Thursday, September 21, 2017

First European Translations of Killing Commendatore To Appear In a Few Months

Following the incredibly fast Korean translation, European publishers are beginning to announce the publication dates of Haruki Murakami’s newest novel, Killing Commendatore.  The Dutch publisher of Murakami, Atlas Contact, announced on their page that Volume I will appear on 1 December 2017.  Volume II will be published on 12 January 2018 (Haruki Murakami’s 69th birthday). The book will be translated by Elbrich Fennema (who was one of the translators of Men Without Women) and Luk Van Haute. Here are pictures of the covers:



The German publication dates have also just been announced. Dumont, Murakami’s German publisher, will issue Volume I on 22 January, and Volume II on  16 April 2018. Ursula Gräfe is working on both volumes. Here are the covers:

Sunday, August 13, 2017

Novelist as a Vocation out in Polish Next Week

Haruki Murakami's book of essays on writing, titled in Japanese Shokugyō to shite no shōsetsuka (which some refer to as "advice for young writers), is coming out in Polish next week from Muza S.A. in my translation. 

In English, I believe only one of the eleven essays, titled, "So What Shall I Write About?" has been published so far, appearing in Volume 5 of Monkey Business (2015) in a translation by Ted Goossen. 
You can read a short fragment of the essay here:
https://longreads.com/2017/06/08/haruki-murakamis-advice-to-young-writers/
or you can buy the issue here:
http://monkeybusinessmag.tumblr.com/store

On the webpage of Curtis-Brown, Murakami's European agent, it says that the US publication of the entire book is planned for 2019. 

In terms of translation into European languages, the book has already appeared in German, Italian (both of which I have announced on this blog earlier), and also in Spanish, Brazilian Portuguese, and Czech.

The Spanish edition, translated by Fernando Cordobés and Yoko Ogihara, came out in April 2017 from Tusquets. Interestingly, the Spanish title is De qué hablo cuando hablo de scriber, or, "What I talk about when I talk about writing," which plays on the title of another book by Murakami, What I Talk about When I Talk about Running.  This in turn, of course, played on the title of a Raymond Carver story, "What We Talk about When We Talk about Love." The Catalan edition used the same trick in the title, De què parlo quan parole d'escriure, which was translated by Jordi Mas López and published by Editorial Empúries in April 2017. 

The Brazilian translation, by Eunice Suenaga, also came out in April 2017 under the title, Romancista como vocação, from Editora Objectiva/Alfaguara. The Czech version, by Tomáš Jurkovič, came out in April this year as well from Odeon, and was titled, Spisovatel jako povolání. Both titles seem to use words close to the English word "vocation" for the Japanese shokugyō.  The Swedish translation, by Yukiko Duke, will come out from Norstedts in October of this year. 



                                                   




Saturday, July 29, 2017

Men without Women and Other Haruki Murakami Books in Turkish Translation

Having missed the publication of the Turkish version of Men without Women, which came out in January 2016 from Doğan Kitap in a translation by Ali Volkan Erdemir, I began to wonder about other Turkish translations. After some internet research, I discovered that a total of fourteen of Murakami's books have been translated by four different translators.  Taking these in reverse chronological order:








Murakami's latest Turkish translator is Ali Volkan Erdemir, who teaches Japanese literature at Erciyes University. He is also a translator of Oe and an author of books on Japan. He is pictured below along with the covers of the Murakami works he translated before Men without WomenSputnik Sweetheart (2016), After Dark (2017) and The Strange Library (2017).

  

Before Erdemir, for many years, Murakami's main Turkish translator was Hüseyin Can Erkin, professor of Japanese Language and Literature at Ankara University, previously mentioned in this blog. At left is a photograph from his departmental page.  In addition to Murakami, Erkin has also translated Mishima, Oe, Tanizaki, Kawabata, Abe Kōbō and other writers. Below are the covers of Erkin's translations of Murakami: Kafka on the Shore (2009), 1Q84 (2012), Hard-Boiled Wonderland and the End of the World (2011),  What I Talk about When I Talk about Running (2013), Colorless Tsukuru Tazaki (2014), and Sleep (2015), with illustrations by Kat Menschik.

                    

Four Murakami novels were published in Turkish prior to 2009:  Norwegian Wood (2004, Skim, tr. Nihal Önol),  The Wind Up Bird Chronicle (2005, Ekim, tr. by Nihal Önol), South of the Border, West of the Sun (2007, Temmuz, tr. Pinar Polat), and A Wild Sheep Chase (2008, Ekim, tr. Nihal Önol).  However, none of these was done directly from Japanese: Nihal Önol translated from the French  and Pinar Polat from the English (thanks to Ali Volkan Erdemir for this information!).  Indeed, the Turkish title of Norwegian Wood, İmkânsızın Şarkısımeans something like "Song of the impossible," which makes sense if the book was translated from French, where the title was La ballade de l'impossible (tr. by Rose-Marie Makino-Fayolle). 

Wednesday, July 26, 2017

Korean Translation of Killing Commendatore Is Already Out!

The Korean translation of Haruki Murakami's latest novel, Kishidanchōgoroshi, came out on July 12, not quite five months after its Japanese premiere. The translator is Hong Eun-Ju, and the publisher is Munhakdongne Publishing Group.

Five months is a very short time to translate, edit, and publish a 1050-page-long novel!  We probably won't see any European translations until next year.



Saturday, June 17, 2017

Some Thoughts on Murakami by Two American Translators

Tom Power and Ted Goossen from www.cbc.ca/radio
A recorded interview with Ted Goossen, one of Murakami's current translators and a professor at York University, was published on June 5, on the Canadian website of cbc radio. The interview is titled "The joys and challenges of translating Haruki Murakami's work" and the interviewer is Tom Power. You find out about Goossen's translation process and also how Murakami and Goossen met. I noticed one mistake by Power, who stated that Murakami has been translated into more than 40 languages, but in fact it is more than 50.


You can listen to the interview here:
http://www.cbc.ca/radio/q/monday-june-5-2017-jason-poo-bear-boyd-perfume-genius-and-more-1.4143013/the-joys-and-challenges-of-translating-haruki-murakami-s-work-1.4143070

Thinking about Ted Goossen brought to mind another Murakami-related article written by Stephen Snyder, professor of Japanese Studies at Middlebury College and a well-known translator of Japanese literature (but not of Murakami). It appeared a few months ago, in January 2017 and was titled "The Murakami Effect: on the Homogenizing Dangers of Easily Translated Literature."

Snyder writes about the publishing industry and the way Murakami's ("easily translated") works have been marketed globally. He compares Murakami's short story "Samsa in Love" (you can read it here on the New Yorker page) translated by Ted Goossen with Minae Mizumura's A True Novel in Juliet Winters Carpenter's translation. Mizumura's writing is given as an example of not-so-easily translated literature. The story of A True Novel is loosely based on the plot of Wuthering Heights, but it is set in post-war Japan.  (It is a great book and I recommend it for a long and lazy summer reading!). "Samsa in Love" was inspired by Kafka's The Metamorphosis. 



The article makes many interesting points and offers the following comments about connections between Murakami's writing and translation:

Murakami’s work begins and ends in translation. He creates fictions that are both translatable and embody translation in their themes and methods. His work moves between languages and cultures (and, perhaps particularly, into and out of English) with relative ease and fluidity, with few textual and stylistic impediments or difficult cultural contexts, but, rather, various mechanisms and textual markers that seem to invite and insist on translation as both theme and practice.

I certainly agree with this statement. One result of that technique, and of the fact that, as Snyder says, Murakami "moves between languages and cultures (and, perhaps particularly, into and out of English)" is that in their English translations Murakami's works lose some of the Western flavor they have in Japanese, which early Japanese critics used to refer to as "stinking of butter" ( バターくさい) .  Somewhat paradoxically, that quality is retained in translations into other languages, where borrowings from English continue to stand out -- although perhaps not to the degree they stand out in Japanese.

You can read whole the article here:
http://lithub.com/the-murakami-effect/

Tuesday, June 6, 2017

Translator's Visibility - Translating Murakami Live

Mette Holm, the Danish translator of Murakami, is translating live at a trendy art gallery in Copenhagen, Espace 10-4 . The event -- really a "happening" -- is called "Killing Commendatore - tableau vivant," and has been going on since June 1.

Here is a picture of the translator at work from the gallery's Facebook page (to which I found a link on the gallery's website).



This event is a unique opportunity to see a translator at work, rendering her "real" instead of an invisible being behind a name on the book's inside cover. That it is taking place in an art gallery drives home the point that a translator is in fact a creator in his or her own right.

This is an advertisement from the gallery's website:





                                                                                                                                                       

Mette Holm is accompanied by Christine Bechameil, an artist who paints portraits of passersby when they decide to stop (and sit) and watch Mette work. This has the effect of turning window-shoppers into the subject of the window's gaze.







Here is one of the portraits posted on the gallery's website.


It is a little hard to tell from the photo, but there appears to be a screen on the left with projected text. Perhaps it shows the progress of Mette's translation? Short fragments have been posted on the website.

Haruki Murakami is extremely popular in Denmark. He has visited the country more than once, last time in October 2017 to receive the Andersen Prize. Mette is a celebrity as his translator, giving many talks and lectures about translation and Murakami's writing, trying to bring the process closer to the readers and fans.

Tuesday, May 9, 2017

Men Without Women Out in English Tomorrow!

According to Amazon.com, the English version of Haruki Murakami's newest short story collection, Men Without Women, is to come out tomorrow, May 9.  Reviews are already beginning to appear. Here is a link to a review from the Washington Post by Heller McAlpin, which came out on May 5. Of all the stories, McAlpin liked "Drive My Car" and "Yesterday" most. The review ends with this statement: "As the members of Murakami’s lonely hearts club band discover in these affecting stories, life, however baffling, is better shared."

As is common with reviews of foreign literature, the reviewer does not comment on the quality of the translation. Also, although I believe the book has two translators, Phil Gabriel and Ted Goossen, only Gabriel is mentioned. Not nice...
     




Another review, by Arifa Akbar, appeared in the Financial Times also on May 5. Here is a link, but you may not be able to see the article without subscribing. This one reviews the British edition, and is titled "Men Without Women by Haruki Murakami -- island life." It talks about the "unbridgeable gap between the sexes" and quotes one of the stories in which the main character says, “I’m not stranded on a desert island . . . I am a desert island.”

 
                                                         A fitting illustration by Becky Strange.

The Guardian review (also from May 5th) was written by M. John Harrison and refers to "a quiet panic" in its title. The author looks for echoes of Hemingway, which the title of the collection, of course, suggests. You can read the review here. Harrison assures that "devotees will find plenty of signature Murakami here. Incidentally, this review doesn't even mention the translators. 

Another review appeared in the Chicago Tribune on May 8, available here. The author, Shoshana Olidorf, seems to like only one of the stories, "Scheherazade," and is critical of the motif of "glorified male lust" present throughout the collection. When talking about "Samsa in Love," some aspects of which she likes, she says: "What follows is yet another iteration of a motif that undermines this entire collection, one in which unrestrained male lust is glorified under the guise of existential loneliness and female characters serve as mere vehicles for the fulfillment or denial of male longing." No mention of the translator in this review, either. 

This also seems like a good opportunity to announce the French translation of the collection by Hélène Morita. It came out from Editions Belfond, Murakami's French publisher, in March of this year. 


Monday, April 24, 2017

Other new or not so new translations

I think have never mentioned Latvian translations on this blog before, but Murakami has been published in Latvia by Zvaigzne ABC since 2004 and from the very beginning has been translated directly from the Japanese!

The first Latvian translation was A Wild Sheep Chase/Aitas medīšanas piedzīvojumi in 2004. Dance, dance, dance/ Dejo, dejo, dejo followed in 2008. Both were translated by Ingūna Beķere. The same year Hard-Bolied Wonderland.../ Skarbā brīnumzeme un pasaules gals in Inese Avana's translation also appeared. These were followed by Kafka on the Shore/Kafka liedagā (2012), 1Q84 (2012-13),  Colorless Tsukuru Tazaki.../Bezkrāsu Cukuru Tadzaki un viņa svētceļnieka gadi  (2014) and What I Think About When I Think About Running/Par ko es runāju, runādams par skriešanu (2015), all translated by Ingūna Beķere. 

The Strange Library/Savādā bibliotēka in Ingūna Beķere's translation appeared this year. 
I am grateful for all this information to Ms. Una Orinska from Zvaigzne ABC. 



Thursday, February 23, 2017

New Murakami Novel Appeared Today

A new novel by Murakami Haruki, Kichidanchōgoroshi, appears in Japan. Shinchōsha has just released a brief animated ad featuring a decorative sword, which is also featured on the covers of both volumes of the novel.

                    

The book appeared on February 24 at midnight (about an hour ago), but the press is already publishing articles about the excitement surrounding the release. For example, an article in Mainichi Shinbun described a long line of "harukists" (Haruki fans) that formed yesterday in front of Tsutaya Ebisubashi bookstore in Osaka, where the book was to go on sale at midnight. It seems that the bookstore installed a countdown panel yesterday showing the time left till the release. The books were laid out in the store around 10pm and covered with cloth until the release. The bookstore manager, Akihito Kuroki said, "When I take the book into my hands, I become a harukist myself." 

Sankei Shinbun reports on people waiting to get their hands on the book in the Sanseido bookstore at their Kanda Jinbocho location. The bookstore also organized a countdown before the release and an "all-night new-novel reading event" is to follow.

Here is the "unveiling" in Tsutaya in Osaka: 


Thursday, February 16, 2017

Two New (Or Not So New) Translations of Tsukuru Tazaki

I wanted to announce two translations of Tsukuru Tazaki into Asian languages, which I have missed before.  One is a translation into Malay by Togari Yasuki and Ali Alman Mazwin, published last year by Buku Fixi, an independent publisher founded in 2011 by film director Amir Muhammad.
The title in Malay is Tsukuru Tazaki tampa warna dan tahun-tahun kembara, which, according to Google translate is a literal rendering of the Japanese title.

Another translation worth noting, also of Tsukuru Tazaki, is that into Vietnamese, by Uyên Thiểm. According to Amazon.com, the book came out in October 2014 from NHI Nam. The title, Tazaki Tsukuru không màu và những năm thing hành hương, also appears to be a faithful translation of the Japanese title.

       

Wednesday, February 8, 2017

Italian Translator of Tsukuru Tazaki, Antonietta Pastore, Wins Japanese Translation Prize

I haven't written much on this blog about Italian Murakami translations, probably because I don't speak Italian, but a few days ago today I found that Antonietta Pastore won the 21st Noma Award for the Translation of Japanese Literature.  This is an annual prize given by the Japanese publisher Kodansha, which was awarded to Pastore for her translation of Colorless Tsukuru Tazaki.

Congratulations!

Jay Rubin is the only other Murakami translator to have received the award, which came his way in 2003 for the translation of The Wind-Up Bird Chronicle.

      

Here is a link to a 2014 interview with Pastore about the book and its translation.  Apart from works by Murakami -- Wind and Flipper, Men Without Women, A Wild Sheep Chase, South of the Border West of the Sun (with Mimma de Petra), The Elephant Vanishes, Hard-boiled Wonderland and the End of the World, The Wind-Up Bird Chronicle, and Blind Willow, Sleeping Woman, to name just a few titles --  Pastore has also translated Natsume Soseki, Kawakami Hiromi, and other writers. Her translation of Murakami's Novelist As a Vocation, titled Il mestiere dello scrittore, is due out in mid-February, according to the announcement on the page of Murakami's Italian publisher, Einaudi.

Speaking of awards, as I have mentioned on this blog before, Haruki Murakami won the Hans Christian Andersen Award last year. The award ceremony took place last October in Odense, and was accompanied by a series of events in late October and early November, including readings and interviews in different Danish cities. Mette Holm, Murakami's Danish translator, moderated several of these events. Below is a photo from one lively conversation between Murakami and Holm, which took place on November 2 in the super modern Royal Library in Copenhagen, known as "The Black Diamond." I post this picture because one doesn't often see pictures of Haruki Murakami bursting out laughing. Here is the link to the story on the Library webpage. And here you can see the picture of the library.