Haruki Murakami has long since broken with the traditional model of the novelist, not least in that his books have their own soundtracks. You can’t go out and buy the accompanying album for a Murakami novel as you would for a movie, granted, but today you can even more easily find online playlists of the music mentioned in them. A die-hard music lover, Murakami, has been name-checking not just musicians but specific songs in his work ever since his first novel, 1979’s Hear the Wind Sing. Eighteen years later, he titled a whole book after a Beatles number; the tale of yearning and disaffection in 1960s Tokyo that is Norwegian Wood would become his breakout bestseller around the world.
When Norwegian Wood first came out in Korea, where I live, it did so as The Age of Loss (상실의 시대). That title is still referenced in the video above, an hourlong mix of songs from the novel posted by the Korean Youtube channel Jazz Is Everywhere. (This doesn’t surprise me: here–where Murakami’s many avid fans in Korea refer to him simply as “Haruki”–more of his work has been translated into Korean than ever will be into English.)
Selections include the Bill Evans Trio’s “Waltz for Debby,” Antonio Carlos Jobim’s “Desafinado,” Thelonious Monk’s “Honeysuckle Rose,” and Miles Davis’ “So What.” More recently, Jazz Is Everywhere put up a mix of songs from Murakami’s 2011 novel 1Q84, featuring the likes of Nat King Cole, Louis Armstrong, Billie Holiday, and Duke Ellington.
These mixes focus on jazz, one of Murakami’s most beloved genres; as is well known, he even ran his own jazz bar in Tokyo before turning novelist. (Its name, Peter Cat, now adorns a book café here in Seoul.) But the 1Q84 mix ends with Leoš Janáček’s decidedly un-jazzy Sinfonietta, a somewhat jarring orchestral piece that became an unlikely hit in Japan soon after 1Q84’s publication. This only hints at the variety of Western music of which Murakami has made literary use, much as he has transposed the techniques of the Western novel (a translator from English in his spare time, he has also produced a Japanese version of The Great Gatsby) into his native language. An eclectic, improvisational, and often understated style of storytelling has resulted — which, much like jazz, has proven to know no cultural boundaries.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.