Haruki Murakami Quote
Shimamoto was in charge of the records. She'd take one from its jacket, place it carefully on the turntable without touching the grooves with her fingers, and, after making sure to brush the cartridge free of any dust with a tiny brush, lower the needle ever so gently onto the record. When the record was finished, she'd spray it and wipe it with a felt cloth. Finally she'd return the record to its jacket and its proper place on the shelf. Her father had taught her this procedure, and she followed his instructions with a terribly serious look on her face, her eyes narrowed, her breath held in check. Meanwhile, I was on the sofa, watching her every move. Only when the record was safely back on the shelf did she turn to me and give a little smile. And every time, this thought hit me: It wasn't a record she was handling. It was a fragile soul inside a glass bottle.
Shimamoto was in charge of the records. She'd take one from its jacket, place it carefully on the turntable without touching the grooves with her fingers, and, after making sure to brush the cartridge free of any dust with a tiny brush, lower the needle ever so gently onto the record. When the record was finished, she'd spray it and wipe it with a felt cloth. Finally she'd return the record to its jacket and its proper place on the shelf. Her father had taught her this procedure, and she followed his instructions with a terribly serious look on her face, her eyes narrowed, her breath held in check. Meanwhile, I was on the sofa, watching her every move. Only when the record was safely back on the shelf did she turn to me and give a little smile. And every time, this thought hit me: It wasn't a record she was handling. It was a fragile soul inside a glass bottle.
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About Haruki Murakami
Growing up in Ashiya near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.