not see one another for almost a year after the funeral.
Toru wanted to escape Kobe, where they had all grown up together, and he opted to go to a private university in Tokyo. Naoko also came to Tokyo for college, and it is there they run into one another again. They see each other on occasion, and make love once -- after which Naoko leaves Tokyo. Emotionally unstable she returns to her family, and then goes to live in a sort of sanatorium.
The second woman Toru gets involved with is Midori (which means "green"), whom he meets after Naoko has left. She is in the same History of Drama class as him. Both Midori and Naoko are not entirely approachable. They like, or even love Toru, but they are wary of having him close or revealing too much about themselves. Midori's father, who she first says is off in Uruguay, is actually very sick, and Midori and her sister spend much of their time taking care of him. Toru accepts things as they come, always helpful but trying not too intrude too much. He is drawn to Midori but feels an obligation towards Naoko.
There are few other significant people in his life. His parents are hardly a presence at all. He has a fastidious roommate, nicknamed the Storm Trooper, who simply disappears from his life. He makes one good friend, the only person he meets who has read his favourite book at the time, The Great Gatsby (replacing his previous favourite -- John Updike's The Centaur !). Nagasawa is two years older than him, a law student at Todai (Tokyo University) with a promising career ahead of him. A great success with the women, he occasionally takes Toru with him when he goes to bars or the like, looking for a one-night stand. Toru enjoys these outings, though they are also unfulfilling for him.
Nagasawa also has a steady girlfriend, the too-understanding Hatsumi, who sticks by him despite his philandering and his cold philosophy. It is also an ill-fated relationship.
After several months in her sanatorium Naoko asks Toru to come visit, which he does. It is a striking, secluded place, with an odd assortment of characters. Naoko's roommate, the older Reiko -- a music teacher with her own sad tale of a relationship that could not be sustained (she had a husband and child, but she left them) -- acts as intermediary, friend, and chaperone. Needless to say, there is some guitar playing -- including the haunting "Norwegian Wood", and the time Toru spends there all has the feel of that particular song.
Nothing becomes settled for Toru, drawn closer to both Naoko and Midori. Crises come, including when Midori's father dies. Midori also realizes that Toru is not ready to have a true relationship with her. She explains to him:

You were so nice to me when I was having my problems, but now that you're having yours, it seems there's not a thing I can do for you. You're all locked up in that little world of yours, and when I try knocking on the door, you just sort of look up for a second and go right back inside.
There is, ultimately, another suicide (a somewhat too popular solution in Japan), and Toru finally figures things out in a quite satisfactory way.

The relatively simple story is told in a deceptively simple and straightforward manner. There is a lot of care and art behind what Murakami has done. The novel is affecting and clever. It is touching without getting too caught up in sentiment. Murakami even manages to use the Beatles song of the title without getting too unbearably sappy.
Tokyo, Japan in general, and the semi-turbulent times (the late 60s and early 70s) remain firmly in the background, but they are well-evoked and Murakami gives a good picture of them in using them for his setting.
The portrayal of sex in the book is relatively unusual. There is quite a lot of it, though most involves manual gratification of one sort or another. Actual consummation tends to be a unique experience, either a one-night stand or a once in a lifetime experience -- perhaps a bit too much emphasis to place on the act.
The book is more obviously Japanese than most of Murakami's work. From the surfeit of suicides (beside the significant ones a couple of peripheral figures and relatives are also suicides) to Japanese customs and expectations some of the book will strike Western readers as odd. Most of the book, however, comes across very well in this universal story of love, loss, and finding one's place in the world.
Love, ultimately, is marvelous, even if it is unfathomable. "Isn't it good / Norwegian wood". Indeed.
Well worth reading. And bonus points for the nice packaging -- to UK publisher Harvill. (Minus points to boring American publisher Vintage for not following suit and instead presenting it in the usual (unattractive and unwieldy) trade paperback format.)

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06.08.11 삭제
성보경
또 다른 객관적인 시각을 훔쳐? 내주셔서 땡큐하고 자연스레 내 생활 리듬속에 넣을수 있을것 같읍니다

'노르웨이숲을 가보셨나요 ? ... 그리고 이것을 알아챈 여자의 웃음' 거기까지

06.08.11 삭제
.
좌우간 그렇게 바쁘신 분이...

유붕이 자원방래하니 불역락호?
有朋自遠訪來 不亦樂乎?

어젠 달빛도 참 좋았으라.
새벽 이슬도 우리들의 대화에 질투를 느꼈을 것이라..

그래서 달은 그렇게 우리를 휘영청 비추이고..
월하독작
달빛아래 새로운 만남이란
참으로 아름다운 것

새로운 시작이라
이야기이라
그림이라
소리이라



06.08.13 삭제
^Q^
맨발손님. Y K Lee 시인님 라면 솜씨 쥐겼으라..역사의 코드와 주파수가 맞어 ' 푸른기와가 있는 높은 성' 에 입성하여도 여전히 라면으로 해장을 하실분들..

06.08.13 삭제
성보경
계획하지 않았던 . 흐늘거렸던 달밤의 야생화 . 한여름 밤의 꿈 .

06.08.14 삭제
^Q^
일본가기전 꼭 들리구랴. Y.K Lee 단장 함께 오시구 ...전화했는데..이맬도 받고..좋은 친구가 따로 있나?..
지필묵 놀이하자구. 따지고 보면 전생에 만났던 우리 모두 시인묵객들이 아닌가? 옛 같으면 정승(?)에 이미 올라도 한참 오래전에(?) 올랐을텐데....
.ㅎㅎ...이렇게 쟁이들이 되버렸구랴.

06.08.17 삭제
.
『상실의 시대』(노르웨이의 숲, Norwegian Wood) NORWAY NO MORI
무라카미 하루키〔村上春樹〕
유유정 옮김, 문학사상사, 1989
by Haruki Murakami(1949∼ )



1. NORWEGIAN WOOD written by John Lennon, sung by Beatles

I once had a girl,
or should I say
she once had me.
She showed mo her room,
isn't it good?
Norwegian Wood.
She asked me to stay
and she told me to sit anywhere,
so I looked around and I noticed
there wasn't a chair.
I sat on a rug
biding my time,
drinking her wine.
We talked until two,
and then she said,
「It's time for bed.」
She told me she worked in the morning
and to laugh,
I told her I didn't
and crawled off to sleep in the bath.
And when I awoke
I was alone,
this bird had flown,
so I lit a fire,
isn't it good?
Norwegian Wood.

노르웨이의 숲 - 존 레논 작사/비틀즈 노래

예전에 나는 한 여자를 소유했었지,
아니 그녀가 나를 소유했다고 할 수도 있겠지.
그녀는 내게 자기 방을 보여 줬어.
멋지지 않아?
노르웨이의 숲에서
그녀는 나에게 머물다 가길 권했고
어디 좀 앉으라고 말했어.
그래서 주위를 둘러보았지만
의자 하나 없었지.
양탄자 위에 앉아
시계를 흘끔그리며
와인을 홀짝이며
우리는 밤 두 시까지 이야기했어.
이윽고 그녀가 이러는 거야.
「잠잘 시간이잖아」
그녀는 아침이면 흥분한다고 말했어.
그러곤 깔깔거리며 웃기 시작했지.
나는 하지 않겠다고 말하곤
목욕탕으로 들어가 잠들어 버렸어.
눈을 떴을 때,
난 혼자였어,
그 새는 날아가 버린 거야,
난 벽난로 불을 지폈어.
멋지지 않아?
노르웨이의 숲에서.

06.08.27 삭제
.Q.
http://user.chol.com/~moon2923/haruki.htm

06.08.27 삭제
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