“ I found it totally gripping with scarcely a dull page, the loose ends enhancing its mystery. An absorbing work by a great writer ”
William Hartston, Daily Express
“ Wild, thrilling. . . Murakami is a master storyteller and he knows how to keep us hooked ”
“ It’s safe to say that there’s no one like Murakami ”
Anthony Cummins, Literary Review
“ 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 ”
Jake Kerridge, Sunday Express
“ [An] immersive, repetitive, big-hearted new novel ”
Charles Finch, Independent
“ Murakami’s reality has many sides; some plain, some fancy. Translators Philip Gabriel and Ted Goossen capture every colour on this mind-altering palette. For all his prolixity, 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
“ 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 ”
“ Murakami keeps the reader gripped ”
“ 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
“ 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 ”
“ 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 ”
Ruth Curr, Times Literary Supplement
October 10, 2018
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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
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