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First Person Singular: Stories Paperback – April 12, 2022
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The eight stories in this new book are all told in the first person by a classic Murakami narrator. From memories of youth, meditations on music, and an ardent love of baseball, to dreamlike scenarios and invented jazz albums, together these stories challenge the boundaries between our minds and the exterior world. Occasionally, a narrator may or may not be Murakami himself. Is it memoir or fiction? The reader decides.
Philosophical and mysterious, the stories in First Person Singular all touch beautifully on love and solitude, childhood and memory. . . all with a signature Murakami twist.
- Print length256 pages
- LanguageEnglish
- PublisherVintage
- Publication dateApril 12, 2022
- Dimensions5.15 x 0.77 x 7.97 inches
- ISBN-100593311183
- ISBN-13978-0593311189
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Editorial Reviews
Review
—David Means, The New York Times Book Review
“First Person Singular marks a blazing and brilliant return to form. . . . Here we have a taut and tight, suspenseful and spellbinding, witty and wonderful group of eight stories. . . . All are told in the first person, most by narrators looking back from the vantage point of middle age on youthful experiences, obsessions, or encounters. And there isn’t a weak one in the bunch. The stories echo with Murakami’s preoccupations. Nostalgia and longing for the charged, evocative moments of young adulthood. Memory’s power and fragility; how identity forms . . . the at once intransigent and fragile nature of the “self.” Guilt, shame, and regret for mistakes made. . . . Music’s power to make indelible impressions. . . . The themes become a kind of meter against which all the stories make their particular, chiming rhythms. . . . This mesmerizing collection would make a superb introduction to Murakami for anyone who hasn’t yet fallen under his spell; his legion of devoted fans will gobble it up and beg for more.”
—Priscilla Gilman, The Boston Globe
“Haruki Murakami is a master of the mesmerizing head-scratcher. His fiction, whether long or short, highlights life's essential strangeness and unfathomability. . . . The eight stories in First Person Singular [. . .] are classic Murakami, filled with multiple recurrent obsessions — jazz, classical music, Beatles, baseball, and memories of perplexing young love. . . . Murakami's plainspoken short stories, like his more complex novels, raise existential questions about perception, memory, and the meaning of it all—though he's the opposite of heavy-handed, and rarely proposes answers. . . . What is it all about, his frequently awestruck and befuddled characters wonder repeatedly—and contagiously. . . . "Confessions of a Shinagawa Monkey" is a standout that will appeal especially to readers enchanted by Murakami's surrealist turns, which blur the line between dreams and reality. . . . [A] winning collection.”
—Heller McAlpin, NPR
“Haruki Murakami often seems most at home in his short-story collections, cycling through his various fixations unburdened by the narrative mechanics of his novels. First Person Singular is no exception, offering ruminations on the fickleness of memory while fleeting from baseball to Beatlemania to a Kafka-inspired talking monkey.”
—Chris Stanton, Vulture
“For new readers, First Person Singular is a crash course in appreciating Murakami. . . . [These stories] are steeped in the love of music—especially of jazz, classical and the Beatles—that reverberates throughout his work. There is a piece on his famous passion for baseball (it was supposedly while watching a game that he was inspired to become a writer) and another that includes the return of a talking monkey he first wrote about 15 years ago. Most of all, though, these stories are unmistakably Murakami’s for the way they traffic in his signature themes of time and memory, nostalgia and young love. They are characterized, like so much of his writing, by the collision of everyday realism with the surreal and the sublime.”
—Alexander Nurnberg, The Times (UK)
“Murakami has woven a lifelong obsession with music into his writing, including in his stunning First Person Singular. . . . The pieces here tap the author’s infatuations with the Beatles and Mozart, baseball and poetry, transgressive sex and fleeting romance, served up with dollops of American pop culture. It’s all here, narrated in a range of voices, from deadpan poet to magical realist to song critic. Duke Ellington, Charlie Parker, and other jazz greats pop up throughout. . . . But his tastes are wide-ranging: the Beatles make a cameo as well, and the author’s passion for classical music fuels the subtle, stirring “Carnaval”. . . . Murakami’s encyclopedic knowledge of music surges to the fore, echoed in vivid imagery.”
—Hamilton Cain, Oprah Daily
“First Person Singular will satisfy [Murakami’s] fans and serve as a fine introduction to neophytes, echoing many of the uncanny scenarios of his earlier work. . . . In “Cream,” the opening story of the collection, a lovesick young man goes to a piano recital located in the mountains of Kobe, only to find no one there. In unsettling episodes that one might find in a Flannery O’Connor story, he encounters a car broadcasting a Christian message that everyone will die and be judged harshly for their sins. . . . The collection’s Kafkaesque titular story is the strongest because of its notable timeliness. . . . These eight stories, all told in first person, are unapologetically Murakami . . . [and] will remind readers why Murakami’s work is singular.”—Leland Cheuk, The Washington Post
“To step into First Person Singular is to cross from our present moment and into a lost country demarcated by old memories. . . . [The story] “Confessions of a Shinagawa Monkey” is as fun as anything I’ve read during this pandemic lockdown. . . . The collection ends, brilliantly, with an interrogation. A man sits at a bar and a stranger begins to berate him about an event he has no memory of. . . . For all our reminiscing, Murakami seems to say, it’s the things we don’t remember that might haunt us the most. After all, memory is itself another liminal space, one where we experience both now and then at the same time. Likewise, finishing First Person Singular requires thinking back to everything we’ve just read about these characters’ lives, and to everything we didn’t.”—Andrew Ervin, The Brooklyn Rail
“[Murakami is] first and foremost a remarkably accessible storyteller. His books are an intimate invitation to revel in his perpetually unpredictable, yet remarkably convincing, imagination. . . . Murakami writes with such assurance as to turn the implausible credible, the outlandish engrossing. Each story enthralls.”—Terry Hong, Christian Science Monitor
“I’m four stories into the eight that make up First Person Singular, and I can’t stop thinking about their beauty, their charm, and their weirdness.”
—Patrick Rapa, The Philadelphia Inquirer
“The stories in Haruki Murakami's new collection, First Person Singular, have a sort of fractal nature—you're reading a story by a middle-aged Japanese man in which a middle-aged Japanese man is telling you a story (and sometimes that story involves him telling other stories). You get drawn into the spiral, and soon you're in that strange world where many of his stories exist, a place full of his favorite things (jazz, baseball, the Beatles, though surprisingly few cats this time) and yet unmistakably odd, existing at a slight, unexplained angle to reality.”
—Petra Mayer, NPR
"Murakami’s engrossing collection offers a crash course in his singular style and vision, blending passion for music and baseball and nostalgia for youth with portrayals of young love and moments of magical realism . . . Murakami’s gift for evocative, opaque magical realism shines in “Charlie Parker Plays Bossa Nova,” in which a review of a fictional album breathes new life into the ghost of the jazz great, and “Confessions of a Shinagawa Monkey,” wherein a talking monkey ruminates with a traveler on love and belonging. Murakami finds ample material in young love and sex, showcased in “On a Stone Pillow,” in which a young man’s brief tryst with a coworker, unremarkable in itself, takes on a degree of immortality after she mails him her poetry . . . These shimmering stories are testament to Murakami’s talent and enduring creativity."
—Publishers Weekly (Starred Review)
“Whether in his epic-scale novels or in his shorter works, much of Murakami's appeal has always come from the beguiling way in which his characters react to wildly fantastical events in the most matter-of-fact manner, ever ready to accept how the twists and turns of everyday life can blend into more audacious alternate realities. In these eight stories, we see that phenomenon most disarmingly in "Confessions of a Shinagawa Monkey," in which a monkey strides into a sauna at a remote hotel and asks the narrator if he would like to have his back scrubbed . . . The glue that holds together Murakami's blending realities—in these stories and, indeed, in all of his fiction—is always the narrator's love for something (a woman, a song, a baseball team, a moment in the past) that is both life-giving and deeply melancholic. Masterful short fiction.”
—Bill Ott, Booklist (Starred Review)
“You can’t have a conversation about literary fiction of the past 50 years without mentioning Haruki Murakami, and First Person Singular reminds us why. . . . As one of the standard-bearers of contemporary magical realism, Murakami has traveled deep into the hearts and minds of both his characters and his readers. In First Person Singular, he offers eight new stories, all told in first person—hence the title—as perhaps memoir, perhaps fiction. For example, “The Yakult Swallows Poetry Collection” finds a baseball-loving writer named Haruki Murakami musing on his favorite team and the ties that bind us together. Murakami is always blurring lines, and here it’s left up to the reader to decide what’s real. By distorting reality, the author creates a special closeness to his audience, and he acknowledges this relationship with intelligence and grace.”
—Eric Ponce, BookPage
"A new collection of stories from the master of the strange, enigmatic twist of plot . . . Music is never far from a Murakami yarn, though always with an unexpected turn: Charlie Parker comes in a dream to tell one young man that death is pretty boring and meaningless . . . Murakami’s characters are typically flat of affect, protesting their ugliness and ordinariness, and puzzled or frightened by things as they are. But most are also philosophical even about those ordinary things, as is the narrator of that fine Beatles-tinged tale, who ponders why it is that pop songs are important and informative in youth, when our lives are happiest . . . An essential addition to any Murakami fan’s library."
—Kirkus (Starred Review)
“The versatile and prolific Murakami collects eight first-person stories that affirm his obsessions—American pop music and magical realism, baseball and sex—yet break new literary ground. From a messy hookup to an imaginary Charlie Parker album to a monkey masseur, the Japanese maestro taps the weirdness of the everyday, exposing conflicts that simmer within us all.”
—Oprah Daily
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
I hardly ever wear suits. At most, maybe two or three times a year, since there are rarely any situations where I need to get dressed up. I may wear a casual jacket on occasion, but no tie, or leather shoes. That’s the type of life I chose for myself, so that’s how things have worked out.
Sometimes, though, even when there’s no need for it, I do decide to wear a suit and tie. Why? When I open my closet and check out what kind of clothes are there (I have to do that or else I don’t know what kind of clothes I own), and gaze at the suits I’ve hardly ever worn, the dress shirts still in the dry cleaner’s plastic garment bags, and the ties that look brand new, no trace of ever having been used, I start to feel apologetic toward these clothes. Then I try them on just to see how they look. I experiment with various tie knots to see if I still remember how to do them. Including one making a proper dimple. The only time I do all this is when I’m home alone. If someone else is here, I’d have to explain what I’m up to.
Once I go to the trouble of getting the outfit on, it seems a waste to take it all off right away, so I go out for a while dressed up like that. Strolling around town in a suit and tie. And it feels pretty good. I get the sense that even my facial expression and gait are transformed. It’s an invigorating sensation, as if I’ve temporarily stepped away from the everyday. But after an hour or so of roaming, this newness fades. I get tired of wearing a suit and tie, the tie starts to feel itchy and too tight, like it’s choking me. The leather shoes click too hard and loud as they strike the pavement. So I go home, slip off the leather shoes, peel off the suit and tie, change into a worn-out set of sweatpants and sweatshirt, plop down on the sofa, and feel relaxed and at peace. This is my little one-hour secret ceremony, entirely harmless— or at least not something I need to feel guilty about.
Product details
- Publisher : Vintage (April 12, 2022)
- Language : English
- Paperback : 256 pages
- ISBN-10 : 0593311183
- ISBN-13 : 978-0593311189
- Item Weight : 8.8 ounces
- Dimensions : 5.15 x 0.77 x 7.97 inches
- Best Sellers Rank: #62,768 in Books (See Top 100 in Books)
- #751 in Magical Realism
- #1,754 in Short Stories (Books)
- #5,147 in Literary Fiction (Books)
- Customer Reviews:
About the author
Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many international honors is the Jerusalem Prize, whose previous recipients include J. M. Coetzee, Milan Kundera, and V. S. Naipaul.
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"Carnaval" is an allusion to a classical piano piece by a German composer named Robert Schumann. I enjoyed discovering this music. I liked listening to Carnaval because it contains a combination of upbeat and somber parts. Haruki Murakami uses the theme of music to bring his male and female characters together. I have a greater appreciation for classical music because of this story.
“The Yakult Swallows Poetry Collection” is a special because of the theme. The allusion is to a Japanese baseball team. Murakami's love of baseball inspires him to write poems about the sport. His poem about the butts of the outfielders on the team is very funny. Murakami also writes how baseball helped him connect to his father. The connection Murakami and father have because of baseball is touching.
“Confessions of A Shinagawa Monkey” is a creative story about a conversation between a man has with a talking monkey. I have read about a monkey’s ability to say a few words, but I have never read a story with this subject before. I like how Murakami gives the monkey human qualities. The monkey in the story loves to drink beer and loves beautiful women. I found these traits to be funny. The allusions in this book are mysterious in the beginning, but the enjoyment is discovering the significance of each one by reading the stories further.
'I was just past fifty then, and she was about ten years younger. But for her, age didn’t matter. Her looks surpassed any other personal factors. Age, height, the shape and size of one’s breasts, let alone the shape of big toenails or the length of one’s earlobes, all took a back seat to her spectacular lack of beauty.'
'She was so friendly and straightforward, though, that I was embarrassed by my initial reaction. I’m not sure how to put it exactly, but as we chatted, I grew accustomed to her looks. They no longer seemed to matter. She was a pleasant person, and a good talker, able to converse widely. Add to this a quick mind, and good taste in music.'
Pretty honest straightforward writing in my eyes. Only one of his stories delves more into his quirky fantasy, about meeting a talking monkey at a hostel in the mountains and the night they spent talking and sharing beers, quite extraordinary really.
So not Murakami's best, but any Murakami is worth a read in my eyes.
The story about the Shinagawa monkey has something of Akutagawa about it. Nothing more entertaining than a humble monkey confessing his indiscretions to a lonely visitor and then leaving us to wonder about the sanity of the author and the magic of the world. Murakami brings us into a dream world and in this world we encounter the ordinary mixed up with the extraordinary. Like the unlikely combinations of dreams, perhaps Murakami's fiction prepares us for the challenges of ordinary life by giving us practice with working with the unexpected.
The reader will find a few hours of amusement in these pages. These short stories offer diversion as well as a glance into the spiritual challenges of the modern world. The final story is an odd twist, and it leaves the reader wondering about the self-obsessed life.
Top reviews from other countries
Los cuentos estan bien, en su mayoria. Hubo dos que no terminaron de convencerme.
Recibí la versión Estadounidense.
Las hojas son gruesas y la tipografía está bien, la sobrecubierta alusiva a Confessions of a Shinagawa Monkey esta muy mona, pero debajo la cubierta alusiva a Charlie Parker plays Bossa Nova no me gustó. Hubiera preferido que fueran igual a la sobrecubierta, pero que más da.
Am besten stets im Original lesen.
Murakamis Stil wird oft als "magischer Realismus" bezeichnet und das trifft den Nagel eigentlich auf den Kopf. Durch den Bezug auf (aktuelle) Popkultur ergänzt mit ein paar wenigen Aspekten und kleinen Momenten, die zur Fantasy gehören und daher "magisch" wirken. Das lässt einen wirklich schnell träumen und ist aufs echte Leben anwendbar. Perfekt auch insbesondere für Liebhaber von Japan, Baseball, klassischer Musik oder Jazz Blues, da diese Bezüge oft vorkommen. :)