Note | Horned Owl Spreads Its Wings Only With the Falling of the Dusk (Haruki Murakami A Long, Long Interview) by Haruki Murakami & Mieko Kawakami, Shinchosha, 2017 | Jean-Michel Serres, Composer-pianist (Apfel Café Music): Website

Information of the Book

Outline and Style

Key Elements

magic touch: Kind of a reality in literature or of writings created by reconstruction of some elements and stories through a mind of an author. (1)

translation: (1. )

voice: écriture of writings. (1)

first person pronoun

two-story basement (2)

‘caving’ (2)

bat

good stories, bad stories (2)

Summaries, Keywords and Memoirs

Introduction (Mieko Kawakami)

Motoyuki Shibata; Novelist as a Proffestion; Mitsuo Aida; well; magic touch; now and here; owl of Minerva

1 Great Percussionists Don’t Clap The Most Important Note

Kobe; earthquake; Blind Willow, Sleeping Women; New Zealand

Novelist as a Profession; translation; Is Novelists Friendly Persons?; outsider; professional ethics; common sense

‘Metaphor is a difference to visualize mean’. cabinet; James Joyce; successes of accidents; 1Q84; Aomame; Mugiatama; metaphor; Raymond Chandler; A Wild Sheep Chase; sheep man

first person pronoun;third person pronoun; novelette; long novel; boku; J. D. Salinger; The Catcher in the Rye; Kafka on the Shore; the Great Gatzby; factor of I-Novel

story and self; Flaubert; Madame Bobary; unusual; political correctness; women; ‘piles of hypothesis’

A true reality is beyond realities. To write only reality don’t become a true reality. It must have gaps or differences. It’s fiction. It’s a vividly paraphrased reality. readers; internal reading; ‘penetrating a wall’; Wind-up Bird Chronicle; World End and Hard-boiled Wonderland; Men without Women; Doctor Tokai

Murakami don’t like conflicts among egos in daily life by Japanese I-Novel novelists. He is interested in to seek a proper story in his mind, and bring it out, then look at the things built by it. It’s a problem of ‘voice’. The voice intensified by unconsciousness, has deep overtones or harmonics. To make story said by Murakami is processes go though materials through unconsciousness. ego (self); ordinary conflict of ego; voice (tone); Alfred Birnbaum; Jay Rubin; Phillip Gabriel; Ted Goossen; Underground; reconstruction; ‘magic touch’; technique; rhythm

Murakami create the voice of a novel resonates the voice of readers by rewriting many many times. taste of something; rhythm of writing; rewiting; sound; reaction; spontaneity; concentration; music; jazz; free improvisation; classical music; over there

Hear the Wind SIng; Pinball, 1973; reading books; wonder (suprise); candar (frankness); person suitable for become famous; Norwegian Nood; usual man

Buraiha (Decadent School); Shinjuku Golden Street; Kenji Nakagami; Ryu Murakami; Jyunnosuke Yoshiyuki; Ginza; John Coltrane; literature clan; themeism; pure literature; Nakamuraya

insane; adrenaline; Raymond Carver

Murakami took a way of ‘detouchment’ by his anger to the consummation of words by the New Left Wing activists. nuclear power station; social affairs; observation; detouchment; deep commitment; consummation of words; social statements; idealism; analysis; explanation

Kurt Vonnegut; Richard Brautigan; Waseda University; Syouyou Tsubouchi Award; only child; deepness of commitment

Yoshinobu Araki; The New York Times Magazine; Seiji Ozawa; jazz club; Aoyama; Humphrey Bogard

2. Matter in a Two-Story Basement

Killing Commendatore; Mozart; title; Colorless Tsukuba Tazaki and His Years of Pilgrimage; wonder; incompatibility; Akinari Ueda; Spring Rain Stories; starting points; waiting time; Raymond Chandler; Philip Marlowe; boku; watashi; moving

To write novel is to fight for something. The concept of ‘evil’ in Murakami’s novels had changed. His disappointment for the student movement in 1968 to 1969 reached a distrust for superficial words and expressions and a kind of escape to society as ‘Hear the Wind Sing’. Now he think to fight for evil in the vast information society he needs to touch the evil inside himself. evil; Little People; tatal evil; repose of souls; fight for something; 1968 or 1969; Tokyo Subway sarin attack; Aum Shinrikyo

All of events in the world seems to be reciprocally robbing of ‘our (collective) unconsciousness’ by stories. differenciation; modern ego; two-story basement; self-help; Donald Trump; Hilary Clinton; Twitter; good story ; multilayered story; bad story; easy story; Hayao Kawai; Nazi Germany; shadow in a mind

Murakami thinks making good stories has value but it’s rare. The distinction between ‘good stories’ or ‘bad stories’ is a role of time. ‘Bad stories’ can’t deceive a lot of people for a long time. ancient space; the Place of Haruki Murakami; ‘caving’; way of telling story; écriture; trust; familiarity; ‘caving style’; Adolf Hitler; Shoukoh Asahara; game; programming; Glenn Gould; separation

Wittgenstein’s language game

bat; Crete Kanou; Chehofu; dramatrugie;themeism; myth (mythology); the Bible; Greek Mythology; Takamura Onono; Magic Realism; awakening; realism style; artist type; ‘literary retreat’; Dance, Dance, Dance

no plan; interpretation; totality (whole of something)

power of (the) place; transcendental being; drawer(s); cabinet

matapher; Drive My Car; ordinary, free and neutral man; plot-in-person; Marcel Proust

credit transaction; to attach time to my side; Salinger; the Catcher int the Rye; John Lennon; Mark Chapman; risk (danger); Abbie Hoffman;

Murakami doesn’t have an interest to describe modern ego in the ‘first basement’. The act was exhausted by novelists and he think it is ineffective for current novelists. Junnosuke Yoshiyuki; Nobuo Kohima; Syotaro Yasuoka; Jyunzo Shouno; pressure; ego; self; The Third Generation Postwar Writers; Kurt Vonnegut; Richard Brautigan; In Watermelon Sugar; modern ego

‘be-involved in style’; neutral being; strange stories; upright stories; attitude for receiving; Franz Kafka; The Castle; The Trial; The Metamorphosis; Charles Dickens; Oliver Twist; Sean Connery; James Bond; hypothesis past; hypothesis being; Miss Mumiyoshi; jealousy

Mr Menshiki; the man without face; the man of white Subaru Forester; alter ego; inexplainable character; generator; Cinnamon Akasaka; 70%

Platon; idea; evil idea; matapohr; platonism; Carl Gustav Jung; image of letters; sound of words; Marvin Gay; Ain’t Nothing Like the Real Thing

like shrine maiden (sorceress); medium; power receives something; spiritualist; spontenous; divination

character; feeling of solidity; Sohseki Natsume; Jack London; Martin Eden; positiveness; positive ending; happy end; Joseph Conrad; Lord Jim; catharsis; prologue; post-history; To draw oil painting and to write novel are same as to create work, although just technical points are different. So Murakami can write processes of oil painting only by his imagination in Killing Commendatore. exchange

motif; well; to get back things I lost; act of cure; alternative self; another possibility

3. Night I Can’t Sleep is Rare, The Same as a Fat Postman

Great Gatsby; Jay Gatsby; tranlation; Long Goodbye; Jorge Borges; self-imitating; rhythm; sound (echo); Sputnik, Sweetheart; casual sentences use many mataphors

écriture; Norwegian Wood; a little longer novel; experiment; detail; paraphrase; Movie is total art, there are actors, a director, a playwright, cameras and a budget. But as for novel, Murakami can write it only by himself from beginning to the end. It’s the greatest pleasure for him. You can write novel anyway by a desk, papers and pens only. He can write anything he want and can be responsible for everything of a novel, he love this characteristic of novel. movie (cinema); Beruf

Haida; Terry Lennox; male principle; Grace Paley; prehistory;posthistory; age 54; reality; childhood; the man of white Subaru Forester; There are things can’t be explained in a novel. They can be explained as a novel but can’t be explained as a meaning in analysis (by literary critics). But novelist have to accomplish to write them. intuition (instinct); accuracy of text; ‘To know oneself’ for novelist is the experiences of to brush up text itself. Gorky; The Lower Depth; drama; metapher; Anyway I don’t write a text readers may skip over easily. Orson Wells; Citizen Kane

Kenji Nakagami; Ryu Murakami; écriture (literary style); translation style; I can’t teach how to live, the same, it’s difficult to teach how to write. Soseki Natsume; Kokoro

Naoya Shiga; Junichiro Tanizaki; Yasunari Kawabata; Junnosuke Yoshiyuki; Saiichi Maruya; ’Style is an index of the mind.; index; J. D. Salinger; The Catcher in the Rye; Franny and Zooey; style consiouss; Fitzgerald; Dostoïevslki; structure

female characters; Shoko Akikawa; Marie Akikawa; May Kasahara; Carson McCullers; the Members of the Wedding

obsession; sexual element; reflective element; differenciation; interface; Murakami thinks he doesn’t write the inside of characters deeply, but he write connections to the world (interface) of characters. feminism; Women have the function differ to men’s. So, in Murakami’s novels, women lead a narrative to a different place.

TV People; Sleeping; Anna Karénine; Wataru Menshiki; Shoko Akikawa; Tony Takitani

The Andersen Award; analysis; Murakami don’t like ‘analysis’. The consequence is incorrect when a factor were changed. It’s important to accept facts or stories as they are. Joseph Conrad; shadow

4. If There Were No Papers, But People Would Talk Over

(…)

After the Interviews

(…)

Product Details

Horned Owl Spreads Its Wings Only With the Falling of the Dusk (Haruki Murakami A Long, Long Interview)

Haruki Murakami & Mieko Kawakami

Shinchosha, Tokyo, 27 April 2017

345 pages, JPY 1620

ISBN 978-4103534341
Contents:

Introduction (Mieko Kawakami)
1 Great Percussionists Don’t Clap The Most Important Note
2 Matter in a Two-Story Basement
3 Night I Can’t Sleep is Rare, The Same as a Fat Postman
4 Without Papers, Men Will Hand Down
After the Interviews (Haruki Murakami)