Published on January 18, 2025 at 9:01 p.m. / Modified on January 18, 2025 at 9:01 p.m.
3 mins. reading
Murakami aficionados (there are millions of them) will tell you: the pleasure of repetition is part of the fun. Opening a novel by the Japanese writer is like starting a dervish dance, turning and turning between worlds, realities, perceptions. It’s about entering (or not) into the trance provoked by a very particular rhythm, a slowness which is both a dream and the most repetitive banality, an immutable tempo that the Japanese writer handles, chiefly orchestral, from the first to page 548 of The City of Uncertain Walls. The fantastic, into which we always slip as if through a back door, a well at the bottom of the garden or, here, crossing a moving wall like a membrane, constitutes the other characteristic of this fictional continent.
After the extraordinary successes (both commercial and critical) of his most emblematic novels (The Sputnik Lovers, Kafka on the shorethe three volumes of1q84the two volumes of Murder of the Commander), for several years Haruki Murakami has stuck to short stories, travel stories, collections of memories. 2025, for the French translation, sounds like the great return of the master to the novel, with the help of all-out advertising.
-Want to read all of our articles?
For CHF 29.- per month, enjoy unlimited access to our articles, without obligation!
I subscribe
Good reasons to subscribe to Le Temps:
- Unlimited access to all content available on the website.
- Unlimited access to all content available on the mobile application
- Sharing plan of 5 articles per month
- Consultation of the digital version of the newspaper from 10 p.m. the day before
- Access to supplements and T, the Temps magazine, in e-paper format
- Access to a set of exclusive benefits reserved for subscribers
Already have an account?
Log in
