A short, sleek novel of encounters set in Tokyo during the witching hours between midnight and dawn, and every bit as gripping as Haruki Murakami’s masterworks
and
At its center are two sisters—Eri, a fashion model slumbering her way into oblivion, and Mari, a young student soon led from solitary reading at an anonymous Denny’s toward people whose lives are radically alien to her own: a jazz trombonist who claims they’ve met before, a burly female “love hotel” manager and her maid staff, and a Chinese prostitute savagely brutalized by a businessman. These “night people” are haunted by secrets and needs that draw them together more powerfully than the differing circumstances that might keep them apart, and it soon becomes clear that Eri’s slumber—mysteriously tied to the businessman plagued by the mark of his crime—will either restore or annihilate her.
moves from mesmerizing drama to metaphysical speculation, interweaving time and space as well as memory and perspective into a seamless exploration of human agency—the interplay between self-expression and empathy, between the power of observation and the scope of compassion and love. Murakami’s trademark humor, psychological insight, and grasp of spirit and morality are here distilled with an extraordinary, harmonious mastery.

"A stunning work of art," the New York Observer wrote of The Wind-Up Bird Chronicle, "that bears no comparisons," and this is also true of this magnificent new novel, which is every bit as ambitious, expansive and bewitching. A tour-de-force of metaphysical reality, Kafka on the Shore is powered by two remarkable characters. At fifteen, Kafka Tamura runs away from home, either to escape a gruesome oedipal prophecy or to search for his long-missing mother and sister. And the aging Nakata, who never recovered from a wartime affliction, finds his highly simplified life suddenly upset. Their odyssey, as mysterious to us as it is to them, is enriched throughout by vivid accomplices and mesmerizing events. Cats and people carry on conversations, a ghostlike pimp employs a Hegel-quoting prostitute, a forest harbors soldiers apparently unaged since World War II, and rainstorms of fish fall from the sky. There is a brutal murder, with the identity of both victim and perpetrator a riddle. Yet this, like everything else, is eventually answered, just as the entwined destinies of Kafka and Nakata are gradually revealed, with one escaping his fate entirely and the other given a fresh start on his own. --This text refers to an out of print or unavailable edition of this title.

★村上春树2022久违的全新随笔集！陈绮贞专文推荐！18篇散文+108张私藏T恤照片，村上式生活家的打开方式！
世界最受瞩目的小说家初次公开他不拘一格的T恤私藏，108件别具意义的T恤照片，娓娓道来T恤背后的故事，悠然又惬意的村上式日常随笔，亦可称得上是一本村上春树的T恤种草指南。
★他是作家，更是生活家！坚持马拉松、游泳等运动、痴迷古典乐唱片收藏、环游世界各地、时常幽默吐槽。新书包涵唱片、威士忌、马拉松、摇滚乐等构成村上春树印象的经典元素。认识全新的村上春树！
书中写到唱片、威士忌、马拉松等代表春树日常生活的T恤主题，还有超级英雄和沙滩男孩音乐会的纪念品T恤，充满村上式文化。让我们再次明白为什么爱上一位叫村上春树的作家。
★T恤不仅仅是服饰，更代表了一种生活态度。和村上一起撸猫、喝酒、吐槽、穿T恤，获得松弛感，过向往的生活！
“T恤对我来说象征自由。在我一生的投资各类投资中，这恐怕毫无疑问是最棒的一笔。”——村上春树。打破你的既有印象，闻名世界的作家也可以不那么严肃！搞笑、躺平、凡尔赛、段子手，接地气的村上春树是这样的！无论你是村上的新读者还是老读者，都不该错过如此精彩的风味随笔，以及书中满载的迷人生活意趣。
★精装典藏×图文并茂×四色全彩印刷，独具收藏价值
★特别收录日本重量级潮流人士野村训市×村上春树精彩访谈
村上春树2022全新随笔集，18篇随笔趣闻和108件村上私藏T恤照片。从摇滚T、唱片T、马拉松主题T、企业联名T、到啤酒T……村上春树私人衣橱大公开！全书图文并茂，读来有滋有味。他会穿出门的是什么样的T恤呢？其中年代最久远的收藏又是哪一件？最值得的投资是哪一件？买T恤的原则是什么？喜爱却又无法穿出门的又是哪一类？这本新书将为你完全揭秘！
他是作家，更是生活家！书中涉及的威士忌、马拉松、唱片等每篇散文主题都是村上春树个人最具代表性的标签，说通过“T恤”阅读春树也不为过，收录的光是看就让人眼花缭乱，直呼想要的108件精选T恤照片，展现了村上的生活美学之道，同时也千万不要错过特别收录的日本重量级潮流人士野村训市 x村上春树的精彩采访。喜欢村上散文的读者们，可以领略书中村上式的风味随笔，以及满载的迷人生活意趣。成为村上式生活家的打开方式，尽在本书。从《村上T》开始重新认识村上春树。推荐阅读磨铁村上作品：《第一人称单数》《弃猫》。
★★★★★媒体评论：
当我面对紧绷的疫情生活时，读来会感到放松疗愈，甚至时不时想随意翻读任何一篇的，当属《村上Ｔ》这部可爱的作品。与其说这是一本关于Ｔ恤搜集品的书，不如说是一本“村上的生活观及美学手册”。
——作家张维中
视诺贝尔奖为无物的村上春树在新书中，谈到他为什么总是穿T恤，并且分享他买T的秘诀。
——GQ杂志
他是在书本封面上闪闪发光的名字，也是活生生的有喜怒哀乐的凡人。
——Voicer
不愧是村上春树，当代生活种草大师。
——单向空间
它展示了20世纪后半叶到21世纪前半叶，一位名叫村上春树的小说家日常穿着这类简易的服装，大致悠闲愉快地度过每一天的情形。
——书评人魏小河

The international literary icon opens his eclectic closet: Here are photographs of Murakami’s extensive and personal T-shirt collection, accompanied by essays that reveal a side of the writer rarely seen by the public.

Many of Haruki Murakami's fans know about his massive vinyl record collection (10,000 albums!) and his obsession with running, but few have heard about a more intimate passion: his T-shirt collecting.

In Murakami T, the famously reclusive novelist shows us his T-shirts—from concert shirts to never-worn whiskey-themed Ts, and from beloved bookstore swag to the shirt that inspired the iconic short story "Tony Takitani." These photographs are paired with short, frank essays that include Murakami's musings on the joy of drinking Guinness in local pubs across Ireland, the pleasure of eating a burger upon arrival in the United States, and Hawaiian surf culture in the 1980s.
 
Together, these photographs and reflections reveal much about Murakami's multifaceted and wonderfully eccentric persona.

The international literary icon opens his eclectic closet: Here are photographs of Murakami’s extensive and personal T-shirt collection, accompanied by essays that reveal a side of the writer rarely seen by the public.

Many of Haruki Murakami's fans know about his massive vinyl record collection (10,000 albums!) and his obsession with running, but few have heard about a more intimate passion: his T-shirt collecting.

In Murakami T, the famously reclusive novelist shows us his T-shirts—from concert shirts to never-worn whiskey-themed Ts, and from beloved bookstore swag to the shirt that inspired the iconic short story "Tony Takitani." These photographs are paired with short, frank essays that include Murakami's musings on the joy of drinking Guinness in local pubs across Ireland, the pleasure of eating a burger upon arrival in the United States, and Hawaiian surf culture in the 1980s.
 
Together, these photographs and reflections reveal much about Murakami's multifaceted and wonderfully eccentric persona.

His life was like a recurring nightmare: a train to nowhere. But an ordinary life has a way of taking an extraordinary turn. Add a girl whose ears are so exquisite that, when uncovered, they improve sex a thousand-fold, a runaway friend, a right-wing politico, an ovine-obsessed professor and a manic-depressive in a sheep outfit, implicate them in a hunt for a sheep, that may or may not be running the world, and the upshot is another singular masterpiece from Japan's finest novelist.

Book Two of 1Q84 ended with Aomame standing on the Metropolitan Expressway with a gun between her lips.
She knows she is being hunted, and that she has put herself in terrible danger in order to save the man she loves.
But things are moving forward, and Aomame does not yet know that she and Tengo are more closely bound than ever.
Tengo is searching for Aomame, and he must find her before this world's rules loosen up too much.
He must find her before someone else does.

The year is 1984 and the city is Tokyo.
A young woman named Aomame follows a taxi driver’s enigmatic suggestion and begins to notice puzzling discrepancies in the world around her. She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.
A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell’s—1Q84 is Haruki Murakami’s most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers

「良き音楽」は愛と同じように、いくらたくさんあっても、多すぎるということはない―。グレン・グールド、バーンスタイン、カラヤンなど小澤征爾が巨匠たちと過ごした歳月、ベートーヴェン、ブラームス、マーラーの音楽...。マエストロと小説家はともにレコードを聴き、深い共感の中で、対話を続けた。心の響きと創造の魂に触れる、一年間にわたったロング・インタビュー。村上春樹の“特別エッセイ”『厚木からの長い道のり』を収録。

Discover Haruki Murakami's first two novels.

'If you're the sort of guy who raids the refrigerators of silent kitchens at three o'clock in the morning, you can only write accordingly.

That's who I am.'

Hear the Wind Sing and Pinball, 1973 are Haruki Murakami's earliest novels. They follow the fortunes of the narrator and his friend, known only by his nickname, the Rat. In Hear the Wind Sing the narrator is home from college on his summer break. He spends his time drinking beer and smoking in J's Bar with the Rat, listening to the radio, thinking about writing and the women he has slept with, and pursuing a relationship with a girl with nine fingers.

Three years later, in Pinball, 1973 , he has moved to Tokyo to work as a translator and live with indistinguishable twin girls, but the Rat has remained behind, despite his efforts to leave both the town and his girlfriend. The narrator finds himself haunted by memories of his own doomed relationship but also, more bizarrely, by his short-lived obsession with playing pinball in J's Bar. This sends him on a quest to find the exact model of pinball machine he had enjoyed playing years earlier: the three-flipper Spaceship.

Ungefähr zu der Zeit, als Jim Morrison „Light my fire" und Paul McCartney „Long and winding road" sangen, begegnet Haruki Murakamis Ich-Erzähler dem „100%igen Mädchen" – und lässt es fahrlässig ziehen. Er versucht so gut wie gar nicht, seiner Schwester den überaus vernünftigen Verlobten zu verleiden, tröstet sich mit virtuosem Rasenmähen über eine untreue Freundin hinweg, arbeitet in einer Fabrik, die künstliche Elefanten produziert, und träumt von einem wunderbar tanzenden Zwerg, dessen gefährliche Fähigkeiten er sich leiht. Murakamis lakonische Erzählungen kreisen um das, was man einst Schicksal nannte – eine vielleicht selbsterschaffene, stets überraschend aufschimmernde Macht –, sie haben seine deutschsprachigen Leser ebenso in Entzücken versetzt wie vorher schon ein japanisches Millionenpublikum. Dieser Band enthält die folgenden Erzählungen: "Wie ich eines schönen Morgens im April das 100%ige Mädchen sah" "Lederhosen" "Familiensache" "Das Fenster" "TV-People" "Das Schweigen" "Das grüne Monster" "Der tanzende Zwerg" "Der letzte Rasen am Nachmittag. Die Erzählung "Wie ich eines schönen Morgens im April das 100%ige Mädchen sah" wurde 1983 von Naoto Yamakawa verfilmt. Murakamis Roman „Naokos Lächeln“ wurde 2010 unter dem englischen Titel „Norwegian Wood“ verfilmt.

高い壁に囲まれ、外界との接触がまるでない街で、そこに住む一角獣たちの頭骨から夢を読んで暮らす〈僕〉の物語、〔世界の終り〕。老科学者により意識の核に或る思考回路を組み込まれた〈私〉が、その回路に隠された秘密を巡って活躍する〔ハードボイルド?ワンダーランド〕。静寂な幻想世界と波瀾万丈の冒険活劇の二つの物語が同時進行して織りなす、村上春樹の不思議の国。

When he hears her favourite Beatles song, Toru Watanabe recalls his first love Naoko, the girlfriend of his best friend Kizuki. Immediately he is transported back almost twenty years to his student days in Tokyo, adrift in a world of uneasy friendships, casual sex, passion, loss and desire - to a time when an impetuous young woman called Midori marches into his life and he has to choose between the future and the past.

Enthält die Kurzgeschichte ›Drive my Car‹, auf der die gleichnamige Verfilmung von Ryūsuke Hamaguchi basiert, die als ›Bester internationaler Film‹ bei den Oscars 2022 ausgezeichnet wurde. ›Von Männern, die keine Frauen haben‹ versammelt sieben Erzählungen Murakamis – »long short stories«, die wohl zum Zartesten und Anrührendsten zählen, das je von ihm zu lesen war. Und doch sind sie typisch Murakami, denn fast immer geht es darin um versehrte, einsame Männer. Männer, denen etwas ganz Entscheidendes fehlt ... Mit ›Von Männern, die keine Frauen haben‹ wendet sich Japans wichtigster Autor nach sieben Jahren, in denen er mit großen Romanen wie ›1Q84‹ und ›Die Pilgerjahre des farblosen Herrn Tazaki‹ Welterfolge feierte, erstmals wieder der kürzeren Form zu. Es ist sein erster Band mit Erzählungen seit dem Publikumsliebling ›Als ich eines schönen Morgens im April das 100%ige Mädchen sah‹. Dieser Band enthält die Erzählungen: Drive my Car Yesterday Das eigenständige Organ Scheherazade Kinos Bar Samsa in Love Von Männern, die keine Frauen haben

僕の考えていることが本当に正しいかどうか、わからない。でもこの場所にいる僕はそれに勝たなくてはならない。これは僕にとっての戦争なのだ。「今度はどこにも逃げないよ」と僕はクミコに言った。「僕は君を連れて帰る」僕はグラスを下に置き、毛糸の帽子を頭にかぶり、脚にはさんでいたバットを手に取った。そしてゆっくりとドアに向かった。(本文より)

22歳の春にすみれは生まれて初めて恋に落ちた。広大な平原をまっすぐ突き進む竜巻のような激しい恋だった。それは行く手のかたちあるものを残らずなぎ倒し、片端から空に巻き上げ、理不尽に引きちぎり、完膚なきまでに叩きつぶした。そして勢いをひとつまみもゆるめることなく大洋を吹きわたり、アンコールワットを無慈悲に崩し、インドの森を気の毒な一群の虎ごと熱で焼きつくし、ペルシャの砂漠の砂嵐となってどこかのエキゾチックな城塞都市をまるごとひとつ砂に埋もれさせてしまった。みごとに記念碑的な恋だった。恋に落ちた相手はすみれより17歳年上で、結婚していた。更につけ加えるなら、女性だった。それがすべてのものごとが始まった場所であり、(ほとんど)すべてのものごとが終わった場所だった。とても奇妙な、ミステリアスな、この世のものとは思えない、書き下ろし長篇小説。

村上春樹創作的起點　群像新人賞授獎作
創作四十週年紀念新版
一切都會過去，誰也沒有辦法抓住。
我們就是這樣活著。
輕微的南風，送來海的香味和曝曬的柏油氣味，使我想起從前的夏天。
女孩子肌膚的溫暖、古老的搖滾樂、剛洗好的 button-down 襯衫、在游泳池更衣室抽的菸味、微妙的預感，都是一些永遠沒有止境的夏天甜美的夢。
然後有一年夏天夢再也沒回來過。
我們努力想認識的東西，和實際上認識的東西之間，橫跨著一道深淵。不管你拿多長的尺，都無法測量出那深度來。我能在這裡寫出來的，只不過是list而已。既不是小說也不是文學，更不是藝術。只是正中央畫1條線的一本單純的筆記而已。
四十年前，村上春樹以第一本小說《聽風的歌》躍登日本文壇。寫作時的他時年二十九歲，還只是個默默無名的爵士樂酒吧老闆。回憶起寫作的契機，那是一個和平常一樣白天去附近神宮球場看棒球的好日子。晴朗的天空，鮮嫩的草坪，外加球被打擊出去的輕脆聲響，在這個瞬間村上萌生了「不如來寫小說看看吧」的念頭，於是，不久後就誕生了《聽風的歌》。村上在《村上朝日堂是如何鍛鍊的》中回憶道：「在我自己的意識當中，可說是在這一天，在神宮球場的外野席上，已經成為一個作家了。」
小說於隔年出版，也開啟了村上初期所謂「青春三部曲」的序曲。第一人稱的「我」、「我」的好友老鼠，還有傑，都登場了，他們的故事在之後出版的《1973年的彈珠玩具》和《尋羊冒險記》中，繼續被述說。
《聽風的歌》這本小說的形式非常特別，除了跳接的敘事，還穿插許多村上式的格言、寓言，以及廣播節目DJ的單口相聲，緩緩的節奏就像夏天的風一樣輕輕拂過面頰。故事中的「我」和好友老鼠看似日復一日過著與啤酒、女人相伴的日子，卻感覺跟這個世界非常疏離，「我」從酒吧「撿回」一個喝得爛醉、少了一隻小指的女孩，出身有錢人家的老鼠看什麼都不順眼，失戀之後決定開始寫小說……，他們的青春美好卻虛無，因為「一切都會過去，誰也沒有辦法抓住。」
村上春樹在書中〈給台灣讀者的一封信〉寫道：「小說這東西，並不是對一個問題給予一個具體結論的東西。我想做的是，把你所有的問題，和我（或其他什麼人）所有的問題，通過所謂故事這個強有力的隧道直接聯繫上，不管在地球上的任何地方，不管有什麼樣的問題，你絕對不是孤獨的。」
相信讀著《聽風的歌》的你，因為共享了小說裡的這份美好的虛無，所以其實也並不孤獨。

出版社/著者からの内容紹介
「そうよ、私、したわよ……嘘」〈あ〉から〈わ〉まで、回文かるた集。ミニエッセイとカラーイラスト付き。ちょっとヘンな村上ワールドです
内容（「BOOK」データベースより）
究極の回文五十音かるた。