Sadek Waff, creÂator of thrillingÂly preÂcise “murÂmuÂraÂtions” such as the one above, is also inspired by street dance — parÂticÂuÂlarÂly the popÂping hip hop moves known as TutÂting and ToyÂMan.
There is magÂic everyÂwhere, the key is knowÂing how to look and lisÂten in silence. Like a cloud of birds formÂing waves in the sky, each indiÂvidÂual has their own idenÂtiÂty but also has an irreÂplaceÂable place in the whole.
To achieve these kaleiÂdoÂscopÂic murÂmuÂraÂtions, Waff’s dancers drill for hours, countÂing aloud in uniÂson, refinÂing their gesÂtures to the point where the indiÂvidÂual is subÂsumed by the group.
The use of mirÂrors can heightÂen the illuÂsion:
The reflecÂtion brings a symÂmetÂriÂcal dimenÂsion, like a calm body of water conÂtemÂplatÂing the specÂtaÂcle from anothÂer point of view, adding an addiÂtionÂal dimenÂsion, an extenÂsion of the image.
The largÂer the group, the more dazÂzling the effect, though a video feaÂturÂing a smallÂer than usuÂal group of dancers — 20 in total — is helpÂful for isoÂlatÂing the comÂpoÂnents Waff brings to bear in his avian-inspired work.
We’re parÂticÂuÂlarÂly enthralled by the murÂmuÂraÂtion Waff creÂatÂed for the 2020 ParÂaÂlympic Games’ closÂing cerÂeÂmoÂny in Tokyo, using both proÂfesÂsionÂals and amaÂteurs in matchÂing black COVID-preÂcauÂtion masks to embody the event’s themes of “harÂmoÂnious cacophÂoÂny” and “movÂing forÂward.” (Notice that the front row of dancers are wheelÂchair users.)
If you’ve ever run a marathon in cosÂtume, or for that matÂter, boardÂed pubÂlic transÂportaÂtion with a large musiÂcal instruÂment or a bulky bag of athÂletÂic equipÂment, you know that gear can be a burÂden best shed.
But what if that gear is your first, nay, best line of defense against a felÂlow knight fixÂing to smite you in the name of their liege?
Such gear is non-optionÂal.
CuriÂous about the degree to which 15th-cenÂtuÂry knights were encumÂbered by their proÂtecÂtive platÂing, medievalÂist Daniel Jaquet comÂmisÂsioned a top armor speÂcialÂist from the Czech RepubÂlic to make a suit speÂcifÂic to his own perÂsonÂal meaÂsureÂments. The result is based on a 15th cenÂtuÂry specÂiÂmen in VienÂna that has been studÂied by the WalÂlace ColÂlecÂtion’s archaeometÂalÂlurÂgist Alan Williams. As Jaquet recalled in SciÂences et Avenir:
We had to make comÂproÂmisÂes in the copyÂing process, of course, because what interÂestÂed me above all was to be able to do a behavÂioral study, to see how one moved with this equipÂment on the back rather than attachÂing myself to the numÂber of exact rivets…we knew the comÂpoÂsiÂtion and the hardÂness of the parts that we could comÂpare to our repliÂca.
The accomÂplished marÂtial artist testÂed his mobilÂiÂty in the suit with a variÂety of highÂly pubÂlic, modÂern activÂiÂties: reachÂing for items on the highÂest superÂmarÂket shelves, jogÂging in the park, scalÂing a wall at a climbÂing gym, takÂing the Metro …
It may look like showÂboatÂing, but these moveÂments helped him assess how he’d perÂform in comÂbat, as well as lowÂer stress activÂiÂties involvÂing sitÂting down or standÂing up.
His armored expeÂriÂence sheds light on those of earÂly 15th-cenÂtuÂry knight Jean le MainÂgre, aka BouciÂcaut, whose impresÂsive career was cut short in 1415, when he was capÂtured by the EngÂlish at the BatÂtle of AginÂcourt.
BouciÂcaut kept himÂself in tip top physÂiÂcal conÂdiÂtion with a regÂuÂlar armored fitÂness regÂiÂmen. His chivalÂric biogÂraÂphy details gearÂing up for exerÂcisÂes that include runÂning, chopÂping wood, vaultÂing onto a horse, and workÂing his way up a ladÂder from the underÂside, withÂout using his feet.
Jaquet dupliÂcates them all in the above video.
(Reminder to those who would try this at home, make sure you’re capaÂble of perÂformÂing these exerÂcisÂes in lightÂweight shorts and t‑shirt before attemptÂing to do them in armor.)
Like Boucicault’s, Jaquet’s armor is bespoke. Those who’ve strugÂgled to lift their arms in an off-the-rack jackÂet will appreÂciÂate the trade off. It’s worth spendÂing more to ensure sufÂfiÂcient range of moveÂment.
In Boucicault’s day, ready-made pieces of lessÂer qualÂiÂty could be proÂcured at marÂkets, tradÂing fairs, and shops in popÂuÂlous areas. You could also try your luck after batÂtle, by stripÂping the capÂtive and the dead of theirs. Size was always an issue. Too small and your moveÂment would be restrictÂed. Too big, and you’d be haulÂing around unnecÂesÂsary weight.
Jaquet describes his load as being on par with the weight 21st-cenÂtuÂry solÂdiers are required to carÂry. Body armor is a lifeÂsaver, accordÂing to a 2018 study by the CenÂter for a New AmerÂiÂcan SecuÂriÂty, but it also reduces mobilÂiÂty, increasÂes fatigue, and reduces misÂsion perÂforÂmance.
GizÂmoÂdo’s JenÂnifer OuelÂlette finds that medieval knights faced simÂiÂlar chalÂlenges:
The legs alone were carÂryÂing an extra 15 to 18 pounds, so the musÂcles had to work that much hardÂer to overÂcome inerÂtia to set the legs in motion. There is also eviÂdence that the thin slits in the face mask, and tight chest plate, restrictÂed oxyÂgen flow even furÂther.
For those lookÂing for a lighter read, here is JaqueÂt’s account of takÂing a comÂmerÂcial flight in armor (and some best pracÂtice tips for those attemptÂing the same.)
SurfÂing is genÂerÂalÂly believed to have origÂiÂnatÂed in Hawaii and will be forÂevÂer assoÂciÂatÂed with the PolyÂneÂsian islands. Yet anthroÂpolÂoÂgists have found eviÂdence of someÂthing like surfÂing wherÂevÂer humans have encounÂtered a beach — on the coasts of West Africa, in the Caribbean, India, SyrÂia, and Japan. SurfÂing hisÂtoÂriÂan Matt WarÂshaw sums up the probÂlem with locatÂing the oriÂgins of this human activÂiÂty: “RidÂing waves simÂply for pleaÂsure most likeÂly develÂoped in one form or anothÂer among any coastal peoÂple livÂing near warm ocean water.” Could one make a simÂiÂlar point about skiÂing?
It seems that wherÂevÂer humans have setÂtled in places covÂered with snow for much of the year, they’ve improÂvised all kinds of ways to travÂel across it. Who did so with the first skis, and when? Ski-like objects datÂing from 6300–5000 BC have been found in northÂern RusÂsia. A New York Times artiÂcle recentÂly described eviÂdence of Stone Age skiers in ChiÂna. “If skiÂing, as it seems posÂsiÂble,” Nils Larsen writes at the InterÂnaÂtionÂal SkiÂing HisÂtoÂry AssoÂciÂaÂtion, “dates back 10,000 years or more, idenÂtiÂfyÂing a point of oriÂgin (or oriÂgins) will be difÂfiÂcult at best.” Such disÂcusÂsions tend to get “bogged down in polÂiÂtics and nationÂal pride,” Larsen writes. For examÂple, “since the emerÂgence of skiÂing in greater Europe in the late 1800s” — as a sport and pureÂly recreÂationÂal activÂiÂty — “NorÂway has often been conÂsidÂered the birthÂplace of skiÂing. NorÂway has proÂmotÂed this view and it is a point of nationÂal pride.”
Despite its earÂliÂest records of skiÂing datÂing milÂlenÂnia latÂer than othÂer regions, NorÂway has some claim. The word ski is, after all, NorÂweÂgian, derived from Old Norse skĂĂ°, meanÂing “cleft wood” or “stick.” And the best-preÂserved ancient skis ever found have been disÂcovÂered in a NorÂweÂgian ice field. “Even the bindÂings are mostÂly intact,” notes KotÂtke. The first ski, believed to be 1300 years old, turned up in 2014, found by the GlacÂiÂer ArcheÂolÂoÂgy ProÂgram (GAP) in the mounÂtains of InnÂlanÂdet CounÂty, NorÂway. The archaeÂolÂoÂgists decidÂed to wait, let the ice melt, and see if the othÂer ski would appear. It did, just recentÂly, and in the video above, you can watch the researchers pull it from the ice.
“MeaÂsurÂing about 74 inchÂes long and 7 inchÂes wide,” notes Livia GerÂshon at SmithÂsonÂian, “the secÂond ski is slightÂly largÂer than its mate. Both feaÂture raised footholds. Leather straps and twistÂed birch bark bindÂings found with the skis would have been attached through holes in the footholds. The new ski shows signs of heavy wear and evenÂtuÂal repairs.” The two skis are not idenÂtiÂcal, “but we should not expect them to be,” says archaeÂolÂoÂgist Lars Pilø. “The skis are handÂmade, not mass-proÂduced. They have a long and indiÂvidÂual hisÂtoÂry of wear and repair before an Iron Age skiÂer used them togethÂer and they endÂed up in the ice.”
The new ski answered quesÂtions the researchers had about the first disÂcovÂery, such as how the ancient skis might have mainÂtained forÂward motion uphill. “A furÂrow on the underÂside along the length of the ski, as you find on othÂer preÂhisÂtoric skis (and on modÂern cross-counÂtry skis), would solve the quesÂtion,” they write, and the secÂond ski conÂtained such a furÂrow. While they may nevÂer prove that NorÂway inventÂed skiÂing, as glacÂiÂer ice melts and new artiÂfacts appear each year, the team will learn much more about ancient NorÂweÂgian skiers and their way of life. See their curÂrent disÂcovÂerÂies and folÂlow their future progress at the Secrets of the Ice webÂsite and on their YouTube chanÂnel.
But not the sort you’ll find played on the grass courts of WimÂbleÂdon, or for that matÂter, the hard courts of the US Open.
Lloyd is one of a select few who gravÂiÂtate toward the verÂsion of the game that was known as the sport of kings.
It was, accordÂing to a 1553 guide, creÂatÂed, “to keep our bodÂies healthy, to make our young men stronger and more robust, chasÂing idleÂness, virtue’s morÂtal eneÂmy, far from them and thus makÂing them of a stronger and more excelÂlent nature.”
HenÂry VIII was a talÂentÂed and enthuÂsiÂasÂtic playÂer in his youth, causÂing the VenetÂian AmbasÂsador to rhapÂsodize, “it was the pretÂtiÂest thing in the world to see him play; his fair skin glowÂing through a shirt of the finest texÂture.”
Henry’s secÂond wife, the ill-fatÂed Anne Boleyn, was also a fan of the sport, with monÂey ridÂing on the match she was watchÂing when she was sumÂmoned to the Privy CounÂcil “by order of the King,” the first stop on her very swift jourÂney to the TowÂer of LonÂdon.
The sport’s roots reach all the way to the 11th and 12th cenÂturies when monks and vilÂlagers in southÂern France were mad for jeu de paume, a tenÂnis-like game preÂdatÂing the use of racÂquets, whose popÂuÂlarÂiÂty evenÂtuÂalÂly spread to the royÂals and arisÂtoÂcrats of Paris.
The game Lloyd tries his hand at above is now known as Real TenÂnis, a term inventÂed in the 19th-cenÂtuÂry to disÂtinÂguish it from the then-new craze for lawn tenÂnis.
MenÂtion “the sport of kings” these days and most folks will assume you’re referÂring to fox huntÂing or horse-racÂing.
Mind you, real tenÂnis is just as rarÂiÂfied. You won’t find it being played on any old (which is to say new) indoor court. It requires four irregÂuÂlarÂly sized walls, an asymÂmetÂriÂcal layÂout, and a slopÂing pentÂhouse roof. Behold the layÂout of a Real TenÂnis court by AtethÂnekos, comÂpliÂments of EngÂlish Wikipedia:
ComÂpared to that, the TenÂnis DepartÂment’s diaÂgram of the familÂiar modÂern set up seems like child’s play:
OthÂer cogÂniÂtive chalÂlenges for those whose verÂsion of tenÂnis doesÂn’t extend back to medieval days: a slack net; lopÂsided, tightÂly strung, small raqueÂts; and a gallery of waist-high screened “hazÂards,” that are spirÂiÂtuÂalÂly akin to pinÂball tarÂgets, espeÂcialÂly the one with the bell.
The handÂmade balls may look simÂiÂlar to your averÂage mass-proÂduced Penn or WilÂson, but expect that each will be “unique in its parÂticÂuÂlar quirks”:
They are not perÂfectÂly spherÂiÂcal and these seams stick out a litÂtle bit more here and there, which means that the bounce can be rather unpreÂdictable. Because these are heavÂier and hardÂer, they don’t swerve when you spin them in the air very much, but when they hit a wall and get a decent grip, the swerve can send them zingÂing off along the wall to great effect.
Once Lloyd has oriÂentÂed viewÂers and himÂself to the court and equipÂment, Real TenÂnis proZak Eadle walks him through servÂing, scorÂing, and stratÂeÂgy in the form of chasÂes.
His present, and your pains, we thank you for: When we have match’d our rackÂets to these balls, We will, in France, by God’s grace play a set, Shall strike his father’s crown into the HazÂard: Tell him, he made a match with such a wranÂgler, That all the Courts of France will be disturb’d with chasÂes.
Even non-athÂletÂic types could find themÂselves fasÂciÂnatÂed by the hisÂtorÂiÂcal conÂtext LindyÂbeige proÂvides.
If you’re moved to take racÂquet in hand, there are a handÂful of Real TenÂnis courts in the USA, UK, AusÂtralia, and France where you might be able to try your luck.
The sport could use you. EstiÂmates indiÂcate that the numÂber of playÂers has dwinÂdled to a mere 10,000. SureÂly someÂone is desÂperÂate for a partÂner.
Delve furÂther into the world of Real TenÂnis on the InterÂnaÂtionÂal Real TenÂnis ProÂfesÂsionÂals Association’s webÂsite.
Check out some of Lindybeige’s othÂer interÂests on his YouTube chanÂnel.
Ever wonÂder what it was like to realÂly fight while wearÂing a full suit of armor? We’ve feaÂtured a few hisÂtorÂiÂcal reconÂstrucÂtions here on Open CulÂture, includÂing a demonÂstraÂtion of the varÂiÂous ways comÂbatÂants would vanÂquish their foe—includÂing a sword right between the eyes. We’ve also shown you how long it took to creÂate a suit of armor and the clever flexÂiÂbilÂiÂty built into them. But realÂly, don’t we want to see what it would be like in a full melee? In the above Vice docÂuÂmenÂtary, you can finalÂly sate your bloodÂlust.
Not that anyÂone dies in the MMA-like sword-and-chainÂmail brawls. In these pubÂlic comÂpeÂtiÂtions, the weapons are bluntÂed and conÂtesÂtants fight “not to the death, just until they fall over,” as the narÂraÂtor someÂwhat sadÂly explains. It is just a legit sport as any othÂer fightÂing chalÂlenge, and the injuries are real. There’s no foolÂing around with these peoÂple. They are seriÂous, and a nation’s honÂor is still at stake.
This mini-doc folÂlows the AmerÂiÂcan team to the InterÂnaÂtionÂal Medieval ComÂbat FedÂerÂaÂtion World ChamÂpiÂonships in MonÂteÂmor-o-VelÂho in PorÂtuÂgal. What looks like a regÂuÂlar RenaisÂsance faire is only the decÂoÂraÂtions around the main, incredÂiÂbly vioÂlent event. We see batÂtles with longswords, short axes, shields used offenÂsiveÂly and defenÂsiveÂly, and a lot of pushÂing and shovÂing. ConÂtesÂtants go head-to-head, or five against five, or twelve against twelve.
TwenÂty-six counÂtries take part, and I have to say for all the jinÂgoÂisÂtic hoo-hah I try to ignore, the AmerÂiÂcan team’s very niceÂly designed stars and stripes batÂtle gear looked pretÂty damn cool. The Vice team also disÂcovÂer an interÂestÂing cast of charÂacÂters, like the TexÂan who wears his cowÂboy hat when he’s not wearÂing his comÂbat helÂmet; the man who describes his fightÂing style as “nerd rage”; and the couÂple on their honÂeyÂmoon who met while bruÂtalÂly beatÂing each othÂer in an earÂliÂer comÂpeÂtiÂtion. (No, the knights here are not all men.).
There are injuries, sprains, broÂken bones. There’s also the madÂness of inhalÂing too much of your own CO2 inside the helÂmet; and smelling the ozone when a spark of metÂal-upon-metÂal flies into the helÂmet.
ThankÂfulÂly nobody is fightÂing to the death or for King/Queen and CounÂtry. Just for the fun of adrenÂaÂlin-based comÂpeÂtiÂtion and bragÂging rights.
Ted Mills is a freeÂlance writer on the arts who curÂrentÂly hosts the Notes from the Shed podÂcast and is the proÂducÂer of KCRÂW’s CuriÂous Coast. You can also folÂlow him on TwitÂter at @tedmills, and/or watch his films here.
Two years after the release of Quentin TaranÂtiÂno’s Once Upon a Time in HolÂlyÂwood, peoÂple are still arguÂing about its brief porÂtrayÂal of Bruce Lee. Whether it accuÂrateÂly repÂreÂsentÂed his perÂsonÂalÂiÂty is one debate, but much more imporÂtant for marÂtial-arts enthuÂsiÂasts is whether it accuÂrateÂly repÂreÂsentÂed his fightÂing skills. This could easÂiÂly be deterÂmined by holdÂing the scene in quesÂtion up against footage of the real Bruce Lee in action, but almost no such footage exists. While Lee’s perÂforÂmances in films like Enter the DragÂon and Game of Death conÂtinÂue to win him fans 48 years after his death, their fights — howÂevÂer physÂiÂcalÂly demandÂing — are, of course, thorÂoughÂly choreÂoÂgraphed and rehearsed perÂforÂmances.
Hence the way, in Once Upon a Time in HolÂlyÂwood, Brad PitÂt’s rough-hewn stuntÂman Cliff Booth disÂmissÂes screen marÂtial artists like Lee as “dancers.” Those are fightÂing words, and indeed a fight ensues, though one meant to get laughs (and to illuÂmiÂnate the charÂacÂters’ opposÂing physÂiÂcal and emoÂtionÂal natures) rather than seriÂousÂly to recreÂate a conÂtest between trained marÂtial artist and simÂple bruisÂer.
As for how Lee hanÂdled himÂself in actuÂal fights, we have no surÂvivÂing visuÂal eviÂdence but the clips above, shot durÂing a couÂple of matchÂes in 1967. The event was the Long Beach InterÂnaÂtionÂal Karate ChamÂpiÂonships, where three years earÂliÂer Lee’s demonÂstraÂtion of such improbÂaÂble physÂiÂcal feats as two-finÂger push-ups and one-inch punchÂes got him the attenÂtion in the U.S. that led to the role of Kato on The Green HorÂnet.
In these 1967 bouts, the now-famous Lee uses the techÂniques of Jeet Kune Do, his own hybrid marÂtial-arts phiÂlosÂoÂphy emphaÂsizÂing useÂfulÂness in real-life comÂbat. “First he fights Ted Wong, one of his top Jeet Kune Do stuÂdents,” says TwistÂed Sifter. “They are allegedÂly wearÂing proÂtecÂtive gear because they weren’t allowed to fight withÂout them as per CalÂiÂforÂnia state regÂuÂlaÂtions.” Lee is the one wearÂing the gear with white straps — as if he weren’t idenÂtiÂfiÂable by sheer speed and conÂtrol alone. Seen today, his fightÂing style in this footage reminds many of modÂern-day mixed marÂtial arts, a sport that might not come into exisÂtence had Lee nevÂer popÂuÂlarÂized the pracÂtiÂcal comÂbiÂnaÂtion of eleÂments drawn from all fightÂing styles. Whether the man himÂself was as arroÂgant as TaranÂtiÂno made him out to be, he must have susÂpectÂed that marÂtial-arts would only be catchÂing up with him half a cenÂtuÂry latÂer.
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
ThirÂty or so ChristÂmases ago, I received my first skateÂboard. Alas, it was also my last skateÂboard: not long after I got the hang of balÂancÂing on the thing, it was run over and snapped in half by a mail truck. There went my last chance at Olympic athÂletiÂcism, though I couldÂn’t have known it at the time: it debuted as an event at the SumÂmer Olympics just this year, and its comÂpeÂtiÂtions are underÂway even now in Tokyo. This is, in any case, a bit late for me, givÂen the relÂaÂtive… matuÂriÂty of my years as against those of the averÂage Olympic skateÂboardÂer. But then, Tony Hawk is in his fifties, and someÂthing tells me he could still show those kids a thing or two.
Hawk, the most famous skateÂboardÂer in the world, shows us 21 things in the Wired video above— specifÂiÂcalÂly, 21 skateÂboardÂing moves, each one repÂreÂsenÂtaÂtive of a highÂer difÂfiÂculÂty levÂel than the last. At levÂel one, we have the “flat-ground ollie,” which involves “using one foot to snap the tail of the board downÂward, and then you have the board sort of aimÂing up, and then slidÂing your front foot at the right time in order to bring that board up and levÂel it out in the air.”
To the untrained eye, a well-exeÂcutÂed ollie projects the image of skater and board are “jumpÂing” as a whole. But it can only be masÂtered by those willÂing to keep their feet on the board, rather than obeyÂing the instinct to put one foot off to the side. “PeoÂple do that for years,” laments Hawk.
LevÂel ten finds Hawk on the half-pipe doing a “360 aerÂiÂal.” He describes the action as we watch him perÂform it: “I’m going up the ramp, I’m turnÂing in the frontside direcÂtion a full 360, and I’m comÂing down backÂwards” — but not yet flipÂping the board while in the air, a slightÂly more advanced move. The final levÂels enter “the realm of unreÂalÂiÂty,” covÂerÂing the NBD (NevÂer Been Done) tricks that skaters nevÂerÂtheÂless believe posÂsiÂble. For LevÂel 21 he choosÂes the “1260 spin” — “three and a half rotaÂtions” — which he’s nevÂer even seen attemptÂed. Or at least he hadÂn’t at the time of this video’s shoot in 2019; Mitchie BrusÂco landÂed one at the X Games just two days latÂer. Even now, givÂen the seemÂingÂly infiÂnite potenÂtial variÂaÂtions of and expanÂsions on every trick, skateÂboardÂing is unlikeÂly to have hit its physÂiÂcal limÂits. Just imagÂine what the kids who sucÂcessÂfulÂly dodge their mailÂman now will be able to pull off when they grow up.
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
HaruÂki MurakaÂmi has been famous as a novÂelÂist since the 1980s. But for a decade or two now, he’s become increasÂingÂly well known around the world as a novÂelÂist who runs. The EngÂlish-speakÂing world’s awareÂness of Murakami’s roadÂwork habit goes back at least as far as 2004, when the Paris Review pubÂlished an Art of FicÂtion interÂview with him. Asked by interÂviewÂer John Ray to describe the strucÂture of his typÂiÂcal workÂday, MurakaÂmi replied as folÂlows:
When I’m in writÂing mode for a novÂel, I get up at four a.m. and work for five to six hours. In the afterÂnoon, I run for ten kiloÂmeÂters or swim for fifÂteen hunÂdred meters (or do both), then I read a bit and lisÂten to some music. I go to bed at nine p.m. I keep to this rouÂtine every day withÂout variÂaÂtion. The repÂeÂtiÂtion itself becomes the imporÂtant thing; it’s a form of mesÂmerism. I mesÂmerÂize myself to reach a deepÂer state of mind. But to hold to such repÂeÂtiÂtion for so long — six months to a year — requires a good amount of menÂtal and physÂiÂcal strength. In that sense, writÂing a long novÂel is like surÂvival trainÂing. PhysÂiÂcal strength is as necÂesÂsary as artisÂtic senÂsiÂtivÂiÂty.
This stark physÂiÂcal deparÂture from the popÂuÂlar notion of litÂerÂary work drew attenÂtion. Truer to writerÂly stereoÂtype was the MurakaÂmi of the earÂly 1980s, when he turned pro as a novÂelÂist after closÂing the jazz bar he’d owned in Tokyo. “Once I was sitÂting at a desk writÂing all day I startÂed putting on the pounds,” he rememÂbers in The New YorkÂer. “I was also smokÂing too much — sixÂty cigÂaÂrettes a day. My finÂgers were yelÂlow, and my body reeked of smoke.” Aware that someÂthing had to change, MurakaÂmi perÂformed an experÂiÂment on himÂself: “I decidÂed to start runÂning every day because I wantÂed to see what would hapÂpen. I think life is a kind of labÂoÂraÂtoÂry where you can try anyÂthing. And in the end I think it was good for me, because I became tough.”
AdherÂence to such a lifestyle, as MurakaÂmi tells it, has enabled him to write all his novÂels since, includÂing hits like NorÂweÂgian Wood,The Wind-Up Bird ChronÂiÂcle, and KafÂka on the Shore. (On some levÂel, it also reflects his proÂtagÂoÂnists’ tenÂdenÂcy to make transÂforÂmaÂtive leaps from one verÂsion of realÂiÂty into anothÂer.) Its rigÂor has sureÂly conÂtributed to the disÂciÂpline necÂesÂsary for the rest of his outÂput as well: transÂlaÂtion into his native JapanÂese of works includÂing The Great GatsÂby, but also large quanÂtiÂties of first-perÂson writÂing on his own interÂests and everyÂday life. ProÂtecÂtive of his repÂuÂtaÂtion in EngÂlish, MurakaÂmi has allowed almost none of the latÂter to be pubÂlished in this lanÂguage.
But in light of the voraÂcious conÂsumpÂtion of self-improveÂment litÂerÂaÂture in the EngÂlish-speakÂing world, and espeÂcialÂly in AmerÂiÂca, transÂlaÂtion of his memÂoir What I Talk About When I Talk About RunÂning must have been an irreÂsistible propoÂsiÂtion. “I’ve nevÂer recÂomÂmendÂed runÂning to othÂers,” MurakaÂmi writes in The New YorkÂer piece, which is drawn from the book. “If someÂone has an interÂest in long-disÂtance runÂning, he’ll start runÂning on his own. If he’s not interÂestÂed in it, no amount of perÂsuaÂsion will make any difÂferÂence.” For some, Murakami’s examÂple has been enough: take the writer-vlogÂger Mel TorÂrefranÂca, who docÂuÂmentÂed her attempt to folÂlow his examÂple for a week. For her, a week was enough; for MurakaÂmi, who’s been runÂning-while-writÂing for nearÂly forty years now, there could be no othÂer way.
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
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