村上百科英文版

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Haruki Murakami (村上 春樹 Murakami Haruki?, born January 12, 1949) is a best-selling Japanese writer.[1]His works of fiction and non-fiction have garnered critical acclaim and numerous awards, including the Franz Kafka Prize, the Frank O’Connor International Short Story Award and the Jerusalem Prize, among others. Murakami has also translated a number of English works to Japanese.

Murakami_Haruki_(2009)

Murakami’s fiction, often criticized by Japan’s literary establishment, is humorous and surreal, focusing on themes of alienation and loneliness.[2] He is considered an important figure in postmodern literatureThe Guardian praised Murakami as “among the world’s greatest living novelists” for his works and achievements.[3]

Contents

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Biography

Murakami was born in Japan during the post–World War II baby boom.[4] Although born in Kyoto, he spent his youth in Shukugawa (Nishinomiya), Ashiya and Kobe.[5][6] His father was the son of a Buddhist priest,[7] and his mother the daughter of an Osaka merchant.[8] Both taught Japanese literature.[9]

Since childhood, Murakami has been heavily influenced by Western culture, particularly Western music and literature. He grew up reading a wide range of works by American writers, such as Kurt Vonnegut and Richard Brautigan. These Western influences often distinguish Murakami from other Japanese writers.[10]

Murakami studied drama at Waseda University in Tokyo, where he met his wife, Yoko. His first job was at a record store, much like Toru Watanabe, the narrator of Norwegian Wood. Shortly before finishing his studies, Murakami opened a coffeehouse and jazz bar, the Peter Cat, in Kokubunji, Tokyo, which he ran with his wife[11] from 1974 to 1981[12] – again, not unlike the protagonist in his later novel “South of the border, West of the sun.”

Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird ChronicleThe Thieving Magpie (after Rossini‘s opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart‘s opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells‘ song, although it is widely thought it was titled after the Beach Boys tune), Norwegian Wood (after The Beatles‘ song) and South of the Border, West of the Sun (after the song “South of the Border“).[13]

Murakami is a marathon runner and triathlete enthusiast, though he did not start running until he was 33 years old. On June 23, 1996, he completed his first ultramarathon, a 100-kilometer race around Lake Saroma in Hokkaido, Japan.[14] He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.[15]

Trilogy of the Rat

Murakami began writing fiction when he was 29.[16] “Before that”, he said, “I didn’t write anything. I was just one of those ordinary people. I was running a jazz club, and I didn’t create anything at all.”[17] He was inspired to write his first novel, Hear the Wind Sing (1979), while watching abaseball game.[18] In 1978, Murakami was in Jingu Stadium watching a game between the Yakult Swallows and the Hiroshima Carp when Dave Hilton, an American, came to bat. According to an oft-repeated story, in the instant that Hilton hit a double, Murakami suddenly realized that he could write a novel.[19] He went home and began writing that night. Murakami worked on Hear the Wind Sing for several months in very brief stretches after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.

Murakami’s initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind SingPinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, “the Rat.” The first two novels are unpublished in English translation outside of Japan, where an English edition, translated by Alfred Birnbaum with extensive notes, was published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be “weak”,[citation needed] and was not eager to have them translated into English.[20] A Wild Sheep Chase, he says, was “the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing.”[citation needed]

Wider recognition

At Jerusalem Prize ceremony, 2009

In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among Japanese youths, making Murakami a literary superstar in his native country. The book was printed in two separate volumes, sold together, so that the number of books sold actually doubled, creating the million-copy bestseller hype. One book had a green cover, the other one red.[3]

In 1986, Murakami left Japan, traveled throughout Europe, and settled in the United States. He was a writing fellow at Princeton University in Princeton, New JerseyTufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts.[6][21] During this time he wrote South of the Border, West of the Sun andThe Wind-Up Bird Chronicle.[6]

From “detachment” to “commitment”

In 1995, he published The Wind-Up Bird Chronicle, a novel that fuses the realistic and fantastic, and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of his harshest former critics, Kenzaburo Oe, winner of the Nobel Prize for Literature in 1994.[22]

The processing of collective trauma soon became an important theme in Murakami’s writing, which had previously been more personal in nature. After finishing The Wind-Up Bird Chronicle, Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection after the quakeUnderground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.

Murakami himself mentions that he changed his position from one of ‘detachment’ to one of ‘commitment’ after staying in the USA in 1991.

English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many of the works of F. Scott FitzgeraldRaymond CarverTruman CapoteJohn Irving, and Paul Theroux, among others, into Japanese.[6]

Since 2000

Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006.[23] The English version of his novel After Dark was released in May 2007. It was chosen by theNew York Times as a “notable book of the year”. In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as “Mysteries of Tokyo.” A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami’s more recent short stories, including all five that appear in Tōkyō Kitanshū.

In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work byRussell BanksEthan CaninRaymond CarverDavid Foster WallaceDenis JohnsonClaire KeeganAndrea LeeDaniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007,[24] with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver‘s short story collection, What We Talk About When We Talk About Love.[25]

Shinchosha Publishing published Murakami’s novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced as ‘ichi kyū hachi yon’, the same as 1984, as 9is also pronounced as ‘kyū’ in Japanese.[26] The book was longlisted for the Man Asian Literary Prize in 2011. However, after the anti-Japanese demonstrations, in China, in 2012, Murakami’s books were removed from sale there, along with those of other Japanese authors.[27][28] Murakami criticized the China-Japan political territorial dispute, characterizing the overwrought nationalistic response as “cheap liquor” which politicians were giving to the public.[29] In February 2013, he announced the publication of his first novel in three years, set for April 2013; aside from the date of release, the announcement was intentionally vague.[30]

Recognition

1982 Noma Literary Prize for A Wild Sheep Chase.

1985 Tanizaki Prize for Hard-Boiled Wonderland and the End of the World.

1995 Yomiuri Prize for The Wind-Up Bird Chronicle.

2006 World Fantasy Award for Kafka on the Shore.

In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.[31]

In September 2007, he received an honorary doctorate from the University of Liège,[32] as well as one from Princeton University in June 2008.[33]

Murakami was awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the Kiriyama Official Website, Murakami “declined to accept the award for reasons of personal principle”.[34]

In January 2009 Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel‘s recent bombing of Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies.[35] Murakami said, “Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us.”[36]

In 2011, Murakami donated his €80,000 winnings from the International Catalunya prize to the victims of the 11 March earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was “the second major nuclear disaster that the Japanese people have experienced… however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands.” According to Murakami, the Japanese people should have rejected nuclear power after having “learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing”.[37]

In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature.[38] Nonetheless, all nomination records for a prize are sealed for 50 years from the awarding of the prize so it is pure speculation.[39] When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying “No, I don’t want prizes. That means you’re finished.” [38]

Films and other adaptations

Murakami’s first novel Hear the Wind Sing (Kaze no uta wo kike) was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild.[40] Naoto Yamakawa directed two short films Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent(released in 1983), based on Murakami’s short stories “The Second Bakery Attack” and “On Seeing the 100% Perfect Girl One Beautiful April Morning” respectively.[41] Japanese director Jun Ichikawa adapted Murakami’s short story “Tony Takitani” into a 75-minute feature.[42] The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film Der Eisbaer (Polar Bear), written and directed by Granz Henman, used elements of Murakami’s short story “The Second Bakery Attack” in three intersecting story lines. “The Second Bakery Attack” was also adapted as short film in 2010,[43] directed by Carlos Cuaron, starred by Kirsten Dunst.

Murakami’s work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain’s Complicite company and Japan’s Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami’s short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work).[44] On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.

Two stories from Murakami’s book after the quake—”Honey Pie” and “Superfrog Saves Tokyo”—have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007 at Berkeley Repertory Theatre.[45] In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago’s Steppenwolf Theatre Company from September to November.[46]

On Max Richter‘s 2006 album Songs from BeforeRobert Wyatt reads passages from Murakami’s novels. In 2007, Robert Logevall adapted “All God’s Children Can Dance” into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted “On Seeing the 100% Perfect Girl One Beautiful April Morning” into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.[47]

It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami’s novel, Norwegian Wood.[48] The film was released in Japan on December 11, 2010.[49]

In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a 2 hour multimedia stage presentation. The show opened January 12, 2010 as part of the Public Theater’s “Under the Radar” festival at the Ohio Theater[disambiguation needed], presented in association with The Asia Society and theBaryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011.[50] The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.

Each short story in Murakami’s after the quake collection was adapted into a six-song EP entitled .DC: JPN (after the quake 2011) in March 2011 following the 2011 Tōhoku earthquake and tsunami to help benefit the relief efforts by musician Dre Carlan.[51]

Bibliography

This is an incomplete bibliography as not everything published by Murakami in Japanese has been translated into English.[52]

Novels

Original Title Original Publication Date English Title English Publication Date
風の歌を聴け Kaze no uta o kike 1979 Hear the Wind Sing 1987
1973年のピンボール 1973-nen no pinbōru 1980 Pinball, 1973 1985
羊をめぐる冒険 Hitsuji o meguru bōken 1982 A Wild Sheep Chase 1989
世界の終りとハードボイルド・ワンダーランド Sekai no owari to hādoboirudo wandārando 1985 Hard-Boiled Wonderland and the End of the World 1991
ノルウェイの森 Noruwei no mori 1987 Norwegian Wood 2000
ダンス・ダンス・ダンス Dansu dansu dansu 1988 Dance Dance Dance 1994
国境の南、太陽の西 Kokkyō no minami, taiyō no nishi 1992 South of the Border, West of the Sun 2000
ねじまき鳥クロニクル Nejimaki-dori kuronikuru 1995 The Wind-Up Bird Chronicle 1997
スプートニクの恋人 Supūtoniku no koibito 1999 Sputnik Sweetheart 2001
海辺のカフカ Umibe no Kafuka 2002 Kafka on the Shore 2005
アフターダーク Afutā Dāku 2004 After Dark 2007
1Q84 Ichi-kyū-hachi-yon 2009 1Q84 2011
色彩を持たない多崎つくると、彼の巡礼の年 Shikisai wo motanai Tasaki Tsukuru to, Kare no Junrei no Toshi 2013 Colorless Tsukuru Tazaki and His Years of Pilgrimage N/A

Short stories

Year Japanese Title English Title Appears in
1980 中国行きのスロウ・ボート “Chūgoku-yuki no surou bōto” “A Slow Boat to China” The Elephant Vanishes
貧乏な叔母さんの話 “Binbō na obasan no hanashi” “A ‘Poor Aunt’ Story” (The New Yorker, December 3, 2001) Blind Willow, Sleeping Woman
1981 ニューヨーク炭鉱の悲劇 “Nyū Yōku tankō no higeki” “New York Mining Disaster” (The New Yorker, January 11, 1999)
スパゲティーの年に “Supagetī no toshi ni” “The Year of Spaghetti” (The New Yorker, November 21, 2005)
四月のある晴れた朝に100パーセントの女の子に出会うことについて “Shigatsu no aru hareta asa ni 100-paasento no onna no ko ni deau koto ni tsuite” “On Seeing the 100% Perfect Girl One Beautiful April Morning” The Elephant Vanishes
かいつぶり “Kaitsuburi” “Dabchick” Blind Willow, Sleeping Woman
カンガルー日和 “Kangarū-biyori” A Perfect Day for Kangaroos
カンガルー通信 “Kangarū tsūshin” “The Kangaroo Communique” The Elephant Vanishes
1982 午後の最後の芝生 “Gogo no saigo no shibafu” “The Last Lawn of the Afternoon”
1983 鏡 “Kagami” “The Mirror” Blind Willow, Sleeping Woman
とんがり焼の盛衰 “Tongari-yaki no seisui” “The Rise and Fall of Sharpie Cakes”
螢 “Hotaru” “Firefly”
納屋を焼く “Naya wo yaku” “Barn Burning” (The New Yorker, November 2, 1992) The Elephant Vanishes
1984 野球場 “Yakyūjō” “Crabs” Blind Willow, Sleeping Woman
嘔吐1979 “Ōto 1979” “Nausea 1979”
ハンティング・ナイフ “Hantingu naifu” “Hunting Knife” (The New Yorker, November 17, 2003)
踊る小人 “Odoru kobito” “The Dancing Dwarf” The Elephant Vanishes
1985 レーダーホーゼン “Rēdāhōzen” “Lederhosen”
パン屋再襲撃 “Panya saishūgeki” “The Second Bakery Attack”
象の消滅 “Zō no shōmetsu” The Elephant Vanishes” (The New Yorker, November 18, 1991)
ファミリー・アフェア “Famirī afea” “A Family Affair”
1986 ローマ帝国の崩壊・一八八一年のインディアン蜂起・ヒットラーのポーランド侵入・そして強風世界 “Rōma-teikoku no hōkai・1881-nen no Indian hōki・Hittorā no Pōrando shinnyū・soshite kyōfū sekai” “The Fall of the Roman Empire, the 1881 Indian Uprising, Hitler’s Invasion of Poland, and the Realm of Raging Winds”
ねじまき鳥と火曜日の女たち “Nejimaki-dori to kayōbi no onnatachi” “The Wind-up Bird And Tuesday’s Women” (The New Yorker, November 26, 1990)
1989 眠り “Nemuri” “Sleep” (The New Yorker, March 30, 1992)
TVピープルの逆襲 “TV pīpuru no gyakushū” “TV People” (The New Yorker, September 10, 1990)
飛行機―あるいは彼はいかにして詩を読むようにひとりごとを言ったか “Hikōki-arui wa kare wa ika ni shite shi wo yomu yō ni hitorigoto wo itta ka” “Aeroplane: Or, How He Talked to Himself as if Reciting Poetry” (The New Yorker, July 1, 2002) Blind Willow, Sleeping Woman
我らの時代のフォークロア―高度資本主義前史 “Warera no jidai no fōkuroa-kōdo shihonshugi zenshi” “A Folklore for My Generation: A Prehistory of Late-Stage Capitalism”
1990 トニー滝谷 “Tonī Takitani” “Tony Takitani” (The New Yorker, April 15, 2002)
1991 沈黙 “Chinmoku” “The Silence” The Elephant Vanishes
緑色の獣 “Midori-iro no kemono” “The Little Green Monster”
氷男 “Kōri otoko” “The Ice Man” Blind Willow, Sleeping Woman
人喰い猫 “Hito-kui neko” “Man-Eating Cats” (The New Yorker, December 4, 2000)
1995 めくらやなぎと、眠る女 “Mekurayanagi to, nemuru onna” “Blind Willow, Sleeping Woman”
1996 七番目の男 “Nanabanme no otoko” “The Seventh Man”
1999 UFOが釧路に降りる “UFO ga Kushiro ni oriru” “UFO in Kushiro” (The New Yorker, March 19, 2001) after the quake
アイロンのある風景 “Airon no aru fūkei” “Landscape with Flatiron”
神の子どもたちはみな踊る “Kami no kodomotachi wa mina odoru” “All God’s Children Can Dance”
タイランド “Tairando” “Thailand”
かえるくん、東京を救う “Kaeru-kun, Tōkyō wo sukuu” “Super-Frog Saves Tokyo”
2000 蜂蜜パイ “Hachimitsu pai” “Honey Pie” (The New Yorker, August 20, 2001)
2002 バースデイ・ガール “Bāsudei gāru” “Birthday Girl” Blind Willow, Sleeping Woman
2005 偶然の旅人 “Gūzen no tabibito” “Chance Traveller”
ハナレイ・ベイ “Hanarei Bei” “Hanalei Bay”
どこであれそれが見つかりそうな場所で “Doko de are sore ga mitsukarisō na basho de” “Where I’m Likely to Find It” (The New Yorker, May 2, 2005)
日々移動する腎臓のかたちをした石 “Hibi idō suru jinzō no katachi wo shita ishi” “The Kidney-Shaped Stone That Moves Every Day”
品川猿 “Shinagawa saru” “A Shinagawa Monkey” (The New Yorker, February 13, 2006)
2011  — “Town of Cats” (Excerpt from 1Q84) (The New Yorker, September 5, 2011) [1]

Essays and nonfiction

English Japanese
Year Title Year Title
N/A Rain, Burning Sun (Come Rain or Come Shine) 1990 雨天炎天 “Uten Enten
N/A Portrait in Jazz 1997 ポ-トレイト・イン・ジャズ “Pōtoreito in jazu”
2000 Underground 1997–1998 アンダーグラウンド “Andāguraundo”
N/A Portrait in Jazz 2 2001 ポ-トレイト・イン・ジャズ 2 “Pōtoreito in jazu 2”
2008 What I Talk About When I Talk About Running 2007 走ることについて語るときに僕の語ること “Hashiru koto ni tsuite kataru toki ni boku no kataru koto”
N/A It Ain’t Got that Swing (If It Don’t Mean a Thing) 2008 意味がなければスイングはない “Imi ga nakereba suingu wa nai”

Translations

Translators of Murakami’s works

Murakami’s works have been translated into many languages. Below is a list of translators according to language (by alphabetical order):

  • Albanian – Etta Klosi
  • Arabic – Saeed Alganmi, Iman Harrz Allah
  • Armenian – Alexander Aghabekyan
  • Azerabijani – Gunel Movlud
  • Basque – Ibon Uribarri
  • Bengali – Shahaduzzaman
  • Brazilian Portuguese – Ana Luiza Dantas Borges
  • Bulgarian – Ljudmil Ljutskanov
  • Catalan – Albert Nolla, Concepció Iribarren, Imma Estany, Jordi Mas López
  • Chinese – 賴明珠/Lai Ming-zhu (Taiwan), 林少华/Lin Shaohua (Chinese Mainland), 施小炜/Shi Xiaowei (Chinese Mainland), 葉惠/Ye Hui (Hong Kong)
  • Croatian – Maja Šoljan, Vojo Šindolić, Mate Maras, Maja Tančik, Dinko Telećan
  • Czech – Tomáš Jurkovič
  • Danish – Mette Holm
  • Dutch – Elbrich Fennema, Jacques Westerhoven, L. van Haute
  • English – Alfred BirnbaumJay RubinPhilip GabrielHideo Levy (USA), Theodore W. Goossen (Canada)
  • Estonian – Kati Lindström, Kristina Uluots
  • Faroese – Pauli Nielsen
  • Finnish – Leena Tamminen, Ilkka Malinen, Juhani Lindholm
  • French – Corinne Atlan, Hélène Morita, Patrick De Vos, Véronique Brindeau, Karine Chesneau
  • Galician – Mona Imai, Gabriel Álvarez Martínez
  • Georgian – Irakli Beriashvili
  • German – Ursula Gräfe, Nora Bierich, Sabine Mangold, Jürgen Stalph, Annelie Ortmanns
  • Greek – Maria Aggelidou, Thanasis Douvris, Leonidas Karatzas, Juri Kovalenko, Stelios Papazafeiropoulos, Giorgos Voudiklaris
  • Hebrew – Einat Cooper, Dr. Michal Daliot-Bul, Yonatan Friedman (from English)
  • Hungarian – Erdős György, Horváth Kriszta, Komáromy Rudolf, Nagy Mónika, Nagy Anita
  • Icelandic – Uggi Jónsson
  • Indonesian – Jonjon Johana
  • Italian – Giorgio Amitrano, Antonietta Pastore, Mimma De Petra
  • Korean – Kim Choon-Mie, Kim Nanjoo
  • Latvian – Ingūna Beķere, Inese Avana
  • Lithuanian – Milda Dyke, Irena Jomantienė, Jūratė Nauronaitė, Marius Daškus, Dalia Saukaitytė, Ieva Stasiūnaitė, Ieva Susnytė
  • Norwegian – Ika Kaminka, Kari and Kjell Risvik
  • Persian – Gita Garakani, Mehdi Ghabraee, Bozorgmehr Sharafoddin
  • Polish – Anna Zielińska-Elliott
  • Portuguese – Maria João Lourenço, Leiko Gotoda
  • Romanian – Angela Hondru, Silvia Cercheaza, Andreea Sion, Iuliana Tomescu
  • Russian – Dmitry V. Kovalenin, Vadim Smolensky, Ivan Logatchev, Sergey Logatchev, Andrey Zamilov, Natalya Kunikova
  • Serbian – Nataša Tomić, Divna Tomić
  • Slovak – Lucia Kružlíková
  • Slovene – Nika Cejan, Aleksander Mermal
  • Spanish – Lourdes Porta, Junichi Matsuura, Fernando Rodríguez-Izquierdo, Francisco Barberán, Albert Nolla, Gabriel Álvarez
  • Swedish – Yukiko Duke, Eiko Duke, Vibeke Emond
  • Thai – Noppadol Vatsawat, Komsan Nantachit, Tomorn Sukprecha
  • Turkish – Pınar Polat, Nihal Önol, Hüseyin Can Erkin
  • Ukrainian – Ivan Dziub, Oleksandr Bibko
  • Vietnamese – Trinh Lu, Tran Tien Cao Dang, Duong Tuong, Cao Viet Dung, Pham Xuan Nguyen, Luc Huong

See also

References

  1. ^ Maiko, Hisada (November 1995). “Murakami Haruki”Kyoto Sangyo University. Archived from the original on 2008-05-23. Retrieved 2008-04-24.
  2. ^ Endelstein, Wendy, What Haruki Murakami talks about when he talks about writingUC Berkeley News, Oct 15, 2008, Accessed Jan 28, 2009
  3. a b Poole, Steve (May 27, 2000). “Tunnel vision”The Guardian (London). Retrieved 2009-04-24.
  4. ^ Kelts, Roland (November 28, 2008). “Soft Power, Hard Truths: Pop progenitors from real worlds”Yomiuri Shimbun. Retrieved 2008-12-16.[dead link]
  5. ^ “Murakami Asahido”,Shincho-sha,1984,ISBN 10-100132-4
  6. a b c d Brown, Mick (August 15, 2003). “Tales of the unexpected”The Daily Telegraph (London). Retrieved 2008-07-09.
  7. ^ Tandon, Shaun (March 27, 2006). “The loneliness of Haruki Murakami”.iAfrica. Retrieved 2008-04-24.
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