Oh, hey, look what just got released.
Whether you take the doughnut hole as a blank space or as an entity unto itself is a purely metaphysical question and does not affect the taste of the doughnut one bit.
John Wesley Harding: Your books deal with situations a lot like those in “Blue Velvet.” The average guy finding extraordinary things in a very normal place.
Haruki Murakami: We are crazy about “Twin Peaks” in Japan. Do you remember the room with red curtains and the dancing dwarf? That’s the room I mean when I think about subconsciousness. There is something strange and special in yourself. David Lynch knows that too and so we can both create those images, the same images.
JWH: Your books are heavily symbolic, by mistake almost.
HM: I don’t like to analyze my subconscious. It is an asset I don’t want any explanations. You may find this very strange, but I don’t dream much. At least, I cannot remember my dreams. But I can create them.
If David Lynch and Haruki Murakami went out to lunch together, they would definitely order Spaghetti and likely have cherry pie for desert, with a damn fine cup of coffee.
Source: bombsite.com
![[Image credit: paperbackgirl]](http://25.media.tumblr.com/tumblr_lyeso6E08C1r6xvfko1_500.jpg)
[Image credit: paperbackgirl]
My Favorite Time of Year:
When NYT Magazine’s Sam Anderson wraps up his year in marginalia:
On Haruki Murakami’s 1Q84:
“Has any author made more fictional phones ring?”
On Joan Didion’s “The White Album”:
“People who accuse Didion of being humorless are insane: she’s hilarious, in a v. strange way.”
***
My own personal copy of Cesar Aira’s Ghosts is full of the check marks, stars, and occasionally the phrase “Zing!”, most often when he digresses on television.
What are the gems from the margins from of your books?
Source: The New York Times
“It’s too long; it can be repetitive; at a certain point you can see that Murakami is simply delaying his various plot developments. The characters often consist of Murakami’s ideas about them. They are slow to come to life, like composite monsters on laboratory tables waiting for lightning to hit them and to bring them awake. And the plot is straight out of The Magic Flute or The Master and Margarita: two people are redeemed and transformed by their love for each other, and they manage to make their way through a landscape of unreality peopled by demons.”
— Charles Baxter loved 1Q84 despite its flaws
Chip Kidd discusses the design that went into Haruki Murakami’s 1Q84. This video should be watched before reading this piece in the New York Times about how publishers are beautifying their books.
I once slept with a man because he gave me a copy of Murakami’s The Wind-Up Bird Chronicle.
Source: The Huffington Post
