村上春樹今年77歲。他的第一本書《聽風的歌》，47歲。《我的職業是小說家》《村上T恤》《村上春樹的世界》；online 邀讀者交流；「村上春樹研究センター」、Murakami 村上春樹mania ：《日出國的工場》《如果我們的語言是威士忌》把我想成瀕絕動物「1Q84」等也被迫在書店消失 名誉博士《終究悲哀的外國語》Murakami: Imagination leads to 'special room that lies within us' 村上春樹 THE SCRAP 懐かしの一九八〇年代
時間過得真快，村上春樹今天77歲。他的第一本書《聽風的歌》，47歲。
2020年推出新書《村上T恤》，其實是村上的第二本回憶錄，只不過他用T恤圖像加上少許的文字說明，來呈現他過去的豐功偉業。如果大家尚未遺忘的話，《我的職業是小說家》就是他第一本回憶綠。
《村上春樹的世界 東京篇 1968~1997》台北：紅色文化，城邦，1998
Stand News 立場新聞
時間過得真快，村上春樹今天77歲。他的第一本書《聽風的歌》，47歲。
2020年推出新書《村上T恤》，其實是村上的第二本回憶錄，只不過他用T恤圖像加上少許的文字說明，來呈現他過去的豐功偉業。如果大家尚未遺忘的話，《我的職業是小說家》就是他第一本回憶綠。
《村上春樹的世界 東京篇 1968~1997》台北：紅色文化，城邦，1998
日本作家村上春樹人氣高漲，書迷不但會排隊買新作，甚至熱切追求其筆下生活形式。日本有年輕人仰慕村上，專誠報考早稻田大學；他寫威士忌，讀者便喝威士忌；他寫古典音樂家楊納傑克，楊納傑克的唱片即刻大賣；台北更有地產商以「村上式生活」為名，推出住宅社區。
如果書迷有機會與作者直接對話，又會迸發出怎樣的潮流？
村上春樹センター、台湾の大学に開設
2014.9.23 09:21
台北郊外の私立大、淡江大は、各国語に翻訳されている日本の人気作家、村上春樹さんの作品を研究する「村上春樹研究センター」を設置し、関係者が２２日に開設式典を開いた。式典では、村上氏から「外国に僕の作品を研究する機関が生まれるのは大きな驚きであり喜びであります。これからもさらに意欲的に作品を書き続けたい」などとするメッセージが寄せられた。
村上作品を研究対象に選ぶ学生が増えているのを受け、設置が決まった。各地でどう読まれているかを比較するなど多様な研究を進め、村上作品の国際的な研究拠点を目指す。台湾では１９８０年代半ばに中国語圏でいち早く村上作品が読まれ始め、中国語圏での人気を牽引（けんいん）してきた。（共同）
村上春樹さんの３年ぶりの長編小説「色彩を持たない多崎つくると、彼の巡礼の年」が発売された１２日、版元の文芸春秋は１０万部の増刷を決め、発行計６０万部となった。
18年後公開演講受訪 村上春樹：把我想成瀕絕動物
2013-05-08 02:42
作家村上春樹睽違十八年後終於在日本公開露面，他七日在京都大學與五百名讀者交流時談及，自己喜歡的作家是夏目漱石、吉行淳之介，不喜歡的是川端康成。
看靈魂、寫靈魂 與讀者們交流
村上幾乎不公開露面，這次是應邀參加河合隼雄小說獎暨學藝獎的創設紀念活動，因為已故臨床心理學者河合是他的摯友。村上的演講共吸引約一千五百名讀者報名，最後抽選出幸運的五百名。
村上以牛仔褲、棒球帽、球鞋等輕鬆造型現身，在京都大學百周年紀念大廳，以「看靈魂、寫靈魂」為題發表演講，並接受隨筆作家、前編輯湯川豐的訪問，公開與讀者對談。演講會全程不接受媒體採訪，同時規定讀者不得錄影、錄音。
不願公開露面 盼讀者遠遠觀察
不過，村上很有耐心且幽默地回答提問。被問到不公開露面的理由時，村上開玩笑說：「我的工作是寫文章，因此盡量不想參與寫文章以外的事。請把我想成瀕臨絕種的西表山貓（日本沖繩特有的品種）的話，我會很感謝的。即使看到了，都希望能只從遠遠的觀察。」
談到剛發表的新作《沒有色彩的多崎造和他的巡禮之年》，村上說，自己也被四位主角引導著寫到欲罷不能，才會變成長篇小說。「在我的作品中，那麼仔細地描寫豐富多彩的人物還是第一次，邊寫我邊對人與人的關聯感到強烈的關心與同感。」
要成長得更大 傷痛就得大一點
對主角被好友宣告絕交一事，村上說：「我也有類似經驗，這是成長故事，要成長得更大，傷痛就得大一點。」
《沒有色彩的多崎造和他的巡禮之年》是自從《挪威的森林》之後，村上再度以現實主義手法書寫的小說。「表面上是現實的，底層有非現實。也許會被認為是文學的後退，但對我自己而言，是新的嚐試。」
故事在靈魂深處 能與讀者相連
「小說家的任務就是要將人們的故事，用相對性的模式表現。我的故事與讀者的心產生共鳴，才會形成靈魂的網路。」村上還說：「所謂的『物語』（故事）是在人的靈魂深處的東西，正因為在心中最深處，才能從根本上連結人與人。」
六十四歲的村上被問到今後跑馬拉松的計畫時表示，「我跑馬拉松已經超過卅年，花的時間變長也是沒辦法的事，但我想訓練自己到即使年紀大了也能跑的程度，到八十、八十五歲左右還能跑馬拉松就好了。」
作品無趣還會買 最愛這種讀者
針對「平時讀什麼書呢？」的提問，他說「在我的記憶當中，小學三年級以前幾乎都不讀書，小學四年級以後，會騎車到當時住的兵庫縣西宮市圖書館，把兒童的讀物幾乎都讀完，拿到什麼書就讀什麼，讀書也是很重要的。」
他最後感謝讀者說：「我真的很高興，有讀者等著我出書並且買書。我會拚命寫的，今後也請多關照。」
「比起說讀我的作品會感動到哭，我更喜歡聽到的是讀我的作品會想笑。」他說：「會說『這次的作品很無趣，太失望了，但下次也要買』這樣的人我最喜歡了。」
看靈魂、寫靈魂 與讀者們交流
村上幾乎不公開露面，這次是應邀參加河合隼雄小說獎暨學藝獎的創設紀念活動，因為已故臨床心理學者河合是他的摯友。村上的演講共吸引約一千五百名讀者報名，最後抽選出幸運的五百名。
村上以牛仔褲、棒球帽、球鞋等輕鬆造型現身，在京都大學百周年紀念大廳，以「看靈魂、寫靈魂」為題發表演講，並接受隨筆作家、前編輯湯川豐的訪問，公開與讀者對談。演講會全程不接受媒體採訪，同時規定讀者不得錄影、錄音。
不願公開露面 盼讀者遠遠觀察
不過，村上很有耐心且幽默地回答提問。被問到不公開露面的理由時，村上開玩笑說：「我的工作是寫文章，因此盡量不想參與寫文章以外的事。請把我想成瀕臨絕種的西表山貓（日本沖繩特有的品種）的話，我會很感謝的。即使看到了，都希望能只從遠遠的觀察。」
談到剛發表的新作《沒有色彩的多崎造和他的巡禮之年》，村上說，自己也被四位主角引導著寫到欲罷不能，才會變成長篇小說。「在我的作品中，那麼仔細地描寫豐富多彩的人物還是第一次，邊寫我邊對人與人的關聯感到強烈的關心與同感。」
要成長得更大 傷痛就得大一點
對主角被好友宣告絕交一事，村上說：「我也有類似經驗，這是成長故事，要成長得更大，傷痛就得大一點。」
《沒有色彩的多崎造和他的巡禮之年》是自從《挪威的森林》之後，村上再度以現實主義手法書寫的小說。「表面上是現實的，底層有非現實。也許會被認為是文學的後退，但對我自己而言，是新的嚐試。」
故事在靈魂深處 能與讀者相連
「小說家的任務就是要將人們的故事，用相對性的模式表現。我的故事與讀者的心產生共鳴，才會形成靈魂的網路。」村上還說：「所謂的『物語』（故事）是在人的靈魂深處的東西，正因為在心中最深處，才能從根本上連結人與人。」
六十四歲的村上被問到今後跑馬拉松的計畫時表示，「我跑馬拉松已經超過卅年，花的時間變長也是沒辦法的事，但我想訓練自己到即使年紀大了也能跑的程度，到八十、八十五歲左右還能跑馬拉松就好了。」
作品無趣還會買 最愛這種讀者
針對「平時讀什麼書呢？」的提問，他說「在我的記憶當中，小學三年級以前幾乎都不讀書，小學四年級以後，會騎車到當時住的兵庫縣西宮市圖書館，把兒童的讀物幾乎都讀完，拿到什麼書就讀什麼，讀書也是很重要的。」
他最後感謝讀者說：「我真的很高興，有讀者等著我出書並且買書。我會拚命寫的，今後也請多關照。」
「比起說讀我的作品會感動到哭，我更喜歡聽到的是讀我的作品會想笑。」他說：「會說『這次的作品很無趣，太失望了，但下次也要買』這樣的人我最喜歡了。」
In rare appearance, Murakami says relationships of characters in his latest book intrigued him
Bernat Armangue, File/Associated Press - FILE - In this Feb. 15, 2009 file photo, novelist Haruki Murakami of Japan reacts before receiving the Jerusalem award during the International Book Fair in Jerusalem. Murakami said Monday, May 6, 2013 his latest novel was a new experiment and grew longer than expected as he developed a desire to expand on side characters while writing. The latest novel by one of Japan’s most respected and popular novelists, “Colorless Tsukuru Tazaki and the Year of His Pilgrimage,” has sold more than 1 million copies a week since it went on sale last month.
“Colorless Tsukuru Tazaki and the Year of His Pilgrimage” has sold more than 1 million copies a week since it went on sale last month.
“At the beginning, I was planning to write something allusive, as in my past works. But this time I developed a great interest in expanding on real people. Then the characters started to act on their own. I was intrigued by the relationships between people,” Murakami said.
The protagonist, Tsukuru Tazaki, a 36-year-old railway station architect, returns to his hometown of Nagoya in central Japan and travels as far as Finland trying to learn why he was rejected 16 years earlier by his best friends — two boys and two girls — in hopes of making a fresh start in life.
In the book, Tazaki’s girlfriend plays a key role in urging him to try to come to terms with his past trauma. Murakami said the girlfriend character, Sara Kimoto, also led him to write more about the four friends.
Murakami said the significance of storytelling is to portray something invisible and deep inside in each person and help create a place where people can sympathize and identify with others.
“If a reader sympathizes with my story, then there is a network of empathy,” he said.
The novel is the first in three years for Murakami and is only available in Japanese for now. Japanese media said his appearance Monday at Kyoto University was Murakami’s first public appearance in Japan in 18 years.
The writer said he could sympathize with Tsukuru’s pain because he had a similar experience, although not as bad.
“I can understand how painful it is to be rejected,” Murakami said. “When you get hurt, you may build an emotional wall around your heart. But after a while you can stand up and move on. . That’s the kind of story I wanted to write.”
Murakami, often mentioned as a Nobel Prize contender, has written such internationally known works as “Norwegian Wood” and “The Wind-Up Bird Chronicle.”
Also an accomplished translator of contemporary American literature, Murakami counts among his influences F. Scott Fitzgerald and Raymond Chandler. Murakami taught as a visiting scholar at Princeton University in the early 1990s.
He is also a prolific nonfiction writer and has published a collection of interviews of survivors and bereaved families of a gas attack on Tokyo’s subways in 1995 by an apocalyptic cult, Aum Shinrikyo.
A vocal opponent of atomic weapons, Murakami has been a critic of Japan’s pro-nuclear energy policies since the 2011 Fukushima disaster.
Murakami’s reclusiveness has added to his appeal.
The last time he appeared in public in Japan was at a book reading after a disastrous 1995 earthquake in Kobe, near where he grew up.
Monday’s event in his birthplace, Kyoto, was tightly controlled. He was interviewed by a veteran literary critic, and no recording or filming was allowed by the media or the audience of 500 who won seats by a lottery.
Murakami, dressed casually in a plaid shirt, brick-colored jeans and navy sneakers, appeared relaxed, but admitted he is media shy.
“When I woke up this morning I almost thought of taking a bullet train home,” he joked. “It’s not because I have a mental condition or purple spots all over my body. I’m just an ordinary person who lives an ordinary life.”
He said his job is to write and he prefers to concentrate on that.
Chiyomi Hirosawa, a 43-year-old architect in the audience, said she was delighted to see Murakami in person.
“It was great to be able to see the real Murakami that we can never know from his novels. He has a great sense of humor and seemed more upbeat than the kind of person I was imagining,” she said.
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Murakami mania sweeps Japan as new novel is released
An initial print run of 500,000 copies is announced as Colourless Tsukuru and His Years of Pilgrimage finally goes on sale.
Publishing sensation: Haruki Murakami Photo: Rex
The latest novel by Haruki Murakami went on sale today in Japan amidst extraordinary scenes. The Japanese author is a publishing sensation in his own country, where each new novel unleashes a wave of Murakami mania.
Hundreds of fans lined up outside Tokyo's bookshops, which opened their doors at midnight to deal with the demand for Colourless Tsukuru and His Years of Pilgrimage. Media crews also stationed themselves on the streets as broadcasters aired a live countdown to the launch.
One bookshop even temporarily renamed itself after the author, to mark the new novel's release.
The book's publisher, Bungei Shunju, announced an initial print run of 500,000 copies, roughly one for every 250 people in Japan, according to Channel NewsAsia.
The print run of Murakami's last novel, 1Q84, sold out on its first day of release, reaching sales of one million within a month.
Amazon Japan reported it had already taken 20,000 pre-orders as of last Saturday.Breakfast television programmes were showing pictures this morning of journalists who had stayed up all night to read the book. One early review described the new work as "a story about a man who tries to get back into his life again. You see the strength of a person who tries to overcome the feelings of loss and lonelines that he has amassed deep inside of himself."
Fans on Twitter expressed their excitement over the new book and intrigue over what the unusually long title meant. "The title says 'colourless'. What does this illustration mean? I cannot wait to read it," tweeted Ryosuke Kawai, 26, one of the first to get his hands on a copy.
Some fans have speculated that the title is a reference to a collection of piano pieces called "Years of Pilgrimage" by Hungarian composer Franz Liszt.
The demand for the new book is all the more remarkable considering that, in typical Murakami fashion, fans had been told virtually nothing in advance about it.
The author, whose fiction focuses on the fantastical and surreal, has a reputation for setting puzzles for his readers. 1Q84, shortlisted this week for the Impac Dublin Literary Award, baffled readers with its plotline set in parallel universes.
Twitter fans also praised Murakami's ability to generate literary excitement in a nation heavily addicted to technology, in particular videogames and smartphones.
He is rarely seen in public and has not made an appearance in Japan in almost two decades, although that is set to change in May, when he will appear at a seminar in Kyoto.
Murakami's novels have sold millions of copies, been translated into over forty languages, and won him the Franz Kafka Prize, the Jersualem Prize, and Spain's Catalunya Prize amongst others. He has also been tipped to win the Nobel literature prize.
《中英對照讀新聞》Author Murakami wades into Japan-China island row 作家村上春樹涉入日中島嶼爭議
Haruki Murakami, one of the world’s foremost novelists, waded into the territorial row between China and Japan recently, warning of the peril of politicians offering the "cheap liquor" of nationalism.
全球最知名的小說家之一村上春樹最近也涉入中國與日本之間的領土爭議，警告政客們提供民族主義「廉價劣酒」可能引發的風險。
The Japanese author of "Norwegian Wood" said cool heads should prevail.
這位曾寫過小說「挪威森林」的日本作家表示，在爭議中理智應該佔上風。
Writing in the liberal-leaning Asahi Shimbun, Murakami, who has been tipped as a future Nobel laureate, said disputes over land existed because of the unfortunate system of dividing humanity into countries with national borders.
多次被視為諾貝爾文學獎可能得主的村上投書給自由派的朝日新聞寫道，有關釣魚台的爭議之所以存在，是因為把人類用國界分為不同國家的不幸系統所導致。
"When a territorial issue ceases to be a practical matter and enters the realm of ’national emotions’, it creates a dangerous situation with no exit.
「當領土議題不再是實際問題，而成為『民族情感』的問題時，就會製造出無路可走的危險情勢。」
"It is like cheap liquor. Cheap liquor gets you drunk after only a few shots and makes you hysterical. It makes you speak loudly and act rudely... But after your drunken rampage you are left with nothing but an awful headache the next morning.
「這就像是喝劣酒。廉價的劣酒只要幾杯就能讓你喝醉，變得歇斯底里。喝劣酒讓你說話大聲，舉止粗魯……但當你發完酒瘋後，第二天早上除了頭痛欲裂外一無所有。
"We must be careful about politicians and polemicists who lavish us with this cheap liquor and fan this kind of rampage," he wrote.
「我們必須提防這些拚命給我們倒劣酒、煽起暴動的政客和好辯人士，」他寫道。
"You soon sober up after the buzz of cheap liquor passes," he said. "But the path for souls to come and go must not be blocked."
「劣酒帶來的宿醉過後，你很快就會清醒過來，」他說。「但靈魂的交流道路不該被堵住。」
Murakami has never shied away from controversy. When he received the 2009 Jerusalem Prize, Israel’s highest literary honour for foreign writers, he obliquely criticised the Middle East conflict.
村上過去從不畏懼涉入爭議話題。當他於2009年獲得以色列頒給外國作家的最高文學獎項耶路撒冷獎時，就曾間接批評過中東衝突。
"If there is a hard, high wall and an egg that breaks against it, no matter how right the wall or how wrong the egg, I will stand on the side of the egg," he said at the ceremony in Jerusalem.（AFP）
「假如有一堵堅固的高牆，和一顆擊打在牆上的雞蛋，不論那堵高牆有多正確，或雞蛋有多錯誤，我都會站在雞蛋那邊，」他在耶路撒冷的頒獎儀式上表示。（法新社）
新聞辭典
a cool head：指在困境中保持冷靜思考的能力，如These are high pressure situations and you have to keep a cool head.（在這種高壓情況下，你必須保持冷靜。）
sober up：片語，指使（酒醉者）清醒，亦可引申為指讓某人面對現實，如The harsh reality of what had happened sobered him up immediately.（事情發生的殘酷現實讓他立刻清醒過來。）
obliquely： 副詞，形容詞為oblique，指斜的、傾斜的，引申為指拐彎抹角的、不直截了當的，間接的，如He referred obliquely to a sordid event in her past.（他拐彎抹角地提到她過去發生的一樁難堪事件。）
遷怒於村上春樹的小說中日間就釣魚島（日本稱尖閣諸島）主權爭議引發的紛爭仍在繼續，甚至已經蔓延到了文化界。（德國之聲中文網）中日間就釣魚島（日本稱尖閣諸島）主權爭議引發的紛爭仍在繼續，甚至已經蔓延到了文化界。日本著名作家村上春樹一系列小說的中文版譯者林少華，日前呼籲中國出版社不再出版村上的作品，書店也不再銷售他的書。 《南德意志報》的文藝副刊發表署名文章，講述了中日島嶼之爭背景下的這場文人論戰。文章說，林少華本人也是個村上迷，他翻譯村上的作品已經有20多年了，並與原作者保持著密切的個人關係。日本文學翻譯者林少華“林少華最近的言論或許讓人們感到詫異，但不能把他的表述和那些盲目從眾、暴力洩憤的示威者的民族主義畫上等號，他們中的大多數可能從未讀過一本日本作家寫的書。但林的話也不能被淡化為一時走嘴，或酒後失言。這似乎的確是這位日本文學學者的本意。難道他是被中國的文化官僚施加了壓力？對此我們不可能很快得到答案。同樣我們無法知道，那些把日本作家的作品取下貨架的書店，是得到了當局的指令還是過分積極自覺才這樣做。然而，一位著名的、年事已高的翻譯家，得受到多大的壓力，才會唾棄自己傾注了大半生心血的文學作品呢？”文章指出，其實村上春樹9月底就在《朝日新聞》上發表文章，提醒人們不要被民族主義所蠱惑。他把民族主義比作讓人失去理智的“廉價的烈酒”。中國作家閻連科上週末在《國際先驅論壇報》上發表文章，提到一千多名日本知名人士發表的一封呼籲當局正視日本殖民歷史，保持理性尺度的公開信。文章引述了閻連科的話：“日本作家可以率先對關乎中日兩國命運同時又命若琴弦的東亞局勢發表明洞而理性的見解，這是他們令人敬重的作為知識分子的人格和寫作者的不凡，相比之下，我作為一個中國作家，就顯得遲鈍和麻木，自愧弗如了。”
迁怒于村上春树的小说
中日间就钓鱼岛（日本称尖阁诸岛）主权争议引发的纷争仍在继续，甚至已经蔓延到了文化界。
日本文学翻译者林少华文章指出，其实村上春树9月底就在《朝日新闻》上发表文章，提醒人们不要被民族主义所蛊惑。他把民族主义比作让人失去理智的“廉价的烈酒”。中国作家阎连 科上周末在《国际先驱论坛报》上发表文章，提到一千多名日本知名人士发表的一封呼吁当局正视日本殖民历史，保持理性尺度的公开信。文章引述了阎连科的话：
“日本作家可以率先对关乎中日两国命运同时又命若琴弦的东亚局势发表明洞而理性的见解，这是他们令人敬重的作为知识分子的人格和写作者的不凡，相比之下，我作为一个中国作家，就显得迟钝和麻木，自愧弗如了。”
编译：叶宣
责编：洪沙
〔中央社〕「朝日新聞」報導，中日關係緊繃，北京政府指示書店拿掉日本作家的作品，知名小說家村上春樹的名作「1Q84」等也被迫在書店消失。
報導引述幾位當地出版業者的消息指出，管理北京市出版業的「新聞出版局」17日召集負責出版日本相關書籍的出版社編緝。
出版局幹部說明中日關係緊迫，並口頭指示「統一思想、把握方向」。
編緝們表示「參加的人都聽得出來，意思是叫大家不要出版和銷售有關日本的書」。
報導指出，中國大陸的網路上也出現出版局要求不要出版有關日本作家、日本題材等書籍的內容。
出版局接受朝日採訪時表示，「從來沒有發過什麼通知」。
北京市內的書店已經開始撤掉有關日本的書籍，有名的「王府井書店」昨天一口氣撤掉所有日本作家的作品，連放在暢銷書專區的村上春樹「1Q84」也不見了。
其他的大書店也撤掉了日本小說，店員表示「因為中日關係惡化」。
報導指出，中國大陸國務院總理溫家寶表示對日本要採取「有力的措施」，大陸政府各部門都各自開始做出對日本的對抗措施。
這本書 只剩下這段筆記
村上春樹《終究悲哀的外國語》(林少華譯，上海：譯文)
談日-英-日的比較，我們讀者更多一日-英-日-中……的問題。
他說漢字的氛圍製造乃是字母無法取代的。
ハワイ大学マノア校は１２日に開かれた卒業式で、作家村上春樹さんに名誉博士号を授与した。
村上さんの作品が４０以上の言語に翻訳され、ポストモダン文学に世界的な貢献をしていることや、英語の文学作品を多く日本語訳したことなどを評価した。村上さんは現在、同校東アジア言語文学部で客員教授を務め、日本文学の授業に参加したり、朗読会を開いたりしている。
村上さんの作品が４０以上の言語に翻訳され、ポストモダン文学に世界的な貢献をしていることや、英語の文学作品を多く日本語訳したことなどを評価した。村上さんは現在、同校東アジア言語文学部で客員教授を務め、日本文学の授業に参加したり、朗読会を開いたりしている。
A poster announces a lecture to be conducted by Haruki Murakami at the University of Hawaii. (Yu Yamada)
Novelist Murakami: Imagination leads to 'special room that lies within us'
HONOLULU--Internationally acclaimed writer Haruki Murakami gave a lecture and reading to a standing-room only crowd at the University of Hawaii's Manoa campus.
Murakami is a visiting writer-in-residence at the East Asian Languages and Literatures Department for the current school year.
The April 10 event was titled, "What I Talk About When I Talk About Writing."
In addition, Murakami has taken part as a guest in other courses on Japanese literature and has been accessible to students.
About 200 people were waiting for the doors to open to Murakami's event. The 600 or so seats in the ballroom were filled about 30 minutes before Murakami addressed the crowd. An additional 200 or so people stood.
This is the second time Murakami has spoken at the University of Hawaii.
"I gave a lecture at this same place six years ago," Murakami told the crowd. "I am very happy to be invited back again."
In his talk in English, Murakami discussed how using one's imagination made it possible to see a "bridge under the water."
People can see it when they open the door to a special room that lies within them, Murakami said. He added that seeing it can change the way people think about life and it is the power of novels that can lead to such experiences.
Murakami also revealed how he wrote every day for about three years to complete his most recent work, "1Q84."
Murakami read two short stories from his collection "Blind Willow, Sleeping Woman." The stories selected were "The Rise and Fall of Sharpie Cakes" and "The Mirror."
Before reading his works in Japanese, Murakami explained that he did not feel comfortable reading his own works in English.
The English translations were read by Ken Ito, a professor of Japanese literature.
The audience gave Murakami a standing ovation after his readings, and students formed a line to get autographs. Murakami responded to the huge demand, staying for more than an hour to sign autographs and talk to participants.
Shihlun Chen, 35, a graduate student at the University of Hawaii, said he had read almost all of Murakami's works and sat in one of the front rows because it was unusual for Murakami to make such a public appearance. Chen said he was glad to be able to listen to Murakami's voice because it allowed him to gain a sense of his tempo.
The student added that the appeal of Murakami's work was in expressing the loneliness felt by the younger generation even as they lived in urban areas and were part of a larger group.
Although Murakami did not have a regular course he was in charge of, he would attend lectures if invited. He also set up office hours during which students could come to him with their questions.
In one class held in December by Gladys Nakahara, an instructor of Japanese language, Murakami read in Japanese from a collection of essays that can be translated into English as "Afternoon in the Islets of Langerhans." During the class discussion that followed, Murakami answered questions raised by students, including his thoughts at the time of the writing as well as his experience running the Honolulu Marathon.
"Although I heard that Murakami did not like to have his photo taken, he allowed photos to be taken," Nakahara said. "The students were all very happy."
Joel Cohn, an associate professor of Japanese literature, said: "Murakami's works are very accessible. Our imaginations are stimulated because we are unsure what the elements in his novels symbolize. While his term ends in July for the current academic year, I hope he can continue this in the next academic year."
2014.4.2 補我2004年的一小篇
叫Haruki Murakami，不是「村上春樹」！
坦白說，村上春樹的作品很多，不過只看完《日出國的工場》。
最近出版商猛吹捧其關係產業（猶如昆曲的困獸之鬥），讀起來也很有意思。
他的書名翻譯都將錯就錯：「挪威森林」等等，最近「聽見100%的村上春樹」（"Haruki Murakami and Music of Words"）其實是對作者文字神韻的「音癡低調處理」；他的譯者魯賓（他在哈佛專門講授和研究日本文學）的書《妨害風化：明治時代的文人》（Injurious to Public Morals: Writers and the Meiji State"）
將文人與國家對立（Writers and the Meiji State）化解：「明治時代的文人」。
*****
村上春樹《如果我們的語言是威士忌》賴明珠譯
「這是一本主題旅行寫作……背景是全球最好的小麥釀威士忌家鄉：愛爾蘭。……更循著二十世紀頭牌小說家、寫作《尤里西斯》的喬伊斯故鄉，有所著墨。」
Murakami is a visiting writer-in-residence at the East Asian Languages and Literatures Department for the current school year.
The April 10 event was titled, "What I Talk About When I Talk About Writing."
In addition, Murakami has taken part as a guest in other courses on Japanese literature and has been accessible to students.
About 200 people were waiting for the doors to open to Murakami's event. The 600 or so seats in the ballroom were filled about 30 minutes before Murakami addressed the crowd. An additional 200 or so people stood.
This is the second time Murakami has spoken at the University of Hawaii.
"I gave a lecture at this same place six years ago," Murakami told the crowd. "I am very happy to be invited back again."
In his talk in English, Murakami discussed how using one's imagination made it possible to see a "bridge under the water."
People can see it when they open the door to a special room that lies within them, Murakami said. He added that seeing it can change the way people think about life and it is the power of novels that can lead to such experiences.
Murakami also revealed how he wrote every day for about three years to complete his most recent work, "1Q84."
Murakami read two short stories from his collection "Blind Willow, Sleeping Woman." The stories selected were "The Rise and Fall of Sharpie Cakes" and "The Mirror."
Before reading his works in Japanese, Murakami explained that he did not feel comfortable reading his own works in English.
The English translations were read by Ken Ito, a professor of Japanese literature.
The audience gave Murakami a standing ovation after his readings, and students formed a line to get autographs. Murakami responded to the huge demand, staying for more than an hour to sign autographs and talk to participants.
Shihlun Chen, 35, a graduate student at the University of Hawaii, said he had read almost all of Murakami's works and sat in one of the front rows because it was unusual for Murakami to make such a public appearance. Chen said he was glad to be able to listen to Murakami's voice because it allowed him to gain a sense of his tempo.
The student added that the appeal of Murakami's work was in expressing the loneliness felt by the younger generation even as they lived in urban areas and were part of a larger group.
Although Murakami did not have a regular course he was in charge of, he would attend lectures if invited. He also set up office hours during which students could come to him with their questions.
In one class held in December by Gladys Nakahara, an instructor of Japanese language, Murakami read in Japanese from a collection of essays that can be translated into English as "Afternoon in the Islets of Langerhans." During the class discussion that followed, Murakami answered questions raised by students, including his thoughts at the time of the writing as well as his experience running the Honolulu Marathon.
"Although I heard that Murakami did not like to have his photo taken, he allowed photos to be taken," Nakahara said. "The students were all very happy."
Joel Cohn, an associate professor of Japanese literature, said: "Murakami's works are very accessible. Our imaginations are stimulated because we are unsure what the elements in his novels symbolize. While his term ends in July for the current academic year, I hope he can continue this in the next academic year."
2014.4.2 補我2004年的一小篇
叫Haruki Murakami，不是「村上春樹」！
坦白說，村上春樹的作品很多，不過只看完《日出國的工場》。
最近出版商猛吹捧其關係產業（猶如昆曲的困獸之鬥），讀起來也很有意思。
他的書名翻譯都將錯就錯：「挪威森林」等等，最近「聽見100%的村上春樹」（"Haruki Murakami and Music of Words"）其實是對作者文字神韻的「音癡低調處理」；他的譯者魯賓（他在哈佛專門講授和研究日本文學）的書《妨害風化：明治時代的文人》（Injurious to Public Morals: Writers and the Meiji State"）
將文人與國家對立（Writers and the Meiji State）化解：「明治時代的文人」。
*****
村上春樹《如果我們的語言是威士忌》賴明珠譯
「這是一本主題旅行寫作……背景是全球最好的小麥釀威士忌家鄉：愛爾蘭。……更循著二十世紀頭牌小說家、寫作《尤里西斯》的喬伊斯故鄉，有所著墨。」
村上春樹 THE SCRAP 懐かしの一九八〇年代
"Readers can journey along with Murakami's cavalcade of oddities, his sheep men, his unicorns, his magical towns surrounded by high walls, but they do so with the reassurance of a narrator (and a novelist) who emphasizes that he is just like them. They can witness the world in all its inexplicability, its unrepentant unfairness, its history of cruelty and trauma, and feel comfort in a protagonist who is just as overwhelmed by all of it. Perhaps, then, it is not Murakami’s strangeness that accounts for his success; maybe it’s the world’s." — Esquire
「讀者可以跟隨村上的怪人行列，他的羊人，他的獨角獸，他的被高牆包圍的神奇城鎮，但他們這樣做是因為敘述者（和小說家）強調村上和他們一樣。他們可以目睹這個世界的莫名其妙，它的不公平，它的殘酷和創傷的歷史，並在一個同樣被這一切壓垮的主角身上感到安慰，那麼，也許村上隆的奇怪並不是他的原因。也許這是世界的。 ——《時尚先生》
對村上春樹的崇拜
時尚先生網站
對村上春樹的崇拜
一位端莊的爵士樂俱樂部老闆是如何成為全球名人的
村上春樹 THE SCRAP 懐かしの一九八〇年代
為了擺脫日文的「文學語言」，村上春樹想出了一個文字實驗：他收起原本用的原稿紙和鋼筆，因為這兩樣東西對他來說有「文學」的聯想，然後搬出打字機來，用英文寫《聽風的歌》的開頭，再翻譯為日文。他補充說他不是逐字逐句將英文譯成日文，而是有所增補刪減，與其說是「翻譯」("translate")，不如說是「移植」("transplant") 。由於他的英文並不那麼棒，他只能用簡單的詞彙寫出短小的語句，要將想表達的意念用最精簡、最容易明白的方式寫出來。就這樣，先英文，後日文，他逐漸找到了一種獨特的文字節奏；到他完全掌握了這個屬於他自己的自然聲音，他便直接用日文寫作了。
http://fishandhappiness.blogspot.tw/2015/12/blog-post_9.html
----
前一陣子翻讀十來篇，很有意思。不過，內容都忘了，必須重讀才行。有刊物連載的
作家很幸福的。
| THE SCRAP 懐かしの一九八〇年代 | 文藝春秋 | 1987年2月1日 | 『Sports Graphic Number』1982年4月20日号～1986年2月25日号連載ほか |
概要[編集]
内容[編集]
- 『ピープル』に載ったカレン・カーペンターの死亡記事を読んでいると、心が痛む。
- 『ソフィーの選択』はおそらくアラン・J・パクラのベスト・フィルムではないかと思う。
- 夏の朝食はわかめサラダに限る。
- 8年前、僕に「犬のおまわりさん」を唄わせたのは「生活向上委員会」というジャズ・グループにいた原田というピアニストである[1]。
懷念的 1980 年代
The Scrap
請以搬家時翻出畢業紀念冊，一頁頁看下去的心情來閱讀
本書是村上春樹以自己的八○年代生活所接觸的文化產品，例如沙林傑小說《麥田捕手》，電影《E.T.》，《星際大戰》，阿諾．史瓦辛格的影片。以及他所聽的音樂如卡本特兄妹、麥可傑克森、爵士樂手等等，加上他對當時的重大社會國際事件的「私見解」，拼貼構築出一幅既「私人」又有時代共像的八○年代文化錄。
收錄村上春樹自一九八二年春天起，到一九八六年二月為止，共四年期間在《運動畫刊》（SPORTS GRAPHIC NUMBER）雜誌上連載的作品。不太喜歡寫連載的村上表示，之所以會一寫四年，就是寫起來真很快樂。總計四年下來，《運動畫刊》為村上準備的剪報資料多達八十一冊，內容包括《君子》《紐約客》《滾石》《LIFE》《時人》《VOGUE》及週日版《紐約時報》，就這樣躺在家裡啪啦啪啦翻閱椎誌，看到有趣的報導就作成剪報，然後以日文整理出原稿……
村上在前言中說明，自己做的剪報大多是無關緊要的小話題，並沒有閱讀之後就能夠拓展視野、讓心靈成長這一類的內涵。「所以，請以搬家整理東西時，從櫃子裡翻出了古老的畢業紀念冊，於是打開來一頁頁看下去──這樣的心情來閱讀。」
