End of the World and Hard-Boiled Wonderland: A New Translation (Everyman's Library Contemporary Classics Series) - Hardcover

Murakami, Haruki

Hardcover

ISBN 10: 0593320026 ISBN 13: 9780593320020

Verlag: Everyman's Library, 2024

Inhaltsangabe

Hyperkinetic and relentlessly inventive, Hard-Boiled Wonderland and the End of the World is Haruki Murakami’s deep dive into the very nature of consciousness.

Across two parallel narratives, Murakami draws readers into a mind-bending universe in which Lauren Bacall, Bob Dylan, a split-brained data processor, a deranged scientist, his shockingly undemure granddaughter, and various thugs, librarians, and subterranean monsters collide to dazzling effect. What emerges is a novel that is at once hilariously funny and a deeply serious meditation on the nature and uses of the mind.

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Über die Autorin bzw. den Autor

Haruki Murakami is a best-selling Japanese writer. His works of fiction and non-fiction have garnered critical acclaim and numerous awards, including the Franz Kafka Prize, the Frank O'Connor International Short Story Award and the Jerusalem Prize, among others. Murakami's fiction is humorous and surreal, focusing on themes of alienation and loneliness. He is considered an important figure in postmodern literature. The Guardian praised Murakami as "among the world's greatest living novelists" for his works and achievements. Murakami is the author of 1Q84, The Wind-Up Bird Chronicles, Men Without Women and many more.

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From the #1 New York Times bestselling author of 1Q84 and The Wind-Up Bird Chronicle comes a relentlessly inventive novel that dives deep into the very nature of consciousness.

“Fantastical, mysterious, and funny . . . a fantasy world that might have been penned by Franz Kafka.”―The Philadelphia Inquirer

Across two parallel narratives, Murakami draws readers into a mind-bending universe in which Lauren Bacall, Bob Dylan, a split-brained data processor, a deranged scientist, his shockingly undemure granddaughter, and various thugs, librarians, and subterranean monsters collide to dazzling effect. What emerges is a hyperkinetic novel that is at once hilariously funny and a deeply serious meditation on the nature and uses of the mind.

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1
Elevator, Silence, Overweight
 

The elevator continued its impossibly slow ascent. Or at least I imagined it was ascent. There was no telling for sure: it was so slow that all sense of direction simply vanished. It could have been going down for all I knew, or maybe it wasn’t moving at all. But let’s just assume it was going up. Merely a guess. Maybe I’d gone up twelve stories, then down three. Maybe I’d circled the globe. How would I know?

Every last thing about this elevator was worlds apart from the cheap die-cut job in my apartment building, scarcely one notch up the evolutionary scale from a well bucket. You’d never believe the two pieces of machinery had the same name and the same purpose. The two were pushing the outer limits conceivable as elevators.

First of all, consider the space. This elevator was so spacious it could have served as an office. Put in a desk, add a cabinet and a locker, throw in a kitchenette, and you’d still have room to spare. You might even squeeze in three camels and a mid-range palm tree while you were at it. Second, there was the cleanliness. Antiseptic as a brand-new coffin. The walls and ceiling were absolutely spotless polished stainless steel, the floor immaculately carpeted in a handsome moss-green. Third, it was dead silent. There wasn’t a sound—literally not one sound—from the moment I stepped inside and the doors slid shut. Deep rivers run quiet.

Another thing, most of the gadgets an elevator is supposed to have were missing. Where, for example, was the panel with all the buttons and switches? No floor numbers to press, no DOOR OPEN and DOOR CLOSE, no EMERGENCY STOP. Nothing whatsoever. All of which made me feel utterly defenseless. And it wasn’t just no buttons; it was no indication of advancing floor, no posted capacity or warning, not even a manufacturer’s nameplate. Forget about trying to locate an emergency exit. Here I was, sealed in. No way this elevator could have gotten fire department approval. There are norms for elevators after all.

Staring at these four blank stainless-steel walls, I recalled one of Houdini’s great escapes I’d seen in a movie. He’s tied up in how many ropes and chains, stuffed into a big trunk, which is wound fast with another thick chain and sent hurtling, the whole lot, over Niagara Falls. Or maybe it was an icy dip in the Arctic Ocean. Given that I wasn’t all tied up, I was doing okay; insofar as I wasn’t clued in on the trick, Houdini was one up on me.

Talk about not clued in, I didn’t even know if I was moving or standing still.

I ventured a cough, but it didn’t echo anything like a cough. It seemed flat, like clay thrown against a slick concrete wall. I could hardly believe that dull thud issued from my own body. I tried coughing one more time. The result was the same. So much for coughing.

I stood in that hermetically sealed vault for what seemed an eternity. The doors showed no sign of ever opening. Stationary in unending silence, a still life: Man in Elevator.

I started to get nervous. What if the machinery had malfunctioned? Or suppose the elevator operator—assuming there was one in the building—forgot I was here in this box? People have lost track of me before.

I strained to hear something, anything, but no sound reached my ears. I pressed my ear against the stainless-steel wall. Sure enough, not a sound. All I managed was to leave an outline of my ear on the cold metal. The elevator was made, apparently, of a miracle alloy that absorbed all noise. I tried whistling Danny Boy, but it came out like a dog wheezing with asthma.

There was little left to do but lean up against a wall and count the change in my pockets. For someone in my profession, knowing how to kill time is as important a method of training as gripping rubber balls is for a boxer. Although, in any strict sense, it’s not killing time at all. For only through assiduous repetition is it possible to redistribute skewed tendencies.

I always come prepared with pockets full of loose change. In my right pocket I keep one-hundred- and five-hundred-yen coins, in my left fifties and tens. One-yen and five-yen coins I carry in a back pocket, but as a rule these don’t enter into the count. What I do is thrust my hands simultaneously into both pockets, the right hand tallying the hundreds and five-hundreds in tandem with the left hand adding up the fifties and tens.

It’s hard for those who’ve never attempted the procedure to grasp what it is to calculate this way, and admittedly it is tricky at first. The right brain and the left brain each keep separate tabs, which are then brought together like two halves of a split watermelon. No easy task until you get the hang of it.

Whether or not I really do put the right and left sides of my brain to separate accounts, I honestly can’t say. A specialist in neurophysiology might have insights to offer on the matter. I’m no neurophysiologist, however. All I know is that when I’m actually in the midst of counting, I feel like I’m using the right side and left side of my brain differently. And when I’m through counting, it seems the fatigue that sets in is qualitatively quite distinct from what comes with normal counting. For convenience sake, I think of it as right-brain-totals-right-pocket, left-brain-totals-left-pocket.

On the whole, I think of myself as one of those people who take a convenience-sake view of prevailing world conditions, events, existence in general. Not that I’m such a blasé, convenience-sake sort of guy—although I do have tendencies in that direction—but because more often than not I’ve observed that convenient approximations bring you closest to comprehending the true nature of things.

For instance, supposing that the planet earth were not a sphere but a gigantic coffee table, how much difference in everyday life would that make? Granted, this is a pretty farfetched example; you can’t rearrange facts of life so freely. Still, picturing the planet earth, for convenience sake, as a gigantic coffee table does in fact help clear away the clutter—those practically pointless contingencies such as gravity and the international dateline and the equator, those nagging details that arise from the spherical view. I mean, for a guy leading a perfectly ordinary existence, how many times in the course of a lifetime would the equator be a significant factor?

But to return to the matter at hand—or rather, hands, the right and the left each going about its own separate business—it is by no means easy to keep running parallel counts. Even for me, to get it down took the longest time. But once you do, once you’ve gotten the knack, it’s not something you lose. Like riding a bike or swimming. Which isn’t to say you can’t always use a little more practice. Repetition can improve your technique and refine your style. If for no other reason than this, I always keep my hands busy.

This time I had three five-hundred-yen coins and eighteen hundreds in the one pocket, and seven fifties and sixteen tens in the other. Making a grand total of three-thousand eight-hundred-ten yen. Calculations like this are no trouble at all. Simpler than counting the fingers on my hands. Satisfied, I leaned back against the stainless-steel wall and looked straight ahead at the doors. Which were still not opening.

What could be taking so long? I tentatively wrote off both the equipment-malfunction theory and the forgotten-by-operator theory. Neither very realistic. This was not...

Details zur Ausgabe

• Verlag: Everyman's Library
• Erscheinungsdatum: 2024
• Sprache: Englisch
• ISBN 10: 0593320026
• ISBN 13: 9780593320020
• Einband: Gebundene Ausgabe
• Anzahl der Seiten: 416
• Kontakt zum Hersteller: preigu GmbH & Co. KG; mail@preigu.de; ; Lengericher Landstr. 19; Osnabrück; Niedersachsen; 49078; Deutschland