My interest in Japan began with World War II books from my childhood. Captivated by an English translation of Kojiki in high school, I pursued Japanese studies at university where I learned the language and read more literature, including The Tale of Genji. During my doctoral studies, Jay Rubin, my academic advisor and a Haruki Murakami translator, introduced me to Murakami and his works.

How Murakami’s Unsettling Magical Realism Prompts Contemplation

The way Murakami blends realism with magical moments is what draws me to his works. This methodology, known as magical realism, originated among Latin American writers such as Gabriel Garcia Marquez as an alternative way to separate reality and fantasy. Murakami employs this style in an unconventional way to explore aspects of the human mind, such as obsession and nostalgia. Instead of relying on surrealism, which prioritizes dreams and the subconscious over the physical world, he captures magical elements encountered while awake. He immerses his narrators into the reader’s mind, leaving them unsettled while prompting deep contemplation.

One of Murakami’s charms is his refusal to explain everything. He doesn’t tell readers what to think, making him perfect for those who enjoy constructing stories themselves. He presents vague problems and invites readers to solve them. Unlike other writers, he lets the story unfold naturally while simply following along and documenting it. This unique storytelling style is what makes Murakami so enjoyable.

When I chose to study Murakami for my PhD thesis, he was not yet properly recognized as a serious literary writer, which made him a controversial pick. Despite his fame in Japan, his works weren’t considered junbungaku (pure literature) because he hadn’t received prestigious awards. In the first chapter of my published dissertation, I defended my decision to focus on a non-junbungaku writer. This may have expanded opportunities for students to choose diverse research subjects.

I am currently working on a follow-up to a book I published 10 years ago titled The Forbidden Worlds of Haruki Murakami, which analyzes the inner and magical worlds of Murakami. Realizing many other writers use similar methods, I am expanding Forbidden Worlds to include contemporary Japanese authors such as Kenzaburo Oe, Yoko Ogawa, Hiromi Kawakami and Makoto Shinkai.

Literary Journalism and Intersecting Genres

I am intrigued by genre studies, particularly in the intersection of seemingly mismatched concepts like magic and realism. I explore definitions and differences among various genres including history, journalism, the I-novel (Watakushi Shousetu), literary journalism, and reportage. Journalism, for instance, focuses on current events, whiletheI-novel emphasizes personal narratives. In contrast, reportage covers events that are no longer developing but still hold significance for the general public.

To give another example, during the Vietnam War, Kaiko Takeshi, an Akutagawa Prize winner, contributed to Shukan Asahi while in Saigon, later compiling his articles into Betonamu Senki (Vietnam War Diary), a work of literary journalism. Returning to Japan, he adapted these writings into the journalistic fiction work Kagayakeru Yami. Through fictionalized characters, he was able to take creative liberties that extend beyond the possibilities of journalism.

My particular focus is literary journalism, a literary approach to presenting true events. Murakami’s Underground, a non-fiction book about the Tokyo subway sarin gas attack perpetrated by the Aum Shinrikyo cult, exemplifies this genre. Unlike the emotional detachment of investigative journalism, literary journalism reflects the writer’s personality and their relationship with the stories, often filling in the gaps left by standard news reports. While not necessarily objective, it maintains factual integrity.

Early Meiji journalism demonstrates an early form of often embellished literary journalism, as seen in the work of Robun Kanagaki, a former gesaku (playful fiction) writer who founded the newspaper Kanayomi Shimbun. His stories are based on real events but embellished for dramatic effect. Kanagaki’s Takahashi Oden Yasha Monogatari (The tale of She-demon Oden Takahashi), a typical dokufumono (poison women story), transformed Oden’s story into a sensationalized narrative that went on to garner popularity. A more contemporary, non-sensationalized example is Kobe Shinsai Nikki by Tanaka Yasuo, a personal account of distributing supplies in Kobe after the Great Hanshin Earthquake.

My ongoing projects are substantial and take a long time to complete. Typically, as I near completion of one project, new ideas emerge, capturing my attention. I always look forward to seeing what these new ideas will be.

The book I recommend

“Great Dialogues of Plato”
Edited by Phillip G. Rouse and Eric H. Warmington
Translated by W.H.D.Rouse, published by New American Library

Given to me by my father from his own bookshelf before I went to college, this is the most precious book in my library. It contains The Republic, one of Plato’s most famous works. Despite not initially understanding the book, I repeatedly read it over the years and finally got a grasp of it in my 40’s, laying the foundation for my later studies on Murakami. Plato’s exploration of metaphysical worlds accessible only through the mind draws parallels to Murakami’s magical realms.

Interviewed: July 2024