Charmaine Post 2

In reading pieces that some of Murakami's own writing resembles, I found that it increased the depth of Murakami's own writing. By making connections between Murakami's work and other writers' works, one can find more meaning in his writing and discover other writers' pieces. However, I do not find that Murakami's short stories are heavily influenced by writers he is inspired by. Although there are some similarities, Murakami spins a world of his own in each of his pieces, writing in his own unique genre. To say his works were inspired by other writers may be correct, but to even say his work resembles other works may be an overstatement. From similar titles to plots involving bakeries, the similarities are minute. The rest of the plot development, the characters, and more are distinctly original. However, I am grateful that Murakami's writing has introduced me to a series of authors, broadening my understanding and knowledge of American literature; and it's interesting to read these pieces alongside Murakami's, as it gives insight as to what Murakami was reading as inspiration for his writing process.

Leyla's Post #2

In discovering Haruki Murakami’s sources and reexamining his works with an eye to his influences, the question becomes this: does it matter whether or not a reader picks up on references to source material? I would argue that it is not essential to enjoyment of Murakami, but that if one does recognize these quotations and borrowings, one’s enjoyment is enriched. A sort of connect-the-dots aspect is added when the reader begins looking for traces of Murakami’s inspirations, which may at times reveal deeper meaning or more poignant description if the reader is aware of them. It is also a glimpse into the author’s mind, allowing us to see a sliver of his creative process. What fragments have lodged in his brain from his own readings? How does he choose to alter them and, speculatively, for what purpose? And of course, it is always impossible to evade the needling question, what did he mean when he wrote this? The closest we may get to an answer is to explore intertextual connections.

It is often said that all artists drink from the same well. What seems to be emerging here is less a well than a web, with innumerable filaments stretching back and forth, tangling, entwining and running across space and time, creating a network of literary reference that a curious reader may spend a lifetime examining. I feel as though Murakami has led me to Chandler and Salinger, among others, and more to come. Where will these authors lead?

Chloe's post #2

To me, these two stories - Raymond Carver's "A Small, Good Thing" and Murakami's "The Second Bakery Attack" are only linked by a bakery being threatened. The tone of the two short stories are markedly different. Carver's writing style made me feel very disconnected and isolated, a theme that was common throughout with the characters. In this way, I was also able to see the events unfolding in my head like a Lifetime movie. The only sinister element was the phone calls, which I wasn't sure were from the baker at first until it was confirmed at the end. I thought it might've been a shared hallucination of sorts, but realistically, that's a stretch. I much preferred Murakami's "The Second Bakery Attack" due to its humor and quirkiness. I initially assumed that Boku was the victim of a bakery attack, but I think it is more interesting to have the usually passive narrator be on the other side for once. A common theme in his novels is that there's always some sort of out of the ordinary event that occurs. I found the wife, in particular, to be very interesting. She seems more Type A than Boku does and part of me wondered why he was with her until she suggested in no uncertain terms that they attack another bakery. She handled the attack with alarming efficiency and professionalism...a little too much if you ask me. The fact that she had a shotgun and ski masks was also a cause for suspicion - and Boku just accepted that! i like the idea of a metaphysical curse being translated into a physical hunger, and again, this is a common theme in his writing. I was less able to picture the events of this short story unfolding except for certain scenes, especially the McDonald's hold up (I was quietly chuckling to myself throughout). 

Andrew Post 1

I read a Buzzfeed article that describes Murakami's style as "normcore" and I found that to be hilariously accurate. Ironing shirts, cooking, drinking beer, tidying up the apartment: on the surface, Murakami's characters don't spend their time so much as they simply pass it. Their lives are filled by a series of routines and obsessive habits. And yet, I've never felt like Murakami's books really condemn the relatively normal lives (aside from the whole surreal metaphysical journey bits) of their main characters. There's no telling how much of the strange odyssey's Boku and his like embark on are results of their own inner lives as opposed to external forces. It's why the final chapters of A Wild Sheep Chase feature Boku largely alone, girlfriend gone, winter swiftly approaching in the mountains, his only company a dead friend who may or may not exist. Yet this is the point where the novel shines brightest, where Boku does little more than cook, read, and occasionally question the fundamentals of existence. It highlights the reason why I think so many people are drawn to Murakami's works again and again: he tells stories that value the maintenance and exploration of colorful inner lives. 

Here's a link to the article: http://www.buzzfeed.com/alannaokun/missing-and-finding-the-magic-of-haruki-murakami#.kt93rNxzx

Maylin Post #2

Having never read any of his works, I really didn't know what to expect from Murakami's A Wild Sheep Chase. Reading it along with Chandler's A Long Goodbye was an interesting way to compare the similarities and differences between both protagonists. Murakamis' short, simple sentence structure was an aspect that stood out to me immediately, as most works I've read always included long and elaborate descriptions that sometimes became paragraphs. It was very refreshing to see Murakami's style of writing and how he cut out any unnecessary words to keep everything short and sweet. 

There were times where I started wondering if some paragraphs in A Wild Sheep Chase were necessary, but after finishing the book I decided that the book would not be the same without all the words Murakami used. As mentioned in some of the analytic readings we've read in class regarding Murakami's writing style, he has a certain way of creating a rhythm with his words. It's possible that the rhythm Murakami establishes in his works would be disturbed by removing or changing some of the words. At the same time, it's possible that since we are reading the English translated versions of his works, there may be a disrupted rhythm compared to the original Japanese versions. Overall, I'm very honored to be able to read Murakami's works, and I'm looking forward to reading more of his works in the future.

Blog Post 1

So, for me, the intertextuality of Murakami isn't particularly novel on the basis that it is a relatively new convention that the complete 'originality' of literature is valued. In many cultures older writings, it was a sign of learnedness and understanding to reference works by literati who have come before. This was largely true up to the rise of the novel and the middle class. Some theories of the novel posit that the value of the novel itself is in its 'originality' and distinctiveness from other stories. On a certain level this may conflict with what we read of Barthes, but, if we understand the fuller argument and background of Barthes as a structuralist, what he likely means is that the specific arrangement of elements of binaries in the structure of the story. This is where Murakami becomes more interesting and intertextuality becomes far more interesting, because Murakami is certainly drawing on other works, but he uses their elements in a new and novel way so that while the structural elements may remain the greater meaning of the work is different.

Chloe's post

Ever since reading Murakami, I've started to draw more significance from every day occurrences or coincidences than normal. I do think that at times my life is like one of his novels, and it's exciting to think that there are elements of magical realism at work. It makes life more interesting, for sure. But in reality, these coincidences or patterns are usually meaningless. More often than naught, I make a list of questions while I'm reading the novel about certain quirky/strange characteristics or happenings but they are never addressed again, or resolved. That's the thing in Murakami's novels - although there is some sort of resolution to the bigger conflict, they still usually leave the reader wanting at the end. Little issues are never addressed, only implied or open to interpretation. I've learned to accept that that is his style, though - nothing is really definitive or concrete. That's a theme of his metaphysical world. Even the protagonist is unusually wishy-washy or passive, and he has to undergo a metaphysical change (usually triggered by a small happening, like a cat running away) that requires him to take charge of his life. And even though the change he undergoes may not seem that different, it definitely feels like there has been a shift from the main character's mindset. I enjoy that the most, because it seems realistic.