Another wonderful story by the Japanese writer Haruki Murakami. He wrote it in the late 1970s and it was translated from Japanese to English in the early 1980s. It seems that it has not been translated into Arabic yet.

It tells about a person who works in an advertising agency and receives a postcard from an old friend. The postcard has a picture of a strange sheep in a mountainous area. The hero of the story uses it as the background for one of the advertisements, and then he has a problem with an influential person. Because the picture holds a secret related to one of the sheep, and he has to find that sheep, otherwise the hero will lose his job and maybe his life.

The story focuses on the embodiment of the sheep in the human body from Genghis Khan to the present day. The hero finally reaches the mountain where the original picture was taken and meets the sheep man. The events of the story gradually escalate... The spark of the events starts on page one hundred and the last fifty pages should be read at once as they are the climax of the excitement. It is expected that the image of the sheep will change in your mind with the last page of the story.

Second reference... The story of the search for the sheep. One of the first stories that Haruki Murakami wrote in the early 1980s. In it, the hero of the story searches for a sheep with a certain mark on a strange mission assigned to him by a mysterious man. Between the plains and the mountains, he meets the professor who is an expert on sheep, who guides him to a desolate house on top of the mountain where he meets the sheep man. The story may seem meaningless at first, but at the end of the story, the meaning of the sheep is revealed, which symbolizes sadness, depression, and isolation. Because this sheep kills every human being who embodies it in his soul, kills his humanity and turns him into a soulless beast.

Creepy.....as....hades.

But that's precisely why I adored it!!!

I'm dead serious. This book was so eerie that it had me squirming uneasily in my seat. Nevertheless, I was utterly enthralled! I simply couldn't put the book down!

If you're a reader seeking a book that demands more than one reading to truly comprehend, then this is the perfect choice for you. It had my mind churning and my fingers tapping with nervous anticipation.

I'm not going to provide a detailed summary of the book as I've done in previous reviews, mainly because it would sound overly convoluted out of context. All you really need to know is that our main character is compelled to pursue a non-existent sheep in the frigid countryside. He becomes trapped on a mountain, in a creepy cabin, all by himself, and is sporadically visited by a sheep-man.

There you have it.

Murakami's imagery is vivid and the meaning of his works is profound and somber, like a cloud hovering directly above your head while the sun shines elsewhere. He is not a blatant "IN YOUR FACE" horror master. Instead, he is the type who enjoys infiltrating your psyche in a very subtle manner, granting him unguarded access to your subconscious. Once he's there, he gets busy digging and thrashing around, and before you suspect it... you're suddenly perturbed.

Honestly, I have no complaints about this book. To be frank, I really need to read it several more times to better understand the work. As a piece of pure entertainment, it's thrilling; as a work of intellect, it's thought-provoking, and there are numerous exchanges in the book that make you exclaim, "Wait... What?" You wish you had the option to raise your hand and request an explanation.

"A Wild Sheep Chase" is a love child of myth and philosophy, and there's plenty to decipher throughout the literary journey from cover to cover. That's what makes it so wonderful, and it's what makes this book an excellent choice for a book club that's truly seeking some substance to explore.

The sheep-man is probably my favorite character, although he's undoubtedly the most bizarre and disturbing. He appears randomly, and you're never quite certain if he's real or not. You're never completely positive that the main character hasn't lost his mind. Near the end of the book, you're not even completely sure that you haven't lost yours. Doesn't that make for an outstanding book?!

Highly recommend this work. ABSOLUTELY.

I was listening and heard that the first two #therat parts are just some stations, announcements, and then this thing is The Wind-Up Bird Chronicle.

That's right. If I were that young (what an eighteen-year-old) reader, then it would be like that. But for me, the more mature one - the second part left the deepest impression, and the third part might even be in the last place. (I'm saying this after reading all 4).

Later, I noticed that the first two parts are translated from Japanese, and the last two - from English... The translation of the work is a very important contributing part that could have determined my impressions, as when reading the translation, I was quite distant from the author and his text.

However, The Wind-Up Bird Chronicle still had its own charm and a lot ++!

First of all, I found Murakami while looking for Twin Peaks in novels, and, you know, nothing closer can really be found. And The Wind-Up Bird Chronicle is just that! You read and understand (just like when watching Twin Peaks) that it's strangely funny, but it haunts you like, kind of unconsciously - but still somehow classic.

It's so pop-culturally odd, but it's definitely not vulgar.

I don't know why, but I liked the hotel in this book the most, a simple, small, slightly shabby hotel that I imagined exactly like the one I recently had to stay in Malta (haha, Malta - another setting of Murakami's stories); so the visuals were so vivid, close, and the thread wound so clearly while reading that the impression was really not bad. And in fact, it should be said that I liked not just that one detail of the story - the hotel, but the atmosphere of the novel: the beautifully painted scenes, the mysterious places, the detailed, meticulously described objects that surprise the characters. And there's also one noted feature of Murakami's style that is very dear to my heart: devoting a lot of attention to the daily actions of the characters. For some reason, this makes me feel good, brings me closer to the characters, and makes me believe that they are real (because here they are cutting the grass and making macaroni, changing the bed, locking the door).

Although I presented the book as light-hearted, it's definitely not just a light story or a collection of funny fantasies: here, the questions of time and even existence are masterfully raised, the beauty of the text's language shines through even through several layers of translation, and its final flaws couldn't be hidden even by the rather beautiful text correction and/or editing. The novel is full of symbols, it's like a mosaic, a collection of the most precious contributing parts, some of which sparkle on the surface, making me gasp!; and others, most likely, remained unnoticed.

I liked this novel, really, and I will bravely continue to enjoy this author's works, which, it seems - can no longer disappoint. No matter how much serious readers might ironically snicker because of that.

This is a truly remarkable novel that can only be described as a surreal, inventive, darkly funny, and completely original fever dream. It is a work that keeps you totally absorbed from beginning to end.

While I'm not entirely certain if everything comes together perfectly in the end, there's no denying that Murakami writes with an incredible level of confidence, precision, and dark wit. His writing style is so captivating that I was enthralled throughout the entire reading experience.

I now understand why he is such a highly celebrated and popular writer. He has an abundance of style, but it never feels like he sacrifices substance for the sake of style. Instead, he brings a subtle depth of feeling for his characters and an abiding concern about the existential crisis that we all face as human beings. This gives the novel a sense of grounding that makes the weirdness all the more welcome.

This was my first Murakami novel, and I can say with certainty that it will not be my last. I'm eager to explore more of his works and see what other strange and wonderful worlds he has to offer.

Contrary to my expectation, the book was finished two days earlier. It belongs to those kinds of books where the last 150 pages are irresistible and one just brakes when reaching the end!

Contrary to the perception and advertisements of many websites and publications, I recommend reading the Quartet of Ritt books in order. This book was the third in this collection. If you don't read numbers one and two, in many places, questions will come up regarding the memories and characters. And if you don't know the answers, it will greatly reduce the pleasure of the book...

Murakami sometimes recalls memories in this book that happened in the first and second books, and it is kind of necessary to read the numbers in order.

Regarding this book itself, I must say that it is so surreal that it has gone beyond the boundaries of my imagination :))

Some of the scenes, my brain didn't have the power of analysis, and the characters were talking in a dark space with a black background, and my brain didn't have the power to envision the scene with the book :))

This book was even more surreal than Kafka on the Shore in my opinion :))

I have two recommendations.

The first is to definitely read the Quartet of Ritt books in order.

The second is that if you want to read Murakami for the first time, this book is the best start for you.

Onward to Ritt Four :D

For me, reading a book is more than just reading a book.

It is a time machine and a magic that can blur the line between reality and imagination, making the existence of life more vivid.

Haruki Murakami, with his unique details and the combination of daily elements, transforming them into amazing entities, can take me along with him and make me love the concepts of time, silence, and solitude in a different way.

"Wild Sheep Chase" is full of allusions, delicate characterizations, and descriptions that I can understand a new meaning from them whenever possible.

It is a book that will not be forgotten.

A Wild Sheep Chase: Exactly as the title suggests

The title of this novel by Murakami truly encapsulates the essence of the story. In 1978, the author leads the reader on a wild and unpredictable journey through the vibrant landscapes of Tokyo and the snowy expanse of Hokkaido. The protagonist, an ordinary man working at a small advertising agency, has his life turned upside down when he receives a mysterious visitor in response to a picture of sheep in a mountain pasture. This encounter sets him off on an adventure to find his long-lost friend, the Rat.

Accompanied by his new girlfriend, the protagonist encounters a cast of strange and unforgettable characters, including the Sheep Professor and the Sheep Man. Along the way, they experience a series of events that are both bizarre and captivating. While I didn't fully understand the meaning or symbolism behind everything that was happening, I have to admit that the story was engaging enough to keep me hooked from start to finish. I listened to the audiobook during a train trip to Manchester, and although I may not have been able to give it my full attention the entire time, I was still left with a sense of curiosity and a desire to explore the story further.

I believe that this is a novel that will reward multiple readings, as there are likely many hidden depths and subtleties that I missed on my first pass. Overall, I would recommend A Wild Sheep Chase to anyone looking for a unique and thought-provoking read.

I don't know why I didn't like it at all and didn't have any interest in it.

I continued with the hope that it would be good because I had heard a lot of praise about it. But in fact, there was nothing that I could like.

Maybe it was because my expectations were too high, or maybe it just didn't suit my taste.

However, I still think that everyone has their own preferences and it's normal to have different opinions about the same thing.

In the future, I will still be open to trying new things, but I will also be more rational and not be easily influenced by others' evaluations.

In the author's writings, there is always a very fine border between reality and unreality. "In Search of the Fantastic Sheep" begins as an ordinary novel but gradually transforms into an investigation, history, fantasy, and drama. Personally, I really liked the first part very much, got lost at times in the second, and regained my attention towards the end.

"The room smelled of time on the verge of dying."

"Loneliness isn't such a bad feeling. It's like the quiet in which a tree submerges after the birds have taken flight from its branches."

"While thinking like this, I had the sensation that there was another 'I' somewhere, standing in a bar and savoring a glass of whisky. The more I thought about it, the more that other 'I' seemed real to me, and the 'I' here became unreal."

"And yet the image in the mirror was too clear. I didn't see myself flat, like a reflection. I had the sensation that I was the reflection and that I was looking out from inside the mirror at myself, the one here. I raised my right hand to the level of my face and wiped my lips. The 'I' in the mirror did the same. But maybe I was just imitating the gesture of the other. I wasn't sure if I had wiped my lips of my own free will."

"We, humans, can wander at will on the shores of chance, like seeds carried on the wings of the spring wind. At the same time, however, we can claim that nothing is accidental. What has already happened has surely happened, and what has not happened has surely not happened. In other words, we have an ephemeral existence caught between 'everything' behind us and 'nothing' in front of our eyes. There is no room for chance, nor for possibility."

Tracking Wild Sheep, the third novel in the "Rat" series, is written by the famous Japanese author Haruki Murakami.

If I consider the first title of the series (Hear the Wind Sing) as wheat and the second title (Pinball, 1973) as salt, I must admit that Murakami, without water, yeast, and an oven, has baked an incredibly delicious loaf of bread. Although many friends believe that it is not necessary to read the first two titles to read this novel, I disagree with these dear people and recommend to my friends that they must study the first two titles because in this novel, the first character of the story often recalls memories that we have read before. And since this novel is from the genre of Murakami's surreal novels and when reading the novel, it is possible that many questions and ambiguities will arise for you, it is necessary to know the past memories so that in those parts of the book, we do not look at the wall in front of us like a dry stick with an open mouth.

In my opinion, since I fell in love with Murakami after reading Kafka on the Shore and Norwegian Wood, I also really liked this book. It's true that the novel was not like Kafka on the Shore, which made me come to the review and write with a special feeling that my soul reached orgasm, but I really liked it. The imagery that Murakami brought of the Hokkaido mountains and the road on paper was无与伦比, and I felt myself along with and in sync with the first character of the story in the mountains. The author did not even pass by the cries that the birds made and stored them in the novel in the most beautiful possible way.

The story of the novel is about a character who, like the first and second titles of the series, we do not know his name and will not know. He divorces his wife and falls in love with a girl who has magical ears. He is still in an office where he is engaged in translation and advertising work with his partner that we read about in the previous title. He encounters a strange man. That man wants his partner to cancel one of his business contracts with one of his customers for a reason that we read in the novel. After the meeting of the beloved character of the story with that strange man in a castle-like house like them, the sick and mysterious story of the novel begins. He is tasked with finding a strange sheep that has a star mark on its body and becomes a guide in the Hokkaido mountains with his girlfriend's friend. Before and after the trip, he meets interesting characters such as a sheep professor, a sheep man, and also a mouse (that old friend) and...

In the end, I gave 5 stars to the book because I could not find any flaws in the novel. Everything was excellent and met my expectations. Also, although the "Rat" series is trilogies, as I said in previous reviews, this may be the first trilogy in the world that has 4 novels. And if I have a life, I will also go to the last novel of this series, that is, (Dance Dance Dance).

I recommend reading this book to Murakami lovers, those who love surreal stories, and those who have a good imagination, and I hope you enjoy reading it.

Our hand-reared cockatiel is on borrowed time if she continues to peck lumps off the books on my Murakami shelf. Clearly, she has a strange affinity for his works, although for reasons quite different from mine. She has moved from 1Q84 (which I haven't read yet) to this particular book, as the little bite marks so vividly attest.

I vacuum the paper trail left by her pecking and take a deep breath. Ahhhhhhhhh.

Oh my goodness, every time I read Murakami, I am simply overcome with admiration. There is something extremely comforting for me in knowing that I am in the hands of a masterful technician of the written word like him. The crazy, loony stuff he writes could really backfire in the hands of some writers.

Just look at the elements in this story: sheep angling for a supreme power base over humans; a girlfriend whose ears, when exposed, increase sexual pleasure to an extent that makes you wish you could reach into this nutty world and retrieve a boxful of them; a Mafioso type boss who, via his strange secretary, insists the protagonist, Boku, find a mysterious lone sheep with a star on its back, despite having not a lead in the world to go on; the sheep professor, just a tad obsessive you'd say, nearly buried in everything ever written with a hint of the ovine about it; the sheep man (hitsuji-otoko), a depressive, apparently 'clothed' in a suit, yet through which extrudes two horns; a chauffeur who casually offers up the phone number of God (yet doesn't appear in the slightest bit delusional when he says he speaks to him on the phone, nightly); and a friend called rat who instigates the sheep hunt (indirectly), yet is actually dead. It's a veritable sheep extravaganza. It's all so whacky, yet it carries the illusion of truth. That's the art. Murakami makes you believe him, and that's why it works.

After I wrote this, I looked up what Jay Rubin (one of his translators) had to say about the book in Haruki Murakami and the Music of Words. He quotes Murakami, who for the first time in his career, had researched his subject, traveling across Japan and immersing himself in all things sheep (so to speak). Murakami said, 'As I wrote A Wild Sheep Chase, I came to feel strongly that a story, a monogatari, is not something you create. It is something that you pull out of yourself. The story is already there, inside you. You can't make it, you can only bring it out. This is true for me, at least: it is the story's spontaneity. For me, a story is a vehicle that takes the reader somewhere. Whatever information you may try to convey, whatever you may try to open the reader's emotions to, the first thing you have to do is get them in the vehicle. And the vehicle – the story – the monogatari – must have the power to make people believe. These above all are the conditions that a story must fulfil'.

You might say he's successfully loaded us into the vehicle. What's more, we just learnt the Japanese word for story.

There are just so many things that I'm captivated by in Murakami's books - in this novel as much as his others that I've read - that I don't know where to begin. His work warrants PhD level analysis, and I recently downloaded one, I'm that intrigued by him. Understandably, he is a frequent on many University syllabuses, including mine.

His characters are living, breathing, eating, travelling, sexual beings. He infuses so much movement into them; one of the pivotal markers of establishing believable characters. Even in their pauses, you can see them: 'A brief silence ensued. In that interval, I picked the lint from a shirt button and with a ballpoint pen drew thirteen stars on a memo pad.' I'm enthralled with his relentless wrestling with dualism (evidenced in his preference for tandem narratives, which eventually inform one another and overlap), and he's near perfectly adept at conjuring alternate realities that you wish you could stop off in on the way home from the shops. Oh rave, rave, rave.

I'm also continually in awe at the ease with which Murakami uses language. There are no wasted words. Nothing feels superfluous or excessive; he has a supreme sense of structure and timing.

And there's always a deliciously ominous undercurrent which courses through his work, a hint of mystical foreboding that keeps you slightly on the edge. I've learned to expect the unexpected. Just when you fear there might be predictability (as in: will Boku follow suit and ring God), Murakami creeps up behind you with an inflated paper bag and an outstretched hand.

Mix in some sardonic humour, quasi-cultural commentary, and a lasting contemplation of all the big themes – 'the meaning of life and death, the nature of reality, the search for identity, the relationship of mind to time and memory' (Rubin, 90) and truly, he has a winning combination. Witness Boku and sexy ear girl at the movies: 'The films were exemplars of the dreadful. The sort of films where you feel like turning around and walking out the instant the title comes on after the roaring MGM lion. Amazing that films like that exist. The first was the occult feature. The devil, who lives in the dripping, dank cellar of the town church and manipulates things through the weak preacher, takes over the town. The real question, though, was why the devil wanted to take over the town in the first place. All it was was a miserable nothing of a few blocks surrounded by cornfields' (161).

Murakami is my hands down, all bets off, favourite novelist. A writer so postmodern he makes postmodernism seem like yesterday's stale popcorn. Fortunately, I have many unread novels of his to work through, all perched up there expectantly on our cockatiel's favourite shelf (seriously). When I reach the end, I'm sure it will feel like I'm finishing all the seasons of something bent yet realist, like Six Feet Under, and being bummed out that I've watched it, sorry that it's now in the past tense. Murakami's still in my present, and when I've worked my way through his corpus I shall turn around and start the process all over again.

I cannot even bring myself to reread what I wrote in my last review. It feels rather embarrassing (to me).

However, here I am, still filled with all the excitement, still liking this book a great deal. So I bet whatever I felt back then was quite valid. Once again, kudos to the translators.

After finishing reading, I just realized that I don't know what the name of the main character is. Is it that I overlooked it, or is it that he wasn't mentioned even once in the story? Or perhaps in this story, the name and age are no longer important?

Starting from the fact that the main character talks about a person he used to know who has already passed away and his hesitation when talking about his ex-wife, I didn't think that anyone could guess that the plot would continue in an increasingly trippy direction. Somehow, both skillfully and delicately, Murakami has steered the story from an ordinary life situation (or rather, a mediocre one?) to an entirely different universe, not just to another world. While reading, it feels as if I'm watching someone else's 1080HD dream. What I really like is seeing from which plot point everything will change completely, just like hearing a click and knowing that a new door has just been opened. This is the first Murakami book that I've read in Vietnamese. I must admit that the translation is very good, the text is extremely smooth and gentle, and it's better than expected.

I started reading "Wild Sheep Chase" in a rather bad state of mind, extremely homesick and on the verge of burnout, thinking that I was about to give up. So I decided to read a Murakami book to see anyone (of course, the main character) going through the loneliness and powerlessness that I can't escape from. And of course, it's impossible for a Murakami book to disappoint me. Just like the other Murakami books that I've read, the air throughout the book is still filled with the loneliness and boredom of either the main character or the people around the main character. It seems that everyone is walking without a purpose and everyone has died a little inside. Often, I think I like reading Murakami so much because no one else can create such characters that I can look at and see myself. Anyway, the 180-degree turn from the dull daily life of the main character to the illusory adventure has added a bright color to the book and has also shaken my spirit a little.