Archive for November, 2011

November 27, 2011

J’avoue

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November 25, 2011

Evidentia

November 24, 2011

Daqui às asas das estrelas #4

I told him I had just seen the weirdest butterfly I had ever seen in my entire life. He took a drink from his plastic water bottle, then looked up at me. “There are many butterflies in Japan,” he said. “It is not strange to see a butterfly.”

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November 24, 2011

Daqui às asas das estrelas #3

This is also, not coincidentally, the home of his vast record collection. (He guesses that he has around 10,000 but says he’s too scared to count.) The office’s two long walls were covered from floor to ceiling with albums, all neatly shelved in plastic sleeves. 

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November 24, 2011

Daqui às asas das estrelas #2

Sometimes the tourism even crosses metaphysical boundaries. Murakami often hears from readers who have “discovered” his inventions in the real world: a restaurant or a shop that he thought he made up, they report, actually exists in Tokyo.

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November 23, 2011

Daqui às asas das estrelas #1

Sam Anderson profiles the great Haruki Murakami:

When Murakami sat down to write his first novel, he struggled until he came up with an unorthodox solution: he wrote the book’s opening in English, then translated it back into Japanese. This, he says, is how he found his voice. Murakami’s longstanding translator, Jay Rubin, told me that a distinctive feature of Murakami’s Japanese is that it often reads, in the original, as if it has been translated from English.

You could even say that translation is the organizing principle of Murakami’s work: that his stories are not only translated but about translation. The signature pleasure of a Murakami plot is watching a very ordinary situation (riding an elevator, boiling spaghetti, ironing a shirt) turn suddenly extraordinary (a mysterious phone call, a trip down a magical well, a conversation with a Sheep Man) — watching a character, in other words, being dropped from a position of existential fluency into something completely foreign and then being forced to mediate, awkwardly, between those two realities. A Murakami character is always, in a sense, translating between radically different worlds: mundane and bizarre, natural and supernatural, country and city, male and female, overground and underground. His entire oeuvre, in other words, is the act of translation dramatized.

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November 22, 2011

Everything is OK

November 20, 2011

The Tallest Woman On Earth

Well if I ever see the morning
Just like a lizard in the spring
I’m gonna run out in the meadow
To catch the silence when it sings

November 18, 2011

Kafka on the shore

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November 17, 2011

http://cdn.topspin.net/api/v2/widget/player/112276

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