In Animated Cartoon, Alison Bechdel Sees Her Life Go From Pulitizer Prize Winning Comic to Broadway Musical

No one is sur­prised when authors mine their per­son­al expe­ri­ences. If they’re lucky enough to strike gold, oth­er min­ers may be brought on to bring the sto­ries to the sil­ver screen. Here’s where things get tricky (if lucra­tive). No one wants to see his or her impor­tant life details get­ting roy­al­ly botched, espe­cial­ly when the results are blown up 70 feet across.

Car­toon­ist Ali­son Bechdel’s path to let­ting oth­ers take the reins as her sto­ry is immor­tal­ized in front of a live audi­ence is not the usu­al mod­el. The fam­i­ly his­to­ry she shared in the Pulitzer Prize-win­ning Fun Home: A Fam­i­ly Tragi­com­ic has been turned into a Broad­way musi­cal.

Now that would be a nail biter, espe­cial­ly if the non-fic­tion­al source mate­r­i­al includes a graph­i­cal­ly awk­ward first sex­u­al encounter and your clos­et­ed father’s sui­cide.

In the ani­mat­ed com­ic above, Bechdel recounts the sur­re­al expe­ri­ence of see­ing her most per­son­al expe­ri­ences musi­cal­ized dur­ing Fun Home’s recent Off-Broad­way run at the Pub­lic The­ater.

In the wrong hands, it could have been an excru­ci­at­ing evening, but Fun Home, the musi­cal, has had excel­lent pedi­gree from the get go.

It’s also worth not­ing that this show pass­es the infa­mous Bechdel Test (below) both onstage and off, with a book and lyrics by Lisa Kron and music by Jea­nine Tesori.

Pre­views begin next month in New York City.

bechdel-rule

Relat­ed Con­tent:

Car­toon­ist Kate Beat­on Plays on Lit­er­ary Clas­sics — The Great Gats­by, Julius Cae­sar & More

Lyn­da Bar­ry, Car­toon­ist Turned Pro­fes­sor, Gives Her Old Fash­ioned Take on the Future of Edu­ca­tion

Under­ground Car­toon­ist R. Crumb Intro­duces Us to His Rol­lick­ing Album Cov­er Designs

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Illustrations for a Chinese Lord of the Rings in a Stunning “Glass Painting Style”

lotr-chinese-covers-fellowship

J.R.R. Tolkien’s The Lord of the Rings tril­o­gy has had an enor­mous­ly wide, cross-cul­tur­al appeal. This despite the fact that its cre­ator was a uni­ver­si­ty pro­fes­sor of a long-dead lan­guage, Anglo-Sax­on, who set his sto­ry in a world of cus­toms and mores—supernatural ele­ments aside—that bear a fair­ly close resem­blance to ancient and medieval Eng­land. But such sim­i­lar­ly provin­cial set­tings have raised no bar­ri­ers to the glob­al reach of the Ili­ad, say, or Shake­speare. West­ern epics, ancient and mod­ern, may on the one hand have trav­eled the globe on waves of cul­tur­al impe­ri­al­ism (and Hol­ly­wood film), and, on the oth­er, they have their own built-in glob­al reach because they tap into arche­typ­al sto­ry-types and human characteristics—because their use of myth and folk­lore reads as uni­ver­sal, though the par­tic­u­lars change from place to place and age to age.

lotr-chinese-covers-two-towers

The mul­ti­lin­gual among us have the oppor­tu­ni­ty to see how well, or not, great sto­ries trans­late into dif­fer­ent cul­tur­al con­texts. Read­ers, for exam­ple, of both Chi­nese and Eng­lish will be able to com­pare Tolkien’s orig­i­nals with forth­com­ing edi­tions of the books from Wen­Jing Pub­lish­ing. The rest of us provin­cial mono­lin­guals can still make com­par­isons of visu­al inter­pre­ta­tions of the text, like these pos­si­ble book cov­ers drawn by artist Jian Guo. Part of a com­pe­ti­tion held by the pub­lish­er of the new Chi­nese text, the beau­ti­ful, mono­chro­mat­ic illus­tra­tions draw on many of the design ele­ments of Tolkien’s orig­i­nal paint­ings for the trilogy’s cov­ers, elab­o­rat­ing on the icon­ic ring and tow­ers with intri­cate Asian lines and flour­ish­es. At the top, see The Fel­low­ship of the Ring, above The Two Tow­ers, and below, The Return of the King.

lotr-chinese-covers-return

The artist, an archi­tec­tur­al stu­dent, describes his style as “glass paint­ing style,” which he uses for its “sense of reli­gious mag­nif­i­cence.” Inter­est­ing­ly, before see­ing Peter Jackson’s Lord of the Rings adap­ta­tion in 2002, he had nev­er heard of the books. (Pre­vi­ous Chi­nese trans­la­tions of the books fea­ture rather unimag­i­na­tive cov­ers with images from Jackson’s movies.) The films con­vert­ed him into an avid read­er of Tolkien—see a Hob­bit illus­tra­tion at the bot­tom of the post. Jian is also a lover of J.K. Rowling’s pop­u­lar fan­ta­sy series and has designed some won­der­ful­ly styl­ized illus­tra­tions for Har­ry Pot­ter and the Cham­ber of Secrets and Har­ry Pot­ter and the Philosopher’s Stone.

a_long_long_adventure_with_hobbit_by_breathing2004-d5q4spj

via Tor

Relat­ed Con­tent:

Dis­cov­er J.R.R. Tolkien’s Per­son­al Book Cov­er Designs for The Lord of the Rings Tril­o­gy

Illus­tra­tions of The Lord of the Rings in Russ­ian Iconog­ra­phy Style (1993)

Sovi­et-Era Illus­tra­tions Of J. R. R. Tolkien’s The Hob­bit (1976)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Gun Nut William S. Burroughs & Gonzo Illustrator Ralph Steadman Make Polaroid Portraits Together

Burroughs Steadman pics

Ralph Stead­man is best known as the artist who real­ized the gonzo vision of Hunter S. Thomp­son in illus­tra­tions for the latter’s books and arti­cles (and more recent­ly, per­haps, for the labels on Colorado’s Fly­ing Dog brew). His work has famous­ly appeared over the past sev­er­al decades in Punch, Pri­vate Eye, The New York Times, and Rolling Stone, and he pro­duced a bril­liant­ly illus­trat­ed edi­tion of Alice in Won­der­land. Like his friend Ger­ald Scarfe, anoth­er wicked­ly satir­i­cal car­toon­ist who cre­at­ed the look of Pink Floyd’s The Wall, Stead­man has made sig­nif­i­cant con­tri­bu­tions to the look of the coun­ter­cul­ture.

WSB_Paranoid

But while Steadman’s work with Hunter Thomp­son may large­ly define his career, anoth­er notable col­lab­o­ra­tion with a lit­er­ary fig­ure, William S. Bur­roughs, also proved fruit­ful many years lat­er. In 1995, Stead­man brought togeth­er his own illus­tra­tions with Bur­roughs love of guns, ask­ing the octo­ge­nar­i­an writer to blast holes in orig­i­nal Stead­man cre­ations.

Some of these paint­ings fea­ture the Polaroid por­traits of Bur­roughs above and at the top of the post (see a result­ing Steadman/Burroughs silkscreen print, with gun­shot holes, here). Just above, you can see Stead­man tak­ing the pho­tos. First, he makes some test shots with an assis­tant, then, at 2:50, we see him with Bur­roughs and an entourage. As The Inde­pen­dent described the meet­ing at Bur­roughs’ house in Lawrence, Kansas, it was some­thing of a “con­trived event,” with “swarms of assis­tants” and “acolytes” in atten­dance, “tap­ing the whole thing on video.”

Luck­i­ly for us, I’d say. Unfor­tu­nate­ly, we don’t seem to have video from lat­er in the day, when the group drove “out to Burrough’s friends place out­side town, where he does his shoot­ing.” Once there, “Bur­roughs, Stead­man and his wife Anna and Bur­roughs’ entourage take turns blaz­ing away with .33s, .45s, pump-action shot­guns and Sat­ur­day-night spe­cials at a vari­ety of tar­gets,” includ­ing Steadman’s art. That would be some­thing to see. We’ll have to set­tle for the art itself, and Steadman’s fas­ci­nat­ing demon­stra­tion below of his approach to por­trai­ture.

Relat­ed Con­tent:

How Hunter S. Thomp­son — and Psilo­cy­bin — Influ­enced the Art of Ralph Stead­man, Cre­at­ing the “Gonzo” Style

Break­ing Bad Illus­trat­ed by Gonzo Artist Ralph Stead­man

William S. Bur­roughs Shows You How to Make “Shot­gun Art”

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

William Faulkner Outlines on His Office Wall the Plot of His Pulitzer Prize Winning Novel, A Fable (1954)

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Image cour­tesy of enotes

This past sum­mer I had occa­sion to vis­it Oxford Mis­sis­sip­pi for a con­fer­ence on William Faulkn­er, host­ed by the uni­ver­si­ty he briefly attend­ed, Ole Miss. Own­er of Faulkner’s estate, Rowan Oak, since 1972, the uni­ver­si­ty often stages events on the novelist’s for­mer grounds—particularly to cel­e­brate meet­ings devot­ed to his work. While I had wan­dered around the prop­er­ty a few times dur­ing my stay on cam­pus, I thought I’d wait until the cap­stone bar­be­cue at the conference’s close to enter the house itself. More fool me. A rain­storm forced the fes­tiv­i­ties into a col­lege hall, and I had to depart ear­ly the fol­low­ing morn­ing.

And so, sad­ly, I missed out on walk­ing Faulkner’s floor­boards, peer­ing out through his win­dows, and, espe­cial­ly, see­ing first­hand the notes he scrawled on the walls of his study to out­line the plot of his 1954 nov­el A Fable. The Pulitzer Prize and Nation­al Book Award-win­ning book, which—depending on your tol­er­ance for Faulkner’s excess­es is either a “crown­ing achieve­ment or self-indul­gent mess”—occu­pied the author for over a decade. He began A Fable—set in France dur­ing World War 1—just after the end of the Sec­ond World War, and did much of the writ­ing in the small office he added to the house in 1950, the year after he won the Nobel Prize. (Hear him read his Nobel Prize Speech here.)

Faulkner Wall Writing-L

Pho­to by Nick Rus­sell

Plot­ting the chronol­o­gy on the walls helped him become ful­ly immersed in the novel’s den­si­ty, but, writes edu­ca­tion blog Enotes, “not every­body was so pleased with the method”: “Faulkner’s wife, dis­ap­point­ed with the deci­sion, had the walls repaint­ed. In return, Faulkn­er rewrote the out­line and then shel­lacked the wall to ensure a per­ma­nent record.”

There are much worse ways to antag­o­nize one’s spouse, I sup­pose, but I’m sure that wasn’t his pri­ma­ry intent. Faulkn­er con­sid­ered the nov­el his masterpiece—Pulitzer and Nation­al Book Award com­mit­tees agreed—but crit­ics have not been so kind. It’s now one of his less­er-known works, one of the few not set in the fic­tion­al Yoknopataw­pha, a stand-in for his own Lafayette coun­ty, which he mined for sto­ries all of his mature career after some brief adven­tur­ing abroad.

Per­haps his defi­ant preser­va­tion of the plan for A Fable rep­re­sents his deep desire to leave behind the “postage stamp” of Oxford and its surrounds—to ven­ture into oth­er imag­i­na­tive ter­ri­to­ries. If so, his plan failed. Faulkn­er will be for­ev­er asso­ci­at­ed with the South—with Mis­sis­sip­pi, and with Rowan Oak. And like so many devo­tees, I’ll like­ly make my pil­grim­age to his well-pre­served home a year­ly event. The next time I’m down there, how­ev­er, I’ll actu­al­ly make it inside to see the writ­ing on the walls.

garabatos-novelas-adictamente.blogspot (2)

Pho­to by John Lawrence, from Faulkner’s Rowan Oak , by John Lawrence and Dan Hise

 

Relat­ed Con­tent:

Rare Audio: William Faulkn­er Names His Best Nov­el, And the First Faulkn­er Nov­el You Should Read

William Faulkn­er Reads His Nobel Prize Speech

The Art of William Faulkn­er: Draw­ings from 1916–1925

How Famous Writ­ers — From J.K. Rowl­ing to William Faulkn­er — Visu­al­ly Out­lined Their Nov­els

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

See Penguins Wearing Tiny “Penguin Books” Sweaters, Knitted by the Oldest Man in Australia

Penguin

How does 109-year-old Alfred “Alfie” Date keep him­self busy? Appar­ent­ly by knit­ting sweaters for endan­gered pen­guins. The old­est man in Aus­tralia, Alfie began knit­ting these lit­tle sweaters at the request of The Pen­guin Foun­da­tion in 2013, after hun­dreds of Lit­tle Pen­guins were injured by a big oil spill. He makes the sweaters in dif­fer­ent styles. But you can’t beat a pen­guin wear­ing a Pen­guin Books logo. We dare you to try.

File under Meta.

via Bored Pan­da

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Harper Lee on the Joy of Reading Real Books: “Some Things Should Happen On Soft Pages, Not Cold Metal”

News of the new, long-await­ed but hard­ly expect­ed Harp­er Lee nov­el, Go Set a Watch­man—a sequel to the 1960’s To Kill a Mock­ing­bird—has been met with vary­ing degrees of skep­ti­cism, sure­ly war­rant­ed giv­en her late sis­ter Alice and oth­ers’ char­ac­ter­i­za­tion of Lee’s phys­i­cal and men­tal decline. On the oth­er hand, the nov­el­ist, it’s been report­ed, is “extreme­ly hurt” by alle­ga­tions that she has been pres­sured to pub­lish. It would be a shame if the con­tro­ver­sy over the pub­li­ca­tion of the nov­el eclipsed the nov­el itself. While it had become some­thing of a tru­ism that Harp­er Lee would only pub­lish the one, great nov­el and nev­er anoth­er, I for one greet this lat­est news with joy.

For one thing, cir­cum­stances aside, the new Harp­er Lee nov­el has the mass media doing some­thing it rarely does anymore—talking about lit­er­ary fic­tion. And for the thou­sands of school kids required to read To Kill a Mock­ing­bird and won­der­ing why they should both­er, the con­ver­sa­tion hope­ful­ly com­mu­ni­cates that books still mat­ter, and not just dystopi­an YA sci-fi and mass-mar­ket trade books about BDSM fan­tasies, but books about ordi­nary peo­ple in ordi­nary times and places. It’s a les­son Lee learned ear­ly. In a 2006 let­ter to Oprah Win­frey, pub­lished in O mag­a­zine, Lee wrote about her child­hood expe­ri­ences with read­ing, and being read to. She recalls arriv­ing “in the first grade, lit­er­ate,” because of her upbring­ing. She also acknowl­edges that “books were scarce”; her and her sib­lings ear­ly lit­er­a­cy meant they were “priv­i­leged” com­pared to oth­er chil­dren, “most­ly from rur­al areas,” and the “chil­dren of our African-Amer­i­can ser­vants.”

While we may dis­miss Lee’s con­tention that in “an abun­dant soci­ety where peo­ple have lap­tops, cell phones” and “iPods” they also have “minds like emp­ty rooms” as the kvetch­ing of a senior cit­i­zen, I doubt most peo­ple who respect Lee’s wis­dom and good humor would do so light­ly. Her poet­ic evo­ca­tion of the tac­tile dif­fer­ences between books and gad­gets alone should give us pause: “some things should only hap­pen on soft pages, not cold met­al.”

Read the full let­ter below.

May 7, 2006

Dear Oprah,

Do you remem­ber when you learned to read, or like me, can you not even remem­ber a time when you did­n’t know how? I must have learned from hav­ing been read to by my fam­i­ly. My sis­ters and broth­er, much old­er, read aloud to keep me from pes­ter­ing them; my moth­er read me a sto­ry every day, usu­al­ly a chil­dren’s clas­sic, and my father read from the four news­pa­pers he got through every evening. Then, of course, it was Uncle Wig­gi­ly at bed­time.

So I arrived in the first grade, lit­er­ate, with a curi­ous cul­tur­al assim­i­la­tion of Amer­i­can his­to­ry, romance, the Rover Boys, Rapun­zel, and The Mobile Press. Ear­ly signs of genius? Far from it. Read­ing was an accom­plish­ment I shared with sev­er­al local con­tem­po­raries. Why this endem­ic pre­coc­i­ty? Because in my home­town, a remote vil­lage in the ear­ly 1930s, young­sters had lit­tle to do but read. A movie? Not often — movies weren’t for small chil­dren. A park for games? Not a hope. We’re talk­ing unpaved streets here, and the Depres­sion.

Books were scarce. There was noth­ing you could call a pub­lic library, we were a hun­dred miles away from a depart­ment store’s books sec­tion, so we chil­dren began to cir­cu­late read­ing mate­r­i­al among our­selves until each child had read anoth­er’s entire stock. There were long dry spells bro­ken by the new Christ­mas books, which start­ed the rounds again.

As we grew old­er, we began to real­ize what our books were worth: Anne of Green Gables was worth two Bobb­sey Twins; two Rover Boys were an even swap for two Tom Swifts. Aes­thet­ic fris­sons ran a poor sec­ond to the thrills of acqui­si­tion. The goal, a full set of a series, was attained only once by an indi­vid­ual of excep­tion­al greed — he swapped his sis­ter’s doll bug­gy.

We were priv­i­leged. There were chil­dren, most­ly from rur­al areas, who had nev­er looked into a book until they went to school. They had to be taught to read in the first grade, and we were impa­tient with them for hav­ing to catch up. We ignored them.

And it was­n’t until we were grown, some of us, that we dis­cov­ered what had befall­en the chil­dren of our African-Amer­i­can ser­vants. In some of their schools, pupils learned to read three-to-one — three chil­dren to one book, which was more than like­ly a cast-off primer from a white gram­mar school. We sel­dom saw them until, old­er, they came to work for us.

Now, 75 years lat­er in an abun­dant soci­ety where peo­ple have lap­tops, cell phones, iPods, and minds like emp­ty rooms, I still plod along with books. Instant infor­ma­tion is not for me. I pre­fer to search library stacks because when I work to learn some­thing, I remem­ber it. 

And, Oprah, can you imag­ine curl­ing up in bed to read a com­put­er? Weep­ing for Anna Karen­i­na and being ter­ri­fied by Han­ni­bal Lecter, enter­ing the heart of dark­ness with Mis­tah Kurtz, hav­ing Hold­en Caulfield ring you up — some things should hap­pen on soft pages, not cold met­al.

The vil­lage of my child­hood is gone, with it most of the book col­lec­tors, includ­ing the dodgy one who swapped his com­plete set of Seck­atary Hawkins­es for a shot­gun and kept it until it was retrieved by an irate par­ent.

Now we are three in num­ber and live hun­dreds of miles away from each oth­er. We still keep in touch by tele­phone con­ver­sa­tions of recur­rent theme: “What is your name again?” fol­lowed by “What are you read­ing?” We don’t always remem­ber. 

Much love, 

Harp­er

via Let­ters of Note

Relat­ed Con­tent:

William Faulkn­er Reads His Nobel Prize Speech

Down­load 20 Pop­u­lar High School Books Avail­able as Free eBooks & Audio Books

The Books You Think Every Intel­li­gent Per­son Should Read: Crime and Pun­ish­ment, Moby-Dick & Beyond (Many Free Online)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Watch Agnès Varda’s Les Fiancés Du Pont Macdonald: A Silent Comic Short Starring Jean-Luc Godard & Anna Karina

Agnès Var­da claimed to have seen few­er than ten movies before she made her first film at age 25. At the time, she had some pret­ty naïve ideas about film. “I thought if I added sound to pho­tographs, that would be cin­e­ma,” she recalled. She learned the essence of film­mak­ing and, by all accounts, learned it well. The result­ing film, La Pointe-Courte (1954), a self-financed doc­u­men­tary-fic­tion hybrid, is con­sid­ered one of the fore­run­ners of the French New Wave.

Fast for­ward a few years. Var­da is shoot­ing her fol­low up fea­ture Cleo from 5 to 7. The film would prove to be her break­out hit and a clas­sic of the New Wave along­side the likes of 400 Blows and Breath­less.

The film, which unspools almost in real time, is about a beau­ti­ful young singer who waits anx­ious­ly for the results of a med­ical test. We watch her as she talks with well-mean­ing friends, finds com­fort with a stranger, and even takes some time to watch a movie. In the wrong hands, the sto­ry has the poten­tial for being an unleav­ened exer­cise in exis­ten­tial angst. But, as she lat­er proved in sub­se­quent movies, she was nev­er one to let things get too dark. The movie that the hero­ine watch­es is a silent com­e­dy – one that Var­da shot her­self.

fiances-du-pont-mac-donald

Les Fiancés Du Pont Mac­don­ald cen­ters on a Buster Keaton­sque dandy in a flat straw hat who waves good-bye to his doll-like girl­friend. Yet when he dons a pair of sun­glass­es, every­thing goes wrong. He wit­ness­es his beloved get­ting injured in an acci­dent only to be hauled off by a hearse. When he takes off the glass­es to wipe away the tears, he real­izes that he saw it all wrong. The glass­es make every­thing seem metaphor­i­cal­ly dark. No won­der the movie’s sub­ti­tle is “Beware of Dark Glass­es.” You can watch it above.

Les FiancĂ©s is inter­est­ing not just because of Varda’s spot on pas­tiche of silent movies but also because of its cast. None oth­er than Jean-Luc Godard plays the dandy. His wife Anna Kari­na plays the girl, of course. Gen­er­al­ly, Godard’s onscreen appear­ances run the gamut from being sober and aloof to being hec­tor­ing and indig­nant. It’s fun to watch him ham it up.

Relat­ed Con­tent:

An Ambi­tious List of 1400 Films Made by Female Film­mak­ers

A Young Jean-Luc Godard Picks the 10 Best Amer­i­can Films Ever Made (1963)

Jean-Luc Godard Gives a Dra­mat­ic Read­ing of Han­nah Arendt’s “On the Nature of Total­i­tar­i­an­ism”

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Haruki Murakami Reads in English from The Wind-Up Bird Chronicle in a Rare Public Reading (1998)

Murakami 92Y

Note: It looks like the 92nd St Y took the read­ing off of its Youtube chan­nel for unknown rea­sons. How­ev­er you can stream it here.

Haru­ki Muraka­mi does­n’t make many pub­lic appear­ances, but when he does, his fans savor them. This record­ing of a read­ing he gave at New York’s 92nd Street Y back in 1998 (stream it here) counts as a trea­sured piece of mate­r­i­al among Eng­lish-speak­ing Murakamists, espe­cial­ly those who love his eighth nov­el, The Wind-Up Bird Chron­i­cle. When asked to read from that book, the author explains here, he usu­al­ly reads from chap­ter one, â€śbut I’m tired of read­ing the same thing over and over, so I’m going to read chap­ter three today.” And that’s what he does after giv­ing some back­ground on the book, its 29-year-old pro­tag­o­nist Toru Oka­da, and his own thoughts on how it feels to be 29.

The Wind-Up Bird Chron­i­cle, pub­lished in three parts in Japan in 1994 and 1995 and in its entire­ty in Eng­lish in 1997, began a new chap­ter in the writer’s career. You could tell by its size alone: the page count rose to 600 in the Eng­lish-lan­guage edi­tion, where­as none of his pre­vi­ous nov­els had clocked in above 400. The­mat­i­cal­ly, too, Murakami’s mis­sion had clear­ly broad­ened: where its pre­de­ces­sors con­cern them­selves pri­mar­i­ly with West­ern pop cul­ture, dis­ap­pear­ing girls, twen­tysome­thing lan­guor, and mys­te­ri­ous ani­mal-men, The Wind-Up Bird Chron­i­cle takes on Japan­ese his­to­ry, espe­cial­ly the coun­try’s ill-advised wartime colo­nial ven­ture in Manchuria.

As a result, the book final­ly earned Muraka­mi some respect — albeit respect he’d nev­er direct­ly sought — from his home­land’s long-dis­dain­ful lit­er­ary estab­lish­ment. Despite hav­ing held its place since the time of this read­ing as Murakami’s “impor­tant” book, and one many read­ers name as their favorite, it might not offer the eas­i­est point of entry into his work. When I asked Wang Chung lead singer Jack Hues about a Muraka­mi ref­er­ence in the band’s song “City of Light,” he told me he put it there after read­ing The Wind-Up Bird Chron­i­cle on his daugh­ter’s rec­om­men­da­tion and not lik­ing it very much. I sug­gest­ed he try Nor­we­gian Wood instead.

Note: You can down­load a com­plete audio ver­sion of The Wind-Up Bird Chron­i­cle if you take part in one of the free tri­als offered by our part­ners Audible.com and/or Audiobooks.com. Click on the respec­tive links to get more infor­ma­tion.

Relat­ed Con­tent:

Haru­ki Muraka­mi Lists the Three Essen­tial Qual­i­ties For All Seri­ous Nov­el­ists (And Run­ners)

Pat­ti Smith Reviews Haru­ki Murakami’s New Nov­el, Col­or­less Tsuku­ru Taza­ki and His Years of Pil­grim­age

Haru­ki Murakami’s Pas­sion for Jazz: Dis­cov­er the Novelist’s Jazz Playlist, Jazz Essay & Jazz Bar

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

In Search of Haru­ki Muraka­mi: A Doc­u­men­tary Intro­duc­tion to Japan’s Great Post­mod­ernist Nov­el­ist

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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