I believe that the first book-length analysis of Murakami's fictions is an essential guide.

It provides in-depth insights into his unique writing style, themes, and characters. However, as time passes and new works are published, it becomes necessary to update this analysis.

Murakami's body of work is constantly evolving, and a fresh examination can uncover new layers of meaning and explore the connections between his earlier and later works.

By updating the analysis, we can ensure that it remains relevant and continues to serve as a valuable resource for readers and scholars alike.

This updated guide would offer a more comprehensive understanding of Murakami's fictional universe and enhance our appreciation of his literary achievements.

**Title: The Power of a Title and the Impact of Academic Appraisals**

That a title can make me buy a book is truly remarkable. A captivating title has the ability to instantly grab my attention and pique my curiosity. It's like a magical key that unlocks the door to a world of knowledge and imagination within the pages of a book. Just one glance at an enticing title can make me eager to explore what lies beneath.

On the other hand, an overly academic appraisal of one of my favourite authors can leave a sour taste in the mouth. When an author I hold dear is dissected and analyzed in a dry and overly critical manner, it can take away the joy and wonder I once felt for their work. I prefer to experience the beauty and creativity of an author's writing without being bogged down by the constraints of academic jargon and nitpicking.

In conclusion, while a great title can draw me in and make me a devoted reader, an unappreciative academic appraisal can have the opposite effect. It's important to find a balance between critical analysis and simply enjoying the artistry of a good book.

I always wonder if every Murakami fan in the world lives such a conflicting life. Or at least, if there are any who do. My relationship with Haruki's (we've been through enough to be on a first-name basis) works is truly unique. Sometimes it's frustrating, sometimes it's wonderful. Only recently have I reached any sort of conclusion about how I feel about him, and I was really curious to see what others have to say. And though Jay Rubin is more forgiving than I am, there's something comforting about the way he discusses the novels.

Rubin is one of Murakami's main translators, and I think he does a great job. He's such a big fan, it's kind of cute. And he provides really useful insights that I wouldn't have had otherwise, especially about things that can't be translated. For example, the Boku vs Watashi thing is really enlightening. And it helps me understand why Murakami's female perspectives can be a bit awkward. I knew he was a rebel, but I didn't realize how much his novels break from tradition. It gives me a new perspective and makes me appreciate his work more objectively. There's also a lot of information about Murakami himself. While it doesn't change how I view his novels, it does explain a lot. I find it amusing how little he seems to care about understanding what he writes. But that's a whole other topic. Suffice it to say that Rubin is thorough, and I appreciate that.

As for giving the reader information, Rubin does an excellent job. However, he also does a bit of literary commentary on almost everything Murakami writes. And that can be fun at times. One of the realities of liking Murakami is that you have to sigh, half-amused, half-exasperated, at all the things he mentions in every novel. Or find some other way to deal with his obsessions. I wish Rubin had spent more time discussing some of them, like his "Lolita characters." I was especially annoyed at how dismissive he was of Yumi. But to be fair, there are a lot of things I care about that he doesn't address, and that's not his fault. It's just a different reading of the text. But I still can't help but wish he had.

Of course, written by someone who works closely with Murakami, it's not the most objective text. But hey, it's about Murakami. When is anything related to him ever objective?

Jay Rubin is the English translator for several of Murakami's releases, including The Wind-Up Bird Chronicle, Norwegian Wood, and After the Quake. In this book, he offers some interesting insights from Murakami into the novels that have generated significant interest in the US. While most US Murakami fans might have first encountered this author by picking up a copy of A Wild Sheep Chase (for me, it was through finding "TV People" in the fantastic anthology Monkey Brain Sushi), Rubin reveals how Murakami has had a more extensive career in Japan. He has not only produced an impressive number of translations of English classics (which was how he initially gained notoriety in the US) but also travel writing and even has a website where fans can receive responses from H.M. himself.

By incorporating a diverse range of tidbits from interviews and insights from Murakami, Rubin presents a wonderful perspective on Murakami's simple and artistic pursuits in his writing. He explores how Murakami draws inspiration from detective novels to create works with the rhythm and drive of a mystery, yet the mysteries themselves remain unsolvable, influenced by Murakami's own disillusionment with the protests of his youth. The impact of jazz and other popular music on his writing is also discussed, as well as how he has attempted to venture into different genres as his career progresses. This, along with a brief treatise on the Boku-narrative Murakami employs in Japanese, which is far more informal than the typical first-person narratives in Japanese literature (and a good explanation for the central mystery of my attraction to his novels, as the narrators often seem to be the same person, to some extent), makes this book well worth purchasing and exploring if you have any interest in Murakami's writing.

Although Rubin aims to maintain an informational and biographical tone in the book rather than a critical one, he can't resist the occasional foray into psychological criticism, which often feels rather empty and lacks substance. Additionally, his assessments of the strengths and weaknesses of Murakami's later works come across as somewhat snobbish and inaccurate.

As an editor and compiler, Rubin has assembled a fascinating collection of information about Murakami's work and perspectives from the author himself that don't seem overly defensive against analysis (though it appears that Murakami himself might be). There is also an interesting appendix on translation from Japanese. However, as an author in this book, Rubin often fails to meet the mark. Murakami was undoubtedly intended to shine brightly in this book, but at times, he does so more as a competent writer exerting power over his admirer.

Lektura obowiązkowa tylko dla 'wyznawców' Murakamiego.

This statement implies that reading is something that is mandatory only for the 'followers' or 'admirers' of Murakami.

However, one could argue that reading should not be limited to a specific group. Murakami's works have the potential to reach a wider audience and offer unique perspectives and experiences.

By restricting the obligation to read to only his 'followers', we may be missing out on the opportunity to introduce his literature to those who may not have otherwise discovered it.

Moreover, reading can be a personal choice, and everyone should have the freedom to explore different authors and genres at their own pace.

While it is understandable that some may have a particular affinity for Murakami's writing, it is important to encourage a more inclusive approach to reading and allow individuals to make their own decisions about what they want to read.

In conclusion, while reading Murakami may be a must for his 'followers', it should not be considered an obligation for everyone. We should respect the diversity of reading preferences and encourage a love for literature in all its forms.

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A must for Murakami fans. I have a particular fondness for this piece as it delves into his earlier works. In my opinion, his earlier creations possess a certain charm and allure that sets them apart from the later ones. The exploration of these earlier works provides a unique perspective and allows fans like me to gain a deeper understanding of his artistic evolution. It's truly a fascinating read that offers insights into the mind of this remarkable author.

Murakami's earlier works often had a more raw and unfiltered quality to them. They were filled with vivid imagery, complex characters, and thought-provoking themes. Reading about these works in this article brought back memories of the first time I discovered his writing and the impact it had on me. It made me realize how much I had missed the essence of his earlier style.

This article is not only a treat for Murakami fans but also a valuable resource for those who are interested in the world of literature. It showcases the importance of an author's early works and how they can shape their entire body of work. I highly recommend it to anyone who wants to explore the genius of Haruki Murakami.

A nice collection of writings about Murakami has been presented. It delves into his life, exploring the various aspects that have shaped him. Additionally, it provides an in-depth look at the way he works, offering valuable insights into his creative process.

The collection also features some interesting perspectives directly from the man himself. His thoughts and ideas add a personal touch to the overall narrative, allowing readers to gain a deeper understanding of his literary world.

Furthermore, there is a postscript included, which focuses on translation and the use of retranslation in some markets. This aspect is particularly relevant in the context of Murakami's international popularity, as his works are widely translated and read around the globe.

Overall, this collection serves as a comprehensive and engaging resource for both fans of Murakami and those interested in the world of literature and translation.

I stayed up all night and read this in one sitting.

It was truly an enjoyable book, presenting basically real and simple literary criticism on the complete works of Murakami.

The author, being a translator of Murakami, has a deep understanding of his subject.

Not only does he do a great job of praising Murakami when his books are successful (my personal favorite being "Hard Boiled Wonderland and the End of the World"), but he also doesn't shy away from criticizing Murakami's excesses.

He points out where the fantastical elements in works like "Kafka on the Shore" and "Dance, Dance, Dance" muddy up the plot and lead nowhere, and having read those, I concur.

Moreover, this book does an excellent job of revealing a great deal about Murakami's creative process and how he focuses and concentrates.

It also illustrates how Murakami has evolved from a cool writer for Japan's youth to a writer operating on the global stage and grappling with the big themes.

Overall, it's a fascinating read for any Murakami fan or anyone interested in literary criticism.

In general, it turned out to be really quite good.

Sometimes you feel a bit bored when the talk starts to focus on a detailed analysis of the text (and I really don't like these dissections), but everything changes abruptly when the author (Jay Rubin) switches to Murakami's daily life during the writing of these very texts. And I also really like the overall humorous tone, half-broken and filled with quirky melancholy interjections, which are so characteristic of Haruki's work.

The book is full of my pencil marks. I'll try to choose not too many:

° "Physical strength and endurance are simply necessary," Murakami confirmed. "If you have to spend a year creating a novel and another year rewriting it ten or fifteen times."

He decided to live as if the day was 23 hours long, so no matter how busy he was, nothing could stop him from spending an hour on physical exercise: "Endurance and concentration are two sides of the same coin... I sit at my desk and write every day, regardless of what I'm writing, whether it works or not. I get up at 4 am and usually work until noon. And so every day, and in the end, just like in running, I reach the moment when I understand what I was looking for, what I was striving for all this time. For this, a considerable amount of physical strength is needed...

Physical discipline is inseparable from incredible professional discipline."

° Young Haruki often heard his parents discuss 8th-century poetry or medieval military tales over the dinner table.

° After attending a live concert of Art Blakey and the Jazz Messengers in 1964, 15-year-old Haruki often saved on lunch to save money for jazz records.

° After failing the entrance exam the first time (..) and preparing to enter again, Murakami spent most of 1967 in the Asia library (or, as he claims, he dozed off). That peaceful year, dedicated to reading and thinking, convinced him that literature was much closer to him than law (..).

° The true enemy of this gang was not the State Power but the Lack of Imagination.

° Shortly before the wedding, the young couple visited Haruki's house in Asia. According to Eiko's回忆, she woke up in a state of "kanasibari" (literally "bound in metal"), when a person suddenly loses the ability to move - a phenomenon practically unknown abroad but quite common in Japan with its strict social system. Paralyzed, Eiko lay there until the temporary paralysis released her, and only then could she marry Haruki.

° For seven years, he was the owner of a jazz bar and still adds to his collection, which now numbers 6,000 records.

(The book was published in 2003)

° I was 29 when I wrote my first novel. (..) I listened to jazz from morning till night, mixed cocktails and made sandwiches. (..) It was like a revelation, like a thunderclap in a clear sky. There was no reason or opportunity to explain it - just an idea that came to me, just a thought. I can do this. It's time to do this.

(..) After a long working day, I came home no earlier than midnight. Then I wrote until sunrise, and at noon I had to go to work again.

° If you are interested in art or literature, you'd better turn to the Greeks. Because for the existence of true art, slavery is necessary. That's how it was with the ancient Greeks: while the slaves worked in the fields, prepared food and rowed on the galleys, the free citizens enjoyed the Mediterranean sun, devoting themselves entirely to writing poetry or solving problems. That's what art is.

° You have to believe that you have the ability to tell a story, (..), without this confidence, you won't move an inch.

°.. I remembered the sudden death of F. Scott Fitzgerald: a heart attack prevented him from finishing "The Last Tycoon". According to Murakami's assumption, no matter how sudden the death was, in those last seconds, Fitzgerald was tortured by the thought of the novel that had already taken shape in his mind but was doomed to remain unfinished forever.

And a few touching snippets from those analytical texts that I complain about so much or from Murakami's stories:

• "I dreamed of a gnome inviting me to dance.

I knew it was a dream, but at that time I felt just as tired in the dream as in real life. So I - very politely - refused. The gnome wasn't offended and started dancing alone."

Like a true Murakami gnome, he danced to the Rolling Stones, Frank Sinatra, Glenn Miller, Maurice Ravel and Charlie Parker (as we can see, the gnome's tastes are as eclectic as the writer's, and he also keeps his records in whatever envelopes he can find). His wonderful dance is full of hidden political allusions. Because the gnome is "from the north", and dancing is prohibited there.

• What is the meaning of things, as well as people, who first enter our lives and then inevitably leave it? They are all just images living in our minds, so the meaning in them is no more - and no less - than what we ourselves put into them.

• Endless thoughts - that's what torments him.

• "Dark dreams for those whose souls are dark. And those whose souls are even darker don't see dreams at all," my grandmother liked to repeat.

The night my grandmother died, the first thing I did was reach out to close her eyes. And as I lowered her eyelids, all her dreams over seventy-nine years quietly dissipated, like a short summer rain that leaves no trace on the pavement.

• The yawning abyss separates what we would like to know from what we actually know.

• I don't know how to put it, but I just don't get that what is here and now - is really here and now. Or that I - am really me. This never really gets through to me. Always like this. And if something in my head clicks, it's only much later. This has been going on for the last ten years.

• I imagined what a difficult test it was for such a powerful person to fade away for so long. Maybe it was like the slow fall of a powerful tree.

• What happens on the border of memory is the most important thing.

• And then, perhaps, it is this bird that every morning perches on the branches of the trees near our house to wake us up, our quiet little world, in a word, everything.

It's very hard to stop and not write down any more of my favorite fragments, because they are so wonderful.

Perhaps the last one.

"I never think about death in ordinary circumstances. (..) But when I'm working on a big thing, the image of death inevitably takes up residence in my head.. and I can't get rid of this feeling until the last line is on the paper.

And so every time. Always the same. When I write, I'm always thinking: "I don't want to die, I don't want to die, I don't want to die. At least until I finish this novel, I really don't want to die. Just the thought that I might die and leave the book unfinished is enough to make me cry. Maybe it won't be a great work that will live for centuries, but at least it's me. To be even more frank, if I don't finish my book, my life will never really be mine. (..)

When you stop thinking about this calmly, you wonder how we managed to last so long.

And I continue (..) to whisper in despair everything that comes to my mind: 'Don't let me get hit by a Fiat at the intersection, the driver of which is looking in the opposite direction. Don't let me die from a bullet that accidentally flew out of a policeman's pistol because the talkative owner was twirling it absentmindedly in his hands. Don't let the flowerpots arranged on the rickety windowsill of the fifth floor fall on my head. Don't let a psycho or a junkie stab me in the back with a knife. (..)

I just want to be allowed to live long enough to finish the novel. That's all."

Like Jay Rubin, I'm a die-hard Murakami fan. My journey into the world of Murakami began last year. I was in the hospital due to a knee operation when a Goodreads friend introduced him to me. She said she got interested in this author when she saw a guy in a bookstore, laughing out loud while holding and reading a Murakami book. Since four of his works (the first four below) are in the 1001 - 2006 list, I started my reading right after I left the hospital:

Kafka on the Shore (March 11, 2010) - 5 stars

Sputnik Sweetheart (March 24, 2010) - 5 stars

The Wind-Up Bird Chronicle (March 14, 2010) - 4 stars

after the quake (December 4, 2010) - 1 star

After Dark (July 10, 2010) - 4 stars

Blind Willow, Sleeping Woman (October 7, 2010) - 5 stars

And I still have 4 books in my to-be-read pile: Norwegian Wood, South of the Border West of the Sun, Hard-boiled Wonderland and the End of the World and What I Talk About When I Talk About Running.

I think the main reason why Murakami is so captivating is his wild imagination. I have read over 400 fiction novels in my life, and there is no other novelist quite like him. He has his influences, and Jay Rubin listed them all: Kurt Vonnegut and Richard Brautigan (his two favorites before he started writing), and among Latin Americans, he enjoyed Manuel Puig and Gabriel Garcia Marquez. Then, when John Irving, Raymond Carver, and Tim O'Brien began publishing their books, Murakami liked them too. The mention of Manuel Puig is interesting because he is considered as the Haruki Murakami of Latin America. (page 36)

Fortunately, I have read some works of those authors who influenced Murakami. That's one good thing about him. He is honest. He doesn't claim to be completely original. He can also be star-struck. The first time he went to America, just after his A Wild Sheep Chase got noticed and published internationally, he sought to see and meet Raymond Carver and John Irving. You see, he also translated some American fictions to Japanese, like Catcher in the Rye by J. D. Salinger, Breakfast at Tiffany by Truman Capote, and some works by Raymond Carver, Raymond Chandler, F. Scott Fitzgerald, Tim O'Brien, among others.

His story should also inspire many aspiring writers. He started writing short stories when he was 30 years old while running a jazz bar. He wasn't famous when he decided to give up the bar and focus on writing. He took a gamble and followed his true passion. He wrote passionately, day and night. He is also a type of novelist who starts with a title (as opposed to, let's say, Ken Folett who starts with a story and an outline before thinking about the title), thinks of ideas for the story, sits down in front of his computer, and types away until he is satisfied. No outline whatsoever.

Jay Rubin was the translator of 4 Murakami books: Hard-boiled Wonderland and the End of the World, The Wind-Up Bird Chronicle, Norwegian Wood, and after the quake (Murakami insists that the title of this book should all be lowercase). In this book, Haruki Murakami and the Music of Words, he tried to provide more information about Murakami's life and art to those who don't know the Japanese language. He tried to answer the kinds of questions about Murakami's novels and characters. For example, in this book, he explained about the many fascinating loose ends in Kafka on the Shore, like the appearance of Johnny Walker and Colonel Sanders. Many of my Goodreads friends question the relevance or roles of those characters in this Franz Kafka and Jerusalem Prizes awardee book. Jay Rubin said that those characters are indispensable to the story. Read this book and be convinced.

In other words, this book answered many of the questions I had while reading six of his books. As it also provides short summaries of those, I also got to review and appreciate them more. However, for the four books that I'm still to read, knowing about their plots spoiled them to some extent, so I think I'll put them on the back burner for a while. So here's my advice: this is probably a good book to read after reading all of Murakami's books, especially if you hate spoilers.
Also, I'm confused about the direction of this book. It is partly a biography and partly literary criticism. I thought that this could have been more meaningful and enjoyable if Rubin had divided it into two, giving more structure rather than fusing the two in his narratives. It felt a bit directionless. Moreover, the discussion of Murakami's works jumps from one book to another. Or maybe it's just me. Maybe Jay Rubin is doing a Murakami too.

Before we start, you may want to do yourself a favor and read all of Haruki Murakami's works up to the trilogy of 1Q84.

I think Music of Words is a brainchild of Mr. Rubin's laudable analytical prowess and zest for Japanese literature. For a work written by a devoted fan of Murakami, he still maintained a degree of objectivity in voicing out his literary interpretations of these fantastical and often bizarre short stories and novels dished out by the author.

As a frequent collaborator and translator of Murakami, he writes a generally in-depth and takes on a technical outlook on these fictions. For example, he often explains the difficulties or challenges he faced when translating the original Japanese manuscripts of the novels to English. One instance was the limitation of pronouns to choose from, for first-person point of view in the English language, with only 'I' available, far less versatile than the Japanese variations of Boku or Watashi or Ore, all three of which mean me or I.

Upon reading this, I suddenly felt like a student again, listening to a personalized one-on-one crash course on basic grammar lessons from a favorite lecturer. It sure takes me back to those fond memories of mine. Therefore, I am eager to find out more about anything else Mr. Rubin, our literature professor, had to share with me.

In my opinion, he's a great scholar and author himself, if only to be overshadowed by Murakami's popularity. Even so, it was all thanks to him we can get to enjoy these books in their glorious English editions.

In addition, Music of Words also gives readers some insights into what's going on in Murakami's mind when writing his masterpieces. For instance, Murakami told Mr. Rubin how he never intended to put a lot more meaning or symbolic undertones to his sentences than what is necessary. Murakami also stresses out, time and again, the importance of simplicity that creates rhythm in his sentences. Hence, that's why he said music is a very crucial part of his creative process.

A book like this wouldn't be complete without biographical bits added here and there. It delivers just that, too. Utilizing his sources and personal interviews with Murakami over the years, Mr. Rubin put out several details on the author's professional life that might still be unknown to readers outside of Japan. One such detail is the clashing critical verdicts shared between Murakami and Kenzaburo Oe regarding the definition and what constitutes a work considered pure literature.

Dare I say that everything about this book screams a passion project, done pretty well by a person who understands and loves literature with all his heart. Please, I know that, to some people in the minority, it might read like a collection of dry, overtly complex empiric essays. But, I suppose it's to be expected, knowing that Jay Rubin is an academician first and foremost.

I also find it fascinating when someone is passionate enough about a single subject, to the point where they can type in 400+ pages and remains engagingly easy to follow throughout, for me at least. What a commendable level of dedication he had shown here.

Finally, if you're looking for some simple-minded, shallow, non-nuanced discussions and annotations, you should look away because this book isn't for you. However, if you've already been enthusiastic about Murakami's works and wanted to make sense of all you just read, this could be your gateway to achieving such an inquisitive goal.