When he wrote his first novel, Haruki Murakami confessed in a lecture, friends called to complain because the book made them want to drink. And when he writes, his words have a music all their own, much of it learned from jazz. Jay Rubin, a self-confessed fan, has written a book for. A review, and links to other information about and reviews of Haruki Murakami and the Music of Words by Jay Rubin.

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Some chapters are much more interesting and useful than others, in particular excerpts from his own writings and speeches. Jay Rubin, a self-confessed fan, has written a book for other fans who want to know more about this reclusive writer.

I thought that this could have been more meaningful and enjoyable if Rubin divided this into two giving more structure rather than fusing the two in his narratives. Haruki Murakami and the Music of Words is an excellent book and one I enjoyed immensely.

‘Haruki Murakami and the Music of Words’ by Jay Rubin (Review)

Since Rubin has been studying Murakami’s writing, interviewing him, and collaborating with him in preparing his works for an English-speaking audience. You’ll ruin it any other way. Occasionally I think Rubin drifts into the speculative, especially with t Rubin gives quite a bit of biographical information muslc Murakami within the context of his writing, which allows the reader to see the connection between Murakami’s growth and changes of writing style in relation to his maturation as nad person.

As a writer, I don’t really rate Murakami that highly, but he fascinates me as a cultural product of Japan, so completely hijacked by America — particularly the way translation has smoothed over any parts that are too Japanese.

He could be star-struck too. In all this Rubin brings the enthusiasm of a fan as well as a translator of Murakami’s work.

Ru This is a partial review of a partially read book. Jay Rubin is an American academic and translator. Jay Rubin was the translator of 4 Murakami books: How Murakami uses inspiration from detective novels to provide novels that have trhe rhythm and drive of a mystery, but the mysteries themselves become unsolveable ones – the influence of Murakami’s own disillusionment with the protests of his youth – the influences of jazz and other popular music on Murakami’s writing – how Murakami has tried nay tackle different genre as his career continued.

As mentioned in the post, Rubin does come across as being inside ‘Team Murakami’ a little…. Rubin is an academic, but here he writes for a general audience in an engaging, easygoing style, in much the same way as the subject of this book does which makes sense since Rubin is one of Murakami’s translators. Jay Rubin said that those characters are indispensable to the story. Rubin also offers some insight into the difficulties there are in translating from the Japanese, and compares the approaches the three different Murakami-translators Birnbaum, Gabriel, and Rubin himself have taken.

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Translating is such an interesting business so I really want to find out what my favourite author’s translator thinks.

To be honest, one thing that bothered me about 1Q84 is that it kept repeating information, especially in Book 1 he kept describing Tengo’s earliest memory over and over and over, for example. I have a feeling that both approaches are wrong.

Murakami has translated a great deal of work from the English. This, as well as a small treatise on the Boku-narrative Murakami uses in Japanese, one that is far more informal than the usual first-person narratives of Japanese literature and also a good explanation for the central mystery of my attraction for Murakami’s novels, that the narrators always seemed to be the same person, and in fact are, to an extentmakes this book well worth purchasing and exploring if you have any interest in Murakami’s writing.

No eBook available Amazon. And I think he gives some really useful insight that I would have never been able to access otherwise, stuff about things that just can’t be translated.

Rubin’s insight is amazing. By the time ‘1Q84’ came around, Murakami was famous enough for the book to be translated in its entirety… I have a feeling that both approaches are wrong. Alex — I definitely think that you need to know the books Rubin is talking about if you’re going to get the most out of this — otherwise, it’s just somebody talking about books you haven’t read… Like Like.

The appendix on translating Murakami is particularly interesting for anyone who’s read him in both English and Japanese. Allinson Limited preview – He could also be accused of writing for the sake of writing as his output is truly phenomenal and covers all kinds of areas and genres.

Haruki Murakami and the Music of Words – Jay Rubin

He reveals the autobiographical elements in Murakami’s fiction, and explains how he developed a distinctive new style in Japanese writing. After a few dabs with an alcohol swab, Murakami trudged uphill and tried again — and again — and again, until he got it right. Major works like Undergroundpublished in two volumes in Japan, were drastically cut in translation, and Rubin mentions the extensive cuts he made muzic his translation of The Wind-Up Bird Chronicle while mentioning that he also handed in an entirely uncut translation, a version Knopf declined to publish.


The bibliography lists the works essentially all of Raymond Carver’s works, as well as numerous other authorsand Rubin does discuss this aspect of Murakami’s work fairly well.

Lists with Ad Book. What’s up with murakwmi Rubin shows how Murakami was the first of a new breed of writers, one who unlike his predecessors was mjrakami tune with the new Japan: For example, the Boku vs Watashi thing is really enlightening and might be a possible explanation as to why Murakami’s female perspectives, the few of them that exist, tend to be awkward.

Jay Rubin has translated several of Haruki Murakami’s novels into English and interviewed him extensively over a number of years. But Rubin is not just a mere translator, he is also a fan of Murakami But Rubin is not just a mere anc, he is also a fan of Murakami Rubin takes us from the start of Murakami’s writing career through his short-story collection, after the quake.

I liked the interspersion of reviews with biography in “real time”, as it added quite a bit to my appreciation for Murakami’s development of self and his art.

Read, highlight, and take notes, across web, tablet, and phone. Rubin also discusses the books that are readily available in the US and UK, offering both biographical background how and under what circumstances Murakami came to write them as well as a closer reading of the texts themselves.

I am genuinely amused at how little Murakami cares about understanding the things that hariki writes. Haruki Murakami is wnd favorite Japanese writer tue one of my favorite contemporary writers. An excellent analysis of Murakami works throughit reminds me how much I’m missing out on by not being able to read Japanese.

Haruki Murakami and the Music of Words

I’m worrds tempted to read that one as opposed to the English version. Also, be sure to read Rubin’s appendix on translation and re-translation — it’s quite interesting. While most US Murakami fans probably only first learned of this author in picking up a copy of A Wild Sheep Chase for me, it was finding “TV People” in the fantastic anthology Monkey Brain SushiRubin shows us how Murakami has developed a much more thorough career in Japan and has put out not only an impressive number of translations of classics from the English which was the worrs he first received any notoriety in the US but travel writing and even has a website where fans can actually get responses from H.

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