“ It’s safe to say that there’s no one like Murakami ”
“ Murakami’s reality has many sides; some plain, some fancy. Translators Philip Gabriel and Ted Goossen capture every colour on this mind-altering palette. No other author mixes domestic, fantastic and esoteric elements into such weirdly bewitching shades. Murakami’s “Land of Metaphor” remains a country where wonders never cease ”
Boyd Tonkin, Financial Times
“ Wild, thrilling. . . Murakami is a master storyteller and he knows how to keep us hooked ”
“ Exhilarating. . . . Only in the calm madness of his magical realism can Murakami truly capture one of his obsessions, the usually ineffable yearning that drives a person to make art ”
“ Expansive and intricate . . . touches on many of the themes familiar in Mr. Murakami’s novels: the mystery of romantic love, the weight of history, the transcendence of art, the search for elusive things just outside our grasp ”
New York Times
“ I found it totally gripping with scarcely a dull page, the loose ends enhancing its mystery. An absorbing work by a great writer ”
“ An immersive big-hearted new novel ”
“ Written in a simple, readable style that leaves you free to concentrate on the weirdness of the content… There is no other writer able to give us the fix that his unique qualities provide ”
“ In this novel, [Murakami] captures the creative process compellingly… The complex landscape that Murakami assembles in Killing Commendatore is a word portrait of the artist’s inner life ”
Times Literary Supplement
“ Murakami keeps the reader gripped ”
“ Murakami dancing along ‘the inky blackness of the Path of Metaphor’ is like Fred Astaire dancing across a floor, then up the walls and onto the ceiling... Killing Commendatore is a perfect balance of tradition and individual talent ”
October 1, 2019
October 10, 2018
June 27, 2019
October 9, 2018
Today when I awoke from a nap the faceless man was there before me. He was seated on the chair across from the sofa I’d been sleeping on, staring straight at me with a pair of imaginary eyes in a face that wasn’t.
The man was tall, and he was dressed the same as when I had seen him last. His face-that-wasn’t-a-face was half hidden by a wide-brimmed black hat, and he had on a long, equally dark coat.
“I came here so you could draw my portrait,” the faceless man said, after he’d made sure I was fully awake. His voice was low, toneless, flat. “You promised you would. You remember?”
“Yes, I remember. But I couldn’t draw it then because I didn’t have any paper,” I said. My voice, too, was toneless and flat. “So to make up for it I gave you a little penguin charm.”
“Yes, I brought it with me,” he said, and held out his right hand. In his hand—which was extremely long—he held a small plastic penguin, the kind you often see attached to a cell phone strap as a good-luck charm. He dropped it on top of the glass coffee table, where it landed with a small clunk.
“I’m returning this. You probably need it. This little penguin will be the charm that should protect those you love. In exchange, I want you to draw my portrait.”
I was perplexed. “I get it, but I’ve never drawn a portrait of a person without a face.”Continue Reading
To celebrate the release of Killing Commendatore, the new novel from Haruki Murakami, we’re giving you the chance to win $1,000 and a feature in Underline magazine.
Suzanne Dean, creative director at Vintage, shares the creative process for designing the cover for Haruki Murakami’s latest novel.
Announcing the shortlist and overall winner for the Murakami Art Competition.