Jonathan Clark in Esquire:
On March 20, 1995, members of a religious cult released toxic gas in three Tokyo subways, killing thirteen people. Some months later, the Japanese novelist Haruki Murakami happened to be reading the letters page of a banal Ladies’ Home Journal–type magazine in which a reader described her husband’s psychological inability to return to his job at the transit authority after surviving the terrorist attack. Murakami decided to interview survivors to examine the many traumatic effects of such a horrific event. The resulting book, Underground: The Tokyo Gas Attack and the Japanese Psyche, is an oral history in the vein of Studs Terkel. In one of the few moments that come from Murakami and not the victims, he inadvertently summarizes one of the core themes of his fiction. Without the ego, he explains, we lose the “narrative” of our identities, which, for him, is vital for our ability to connect with others.
Of course, a narrative is a “story,” and “stories” are neither logic, nor ethics. It is a dream you continue to have. You might, in fact, not even be aware of it. But, just like breathing, you continue incessantly to see this dream. In this dream you are just an existence with two faces. You are at once corporeal and shadow. You are the “maker” of the narrator, and at the same time you are the “player” who experiences the narrative.
Translated by Matthew Carl Strecher
The inescapable duality of human consciousness—that is the terrain of much of Murakami’s fiction. What drew him to this work of reportage also animates his inventions. Murakami’s approach to consciousness is less representational than literal, with many of his characters literally being transported to a realm created by (or wholly inside of) their minds.
More here.
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