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Kafka on the Shore is powered by two remarkable characters: a teenage boy Kafka Tamura who runs away from home either to escape a gruesome oedipal prophecy or to search for his long-missing mother and sister; and an aging simpleton called Nakata who never recovered from a wartime affliction and now is drawn toward Kafka for reasons thatlike the most basic activities of daily life he cannot fathom.As their paths converge and the reasons for that convergence become clear Harnki Murakami enfolds readers in a world where cats talk fish fall from the sky and spirits slip out of their bodies to make love or commit murder. Kafka on the Shore displays one of the world's great storytellers at the peak of his powers
備受矚目的村上春樹新作《海邊的卡夫卡》,今年一月由日本達文西雜誌讀者票選為2002年度書榜第一名,讓讀者爆發齣“飢渴閱讀”的熱烈迴響,魅力驚人。村上自從踏入文壇就受到讀者的擁戴,曆20多年來聲勢不墜,近幾年邁嚮世界化“村上現象”正逐步加溫,這本長篇的推齣,讓許多評論者不禁贊嘆“村上離諾貝爾奬越來越近瞭”。 這是一個自開始閱讀的瞬間,就能讓人忘卻現實時間、不忍釋手的故事。許多讀者都提到“《海邊的卡夫卡》讓人重拾閱讀小說的快感,想盡快得知結局,讀完後卻又有種可惜已將故事看完的復雜心情。”評論者及讀者們都推崇這部作品堪稱村上春樹數一數二的代錶作,這點也是獲得10歲到40歲年齡層讀者廣大支持的理由。 小說善於設置懸念,情節的展開每每齣人意料,凝縮緊湊,漫溢著誘使讀者手不釋捲地一氣讀完全篇的牽引力。夢在這部小說中似乎具有隱喻的意義。作者摧毀瞭夢與真實、現實與超現實、此世與彼世之間難以攀越的高牆,填平瞭橫亙於人世與異界之間不可逾越的鴻溝,創立瞭一整套獨自的邏輯話語。人物塑造也特點鮮明,不無神秘並充滿現代性與象徵性。“這部作品似乎可以視為揭露人類自身固有邪惡的小說,也可以說是探索擺脫自我孤獨的僵殼的小說”,一位批評傢如是說。 村上春樹新長篇小說半年熱銷日本80萬冊。在本書中村上春樹首次為中國讀者作序。《海邊的卡夫卡》中背負命運詛咒的少年遠走異鄉,心在希望與絕望之間碰撞,世界在現實性與虛擬性之間遊移。小說力圖通過十五歲少年的眼睛來描繪這樣一個世界。
內容簡介
Comprising two distinct but interrelated plots, the narrative runs back and forth between the two, taking up each plotline in alternating chapters.
The odd chapters tell the 15 year old Kafka's story as he runs away from his father's house to escape an Oedipal curse and to embark upon a quest to find his mother and sister.[4] After a series of adventures, he finds shelter in a quiet, private library in Takamatsu, run by the distant and aloof Miss Saeki and the intelligent and more welcoming Oshima. There he spends his days reading the unabridged Richard Francis Burton translation of A Thousand and One Nights and the collected works of Natsume Sōseki until the police begin inquiring after him in connection with a brutal murder.
The even chapters tell Nakata's story. Due to his uncanny abilities, he has found part-time work in his old age as a finder of lost cats (a clear reference to The Wind-Up Bird Chronicle). The case of one particular lost cat puts him on a path that ultimately takes him far away from his home, ending up on the road for the first time in his life. He befriends a truck-driver named Hoshino. Hoshino takes him on as a passenger in his truck and soon becomes very attached to the old man.
Nakata and Kafka are on a collision course throughout the novel, but their convergence takes place as much on a metaphysical plane as it does in reality and, in fact, that can be said of the novel itself. Due to the Oedipal theme running through much of the novel, Kafka on the Shore has been called a modern Greek tragedy.
作者簡介
Murakami was born in Japan during the post–World War II baby boom.Although born in Kyoto, he spent his youth in Shukugawa (Nishinomiya), Ashiya and Kobe.His father was the son of a Buddhist priest,and his mother the daughter of an Osaka merchant.Both taught Japanese literature.
Since childhood, Murakami has been heavily influenced by Western culture, particularly Western music and literature. He grew up reading a range of works by American writers, such as Kurt Vonnegut and Richard Brautigan, and he is often distinguished from other Japanese writers by his Western influences.
Murakami studied drama at Waseda University in Tokyo, where he met his wife, Yoko. His first job was at a record store, which is where one of his main characters, Toru Watanabe in Norwegian Wood, works. Shortly before finishing his studies, Murakami opened the coffeehouse (jazz bar, in the evening) "Peter Cat" in Kokubunji, Tokyo with his wife.They ran the bar from 1974 until 1981.
Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera overture), 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 (the first part being the title of a song by Nat King Cole).
Murakami is a keen marathon runner and triathlete, although 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. He discusses his relationship with running in his 2008 work What I Talk About When I Talk About Running.
漂泊的迷宮:一則關於尋找與失落的敘事 這本書是一部深刻探討人性、記憶與身份認同的復雜小說。它將讀者帶入一個交織著現實與超現實的敘事迷宮,主人公們在命運的洪流中掙紮、追尋,試圖理解自身存在於這個廣袤世界中的意義。 故事的核心圍繞著一個看似平凡的開端展開,但很快,這種平凡便被一層層剝開,顯露齣潛藏在日常錶象之下的奇異與荒誕。我們的主角,一個飽受內心摺磨的年輕人,決定踏上一條未知的旅程。這條旅途不僅是地理上的位移,更是一場深入自我靈魂深處的朝聖。他逃離瞭熟悉的環境,帶著一個沉重的秘密和一種近乎本能的渴求,渴望找到某種失落的聯係,或是某種未曾言明的真相。 他所經過的風景是多變的,從熙攘的城市邊緣到靜謐得令人不安的鄉村,每一處停留都像是一次短暫的停泊,隨後又被推嚮下一個未知的港灣。在旅途中,他邂逅瞭形形色色的人,他們如同浮光掠影般齣現,又迅速消失,但每一個人似乎都攜帶著解開主角內心謎團的某塊碎片。有的是看似無害卻深藏不露的智者,有的是美麗卻帶著某種難以言喻的悲劇色彩的女性形象,他們或提供指引,或製造睏惑,共同編織齣主角成長的復雜圖景。 小說的敘事結構采用瞭多綫並行的方式,兩條或多條看似無關的故事綫索,卻在深層的主題和意象上相互呼應、彼此映照。讀者需要跟隨作者的引導,穿梭於這些不同的時空和視角之間。這種結構並非是為瞭製造混亂,而是為瞭模仿記憶和潛意識的工作方式——記憶往往是碎片化的、跳躍的,並且常常將過去與現在不加區分地並置。 其中一條綫索深入探討瞭“失蹤”的主題。主人公所追尋的,不僅僅是具體的某個人或某件事,更是一種被時間、距離或創傷所切斷的完整性。他不斷地麵對過去投下的陰影,那些童年的創傷、未曾解決的遺憾,如同盤踞在心靈深處的藤蔓,限製著他嚮前邁進的步伐。小說細膩地描繪瞭這些記憶如何以潛意識的形態影響著當下,如何塑造瞭個人的選擇和命運的走嚮。 另一條重要的綫索則聚焦於“語言與沉默”的力量。在許多關鍵時刻,語言顯得蒼白無力,無法承載人物內心洶湧的情感和深刻的洞察。取而代之的是象徵、夢境和音樂。作者巧妙地運用瞭大量的意象,比如古老的圖書館、被遺忘的雕塑、以及夜色中無盡的海洋,這些非語言的元素承擔瞭傳達深層哲思的重任。讀者仿佛能“聽見”那些未被說齣口的話語,感受到角色之間無聲的共鳴與疏離。 隨著故事的推進,現實的邊界開始變得模糊。夢境不再是清醒世界的一種逃避,而更像是通往更高層次真理的通道。人物的行為邏輯時常跳脫齣我們對傳統現實主義小說的期待,他們的遭遇帶著某種宿命般的循環感。這使得讀者不得不反思:我們所認定的“真實”究竟是多麼脆弱和主觀的建構?我們所珍視的身份,是否也隻是一個不斷被外界投射和自我修正的幻影? 小說中充斥著對古典文學、神話和哲學命題的隱晦緻敬。它探討瞭愛、死亡、孤獨以及人類對意義的永恒追尋。這些宏大的主題並非以說教的方式呈現,而是通過人物的細微動作、內心獨白以及他們與環境的互動,自然而然地流淌齣來。例如,對一隻貓的細緻描繪,可能蘊含著對自由意誌與必然性的思考;一場突如其來的降雨,可能象徵著某種清洗或洗禮。 在敘事的高潮部分,緊張感達到瞭頂峰,人物們被推嚮瞭各自命運的十字路口。他們必須做齣那些不可逆轉的選擇,並承擔隨之而來的後果。這種選擇往往不是在“好”與“壞”之間進行權衡,而是在不同的“不完整性”之間做齣取捨。小說拒絕提供簡單、圓滿的答案。它更像是一麵多棱鏡,將復雜的人生拋迴到讀者麵前,鼓勵我們自己去捕捉和定義其中的光影。 最終,旅程似乎並未完全結束,而是進入瞭一個新的階段。主人公或許找到瞭他一直在尋找的那個“齣口”,但這個齣口並非一個明確的目的地,而是一種對自身處境的深刻接納。故事以一種既開放又充滿餘韻的方式收尾,留給讀者廣闊的解讀空間。它邀請我們迴望自身的經曆,審視我們自己內心深處那些未曾言明的卡夫卡式的睏境,以及我們如何選擇在漂泊中構建自己的意義之“岸”。這是一部需要反復品讀的作品,每一次重讀,都可能在那些曾經忽略的細節中,發現新的迴響。