A rare look inside the making of the “Murakami Industry”–and a thought-provoking exploration of the role of translators and editors in the creation of global literary culture.
Thirty years ago, when Haruki Murakami’s works were first being translated, they were part of a series of pocket-size English-learning guides released only in Japan. Today his books can be read in fifty languages and have won prizes and sold millions of copies globally. How did a loner destined for a niche domestic audience become one of the most famous writers alive? This book tells one key part of the story. Its cast includes an expat trained in art history who never intended to become a translator; a Chinese American ex-academic who never planned to work as an editor; and other publishing professionals in New York, London, and Tokyo who together introduced a pop-inflected, unexpected Japanese voice to the wider literary world.
David Karashima synthesizes research, correspondence, and interviews with dozens of individuals—including Murakami himself—to examine how countless behind-the-scenes choices over the course of many years worked to build an internationally celebrated author’s persona and oeuvre. His careful look inside the making of the “Murakami Industry” uncovers larger questions: What role do translators and editors play in framing their writers’ texts? What does it mean to translate and edit “for a market”? How does Japanese culture get packaged and exported for the West?
Writer/editor Luke and novelist/translator Karashima have pulled together a diverse collection of new and previously published nonfiction, fiction, poetry, and a manga to create "an artistic record" of a people’s response to an unimaginable disaster. The writers are mostly Japanese--including major names like Yoko Ogawa and Ryu Murakami--translated into English by an impressive list of powerhouse translators. . . . the impetus behind each individual piece is heartfelt.
March Was Made of Yarn isn’t just an excellent anthology of work related to the Tōhoku disasters; it’s an excellent Japanese literary anthology period. The range of authors represented by the book has the most even distribution of gender, generation, and genre I’ve ever encountered, and the English-language contributors, such as David Peace and John Burnham Schwartz, bring an added level of flavor and diversity. This collection is also accessible to casual readers, as few of the stories are any longer than twenty pages, and it has been beautifully published by Vintage. I don’t know how so many good things were able to come together to create this amazing book, but I am extraordinarily grateful that it exits.
March Was Made of Yarn, an important collection of essays, stories, poems and manga, is the powerful and timely response of Japan’s most talented writers.