Haruki Murakami Japanese Writer - Research Paper Example

Murakami INTRODUCTION Haruki Murakami, a contemporary Japanese is popularly known as an explorer of the imagination in the recent phenomenon.Murakami’s works associated with fictions have long been witnessed to harvest indispensable acclaims. Murakami, for his contributions, has been honored by numerous awards across different nations of the world. Murakami was born in the year 1949 and spent most of his life in the United States. The writer may not be counted as a household in the US, but his name and works have garnered a massive level of interests across the borders (Gewertz, “Murakami is Explorer of Imagination”). The author has been able to achieve overwhelmed praises for his mesmerizing works such as “The Wind-Up Bird Chronicle,” “Kafka on the Shore,” “Hard-Boiled Wonderland and the End of the World,” and “Kafka on the Shore,” (James, “East Meets West: In Haruki Murakamis latest novel, postwar Japan is adrift, eating fast food and wearing Van Halen T-shirts”). In the US, many of the readers have been observed to sway by Murakami exceptional ranges of short stories and novels. In this context, The New York Times is one of the major publishing organizations, which has achieved massive recognitions from the American readers by the mesmerizing works of Murakami (Smith, “Deep Chords: Haruki Murakami’s ‘Colorless Tsukuru Tazaki and His Years of Pilgrimage”). In of many literatures, different authors and scholars have critically defined about the childhood of Murakami. Accordingly, it has been perceived that Murakami grew up, in the suburbs nearby Kobe, which is an international port. Reflecting back to his teenage period, Murakami started growing in a strangest sociopolitical named Kyoto in Japan (Lawson, “Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami – Review”). Since, his childhood, Murakami finds himself accustomed to the American culture, especially unsentimental detective novels and paraphernalia. During the early teenage period, he developed the attitude of being a cool rebellion. In his early 20s, Murakami had opened a jazz club named “Peter Cat” in Tokyo more willingly than joining any large corporate organizations. With reference to various studies, it has been identified that Murakami had spent nearly 10 years in day-to-day operations of the club by involving himself in sweeping grounds, making sandwiches and mixing drinks, and listening to music (James, James, James and Briggs, “Tales from the Hard Side: A French existentialist perspective on Haruki Murakami’s Norwegian Wood”: A French existentialist perspective on Haruki Murakami’s Norwegian Wood”). THESIS STATEMENT Over the past few years, Murakami’s works have recognized to face major criticism due to his excessive practice of illusory facts in storytelling and novels. Retrospectively, the essay intends to critically explore and review the works of Murakami and reveals that how they are highly influenced by the West. In this context, the essay tends to focus on reviewing few of his renowned novels and determine whether or not the works of novelist are influenced by the West. In addition to review of different praises and criticisms, the essay also critically evaluates the view and imaginations of Murakami and justifies his views and different illusory representations in response to the Western works in novels. Finally, the essay argues both in favor and against the views and imaginations of Murakami and provides a major understanding of the facts leading to compel Murakami’s works that they are influenced by West. REVIEW OF THE MURAKAMI’S WORKS According to the observation of various scholars, Murakami is defined as a person with strong desire which is apparent in each of his renowned novels. Moreover, his imaginations have been described as straightforward and he has always been recognized by his works that portrayed him to be a genius protagonist. Over the past few years, Murakami was highly renowned as modern Japanese nostalgic for missing idealism horrified on sudden wealth (Haga, “Translating Contemporary Japanese Culture: Novels and Animation”). Dating back to the valuable stages of life spent in Japan, Murakami was honored as a world-class writer with topnotch skill of taking risks by keeping both eyes open. He is also renowned for his exceptional quality of translating novels in Japanese. At the first stage of work as a translator, Murakami had introduced Fitzgerald Carver, Irving and Theroux, which constructed a strong base of the writer in Japan. The novelist has later been observed to build a strong global following by writing stories that move fluently across the reality of a materialistic life along with the horrors of a sensitized mind. The literacy tools used by the novelist are often viewed using flatly realistic texts with utmost clarity in representing subjects of the novels (Dil, “Murakami Haruki and the Search for Self-Therapy”). In order to clearly assess the level of imagination along with protagonist characteristics of the writer, the following discussion critically reviews a few of the globally renowned novels and exceptional works of Murakami. Colorless Tsukuru Tazaki and His Years of Pilgrimage. The thirteenth novel, “Colorless Tsukuru Tazaki and His Years of Pilgrimage” written by Murakami can be regarded as one of his best works as a novelist. The novel was published in the year 2013 in Japan and remarkably achieved extensive numbers of readers from Japan and the rest of the nations in the world. Within seven days of its publication, the novel more than one million copies across different region of Japan were sold (Smith, “Deep Chords: Haruki Murakami’s ‘Colorless Tsukuru Tazaki and His Years of Pilgrimage”). With reference to the synopsis of the novel, it has been ascertained that Murakami has clearly articulated a story of Tsukuru Tazaki, a young man who is colorless by default. Accordingly, Tsukuru in the novel was presented as a man belonging to a group of harmonious friends who were correspondingly named to different colors including, Mr. Red, Miss. White, Mr. Blue and Miss Black. According to the in-depth understanding of the noble, Murakami has shed light on the outlooks of the story by representing the characteristics of Tsukuru. The four friends named after different colors were privately grieved by Tsukuru and developed a sense of being fifth leaf in a four-leaf clover. However, each of them is necessary to one another just like five fingers in a hand. Being a second year student in the college, Tsukuru irreversibly expelled from the group and the scenario left him to drop into a dark abyss. He felt isolated and started recollecting past memories (Lawson, “Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami – Review”). The life of Tsukuru was burdened with immeasurable torment that caused him to believe his life like a “colorless color of death.” In this novel, Murakami has represented a touching feelings of Tsukuru by picturing that his heart was stopped but does not take his life, where there is no method to commit suicide corresponding to his “Pure and intense feelings.” However, despite the deep emotional conditions, Tsukuru graduated in engineering and starts refining the railroad stations with adequate idealistic manner. During that time, Tsukuru used has well-organized life, but the loss of his four colorful friends has significantly changed his life. Tsukuru has also undergone many losses throughout his span of life (Haruki 1-31). For example, Haida, who is also named after a color that means “gray field,” also disappears. Sara, Tsukuru’s girlfriend, who had no color in her name. However, Tsukuru confronted the submerged questions regarding his past experiences and shared stories about the suicidal situations when Tsukuru lost his four colorful friends. During his years with Sara, Tsukuru finds himself that his pains are healing just because of the true affection of Sara. With the assistance of her girlfriend Sara, Tsukuru tends to systematically find his four friends, who are located nearby his childhood home in Nagoya. He starts seeking out the fingers of the harmonious hand by unintentionally revealing his terrible secrets regarding the “pure and intense feelings” to commit suicide (Haruki 1-31; Whiz 1-39). Correspondingly, in this novel, Murakami has revealed thoughtful feelings. According to the novel, the instantaneous moral conveyed to the audiences reflected that in reality there is nothing to be resolved, or nothing is absolutely perfect in real-life scenario of an individual. The most important thing that can be determined from the novel is keep living, as it demonstrates what is going to happen in the future (Anderson, “The Fierce Imagination of Haruki Murakami”). The Wind-Up Bird Chronicle. Published in the year 1994-1995, “The Wind-Up Bird Chronicle” can also be regarded as one of the major works of Murakami. The effort of demonstrating well-furnished work made by Murakami was recognized by the “Yomiuri Literary Award,” which is generally endowed to the authors performing harshest critics (Maynard, “Lost Chapters in The Wind-Up Bird Chronicle: A Translation and Commentary”). The story of the novel can be referred as a hallucinatory vortex spinning across numerous roughly connected searches performed especially in the suburban areas of Tokyo by the protagonist authors. The novel reveals the story of Toru Okada, a 30 year old man who has undergone major challenges, including unemployed, unambitious and unsuccessful married life. His wife left him without any explanation and Okada started spending his time by hanging out with an adolescent girl named May Kasahara, a young lady working in a wig factory (University of Tokyo, “What is “Murakamiesque” to American? – Considering Americans’ Preferences of Haruki Murakami’s Wind-Up Bird & Kafka”). At one point, in order to feel his solitude, Okada descends into a dry well and experienced the bizarre experience, which may or may not be another dream. Moreover, the unbelievable healing capability, which derived from one more experience was related with the incident when was seduced by a woman (Cruickshank, “Haruki Murakami Delivers His Most Human Novel Yet”). Murakami throughout the work in “The Wind-Up Bird Chronicle,” reveals few bizarre feelings that can enrich the capability of an individual. Moreover, the novelist also demonstrates the experience of loneliness, which can further increase the innate potential to deal with bizarre feelings (Wolitzer, “Haruki Murakami paints A Colorless Character in a Vividly Imagined World”). CRITICISMS OF MURAKAMIS WORK With reference to the above review of the novels, it is determined that the works performed by Murakami includes extensive numbers of insightful understanding about the reality. The whimsical adventure revealed in Murakami’s work involves a clear and common thematic background, which reflects the substantial experience regarding various types of situations and provides ways to deal with undesired experiences gained by self-hood (Lim, “Realm of the Senseless”). However, the novels written by Murakami have also been subject to various criticisms irrespective of different perspectives. The works performed in different novels by Murakami are likely to form disagreements due to his process of designing and aligning scenarios in response to the key subject areas of the novel. Few of the major criticisms that are made by different scholars and protagonist narrators have been detailed in the following section (James, “Crossing Boundaries: Postmodern Realities in the Selected Works of Haruki Murakami and Rana Dasgupta”). According to the understanding of the novel “The Wind-Up Bird Chronicle,” A major flaw associated with the narrations of the protagonist Murakami can be identified. In relation to the observation, the uneven design of different facts can be regarded as a principle error of the novel. With regard to different analysis regarding Murakami’s works, it has been recognized that the novelist does not plot his works ahead of the publication time (Rubin, “The Wind-Up Bird Chronicle – Haruki Murakami”). However, the story in “The Wind-Up Bird Chronicle” often seems to focus whether Torus adventures are existent or it is totally deceptive. Nevertheless, Toru’s quest in “The Wind-Up Bird Chronicle” seems to be contrived in response to the overall observation of the novel. This can be stated due to the fact that the stories associated with real wars are generally represented by the protagonists by encompassing marvelous along with different other supernatural events that are seem to be adequately justified (Miura, “On the Globalization of Literature: Haruki Murakami, Tim O’Brien, and Raymond Carver”). In addition, the flaws associated with the war narratives can also be regarded as a major drawback in Murakami’s work “The Wind-Up Bird Chronicle.” With due regard to the understanding of the novel, it can be argued that the war narratives represented in the story of Okada certainly seems to be composed distinctly and later they were inserted in the different scenarios of the novel. According to the observation, the process of distinctly composing war narratives in the novel also reflects the aim of the protagonists (Atkins, “Time and Space Reconsidered: The Literary Landscape of Murakami Haruki”). Few protagonists across the different Western parts have also revealed that the works of introducing war narratives in “The Wind-Up Bird Chronicle” support the key objectives and the primary aspirations of the novel. In relation to the floating conclusion of the Okada’s story, the novel “The Wind-Up Bird Chronicle” tends to include practically ‘joycean’ types of literary arrangements such as representation of flashbacks, letters, newspaper stories, dreams and transcripts. In relation to the modern practices of the protagonists, a straightforward storytelling is never likely to lose the propulsive strength of the literary. However, the novel, “The Wind-Up Bird Chronicle” floats to its conclusion by representing the inevitably overlooking the visionary objectives of the stories included in different parts in the novel. Murakami’s work in “The Wind-Up Bird Chronicle” is considerably bold and generous, which could have lost its propulsive deals, however, the well-furnished representation of the summary regarding the story of Okada provides a major and insightful understanding to the readers (Atkins, “Time and Space Reconsidered: The Literary Landscape of Murakami Haruki”). Correspondingly, critics from different parts of the world have also claimed that a major influence of Western culture apparent in Murakami’s works. In this context, critics have recognized that the individual style of Murakami generally reflects literatures and music from the Western culture. For instance, the language used in the literary works of Murakami emphatically includes different Western references along with crisp and curt sentences; witty dialogues. Nevertheless, the use of far-fetched metaphors used in the works of Murakami has also been taken into account regarding the criticisms made by different Japanese and American researchers. In this regard, it can be critically recognized that Murakami’s works are highly influenced by the Western style and cultural aspects (Kuryleva & Boeva, “Literary Texts by H. Murakami in Terms of Intercultural Communication”). The analysis of different criticisms associated with the works of Murakami, it has also been recognized that the narrative representation of the stories is significantly illusory that are much closer to the impenetrable surrealism. In this context, it can be stated that although Murakami’s works closely relates with the modern American culture, but the dreamlike narrative works can be seen to distract the readers binding them with the perceptions of the writer rather the intimating them with realistic situations. Therefore, the thematic process that is obvious aspects observed in the novels can also be considered as a major argumentative factor within the Murakami’s narrative works (Kelts, “The Harukists, and Disappointed”). The literary works of Murakami had received a contentious response from different scholars and readers. According to the observation, it has been ascertained that most numbers of the scholars from Japan, along with different other nations have identified that Murakami’s works involve fictions that fundamentally reflect the postmodern theory (Kuryleva & Boeva, “Literary Texts by H. Murakami in Terms of Intercultural Communication”). In addition, there are many researchers and experts who have pointed out that the process of using frequent references into images originated in accordance with the Euro-American works. Moreover, the experts have also identified that, these references are also categorically worked from the perspective of intercultural communication. In this regard, it is evident that the most of the work of Murakami are highly influenced by the West (Kuryleva & Boeva, “Literary Texts by H. Murakami in Terms of Intercultural Communication”). EVALUATION OF THE MURAKAMIS VIEWS With reference to a brief impression about the imaginary views of Murakami, it can be postulated that the works of the novelist explore the temperament of selfhood. According to his imaginary works throughout the last few decades, the novels along with its various stories are likely to entirely define human consciousness. In relation to the view of Murakami, it has been perceived that the period in which consciousness is developed; it significantly defines who we actually are by reflecting upon past experiences and memories (Richard, “Why Haruki Murakami should not receive the Nobel Prize for Literature”). Murakami admits that the narrative style of the protagonist includes pure surrealistic characteristics. However, the novelist has also been recognized to transfigure a realistic imaginary power in a few of his renowned novels. For instance, the works performed by Murakami in “The Norwegian Woods” clearly define his realistic imaginary views, which had been a major experience of the novelist. In this context, it is quite evident that the novelist Murakami has dual-personality in terms of working both in realistic and surrealistic imaginations. The imaginary characteristics play a major role for Murakami to enhance his ability to draw interests of readers irrespective of their different tastes and preferences (Tonkin, “Haruki Murakami, Colorless Tsukuru Tazaki - Book Review”). Murakami’s views can also be recognized to encompass each aspect associated with selfhood and the works made by the Japanese protagonist reflects the experience and knowledge that are generally cropped by a common person throughout his/her different stages of life. In most of the circumstances, works performed for writing novels, Murakami tends to avoid planning of different stages of the stories and just begins to write after envisaging story. Moreover, the protagonist even chooses any particular type of imagination either thematic image or the things happened throughout different stages of the story. However, the novelist tends to centrally focus on his own view of representing clear images of selfhood that is principally developed by different events or experiences gathered by an individual (Wray, “Haruki Murakami, The Art of Fiction No. 182”; Baxter, “Behind Murakami’s Mirror”). Moreover, an interview made by John Wray has also provided few major insights about the imaginary views of Murakami along with his styles that influence him to be an experimental Japanese novelist. According to the interview, numbers of facts have been revealed by the protagonist. It has been identified from the interview that he generally focuses on getting the images and establishing connection with one another, which helps him to develop a base story line of his novels. The novelist then explains the story line to his potential readers with a realistic and generous character. Moreover, he also believes that the use of easy words with appropriate metaphors and allegories can substantially encourage an individual to explain things in a more clear and realistic manner. In this regard, it can be stated that the Japanese novelist also believes the efficacy of realistic views while explaining the story line just prior to writing any novel (Wray, “Haruki Murakami, The Art of Fiction No. 182”). In addition to his imaginary understanding, it can be stated that Murakami also emphasize common things that can bring an adequate level of selfhood on the readers’ mind while they are interested to buy his novels (Hantke, “Haruki Murakami and the Music of Words (Review)”). In addition, the surrealism can also be considered as one of the key determinants of Murakami’s works that is often observed in his mainstream novels. According to the works performed by the novelist, Murakami creates stories by developing its images with the blend of surrealistic characteristics that define selfhood of the key personality involved within the stories. The concept of surreality generally defines the aspects or things by which every individual is accustomed. Precisely, the term surreality basically emphasizes on waking the innate consciousness. Over the past decades, this surreality is often observed as a process of harmonizing the world by awakening and that of dreams; or the unity of world and that of imagination (Gullette, “The Theory and Techniques of Surrealist Poetry”). With regard to the imaginary view of Murakami, the novelist has also been identified to deliver clear conception regarding the story lines along with the well-preserved morality of the novel. According to his works “The Wind-Up Bird Chronicle,” the story of Okada can be witnessed to emphasize an adequate level of surrealism, which had further helped him to remodel his selfhood over the reality (Tanaka, “Postmodernist Views of Two Japanese Writers on Faulkner: Haruki Murakami and Kenji Nakagami”). On several occasions, the imaginations or views revealed in the works of Murakami principally reflected that the novelist possesses a supernatural skill in terms of developing suspenseful storytelling in his novels. With due regard to the view of Murakami, it can be stated that the novelist have earned the interests of the millions of his readers by delivering exceptional ranges of colorful storytelling throughout his novels. The supernatural skills of developing touch and weighty themes along with an exemplary blend of surrealism characteristics substantially increase the quality as well as the validity of his novels (Thompson, “The Elusive Murakami”). ARGUMENTS IN FAVOR AND ARGUMENTS AGAINST MURAKAMI’S VIEWS With reference to the imaginations observed in a few of the renowned novels, the literary characteristics of Murakami can be identified to involve various attributes that can be considered from both the perspective including in favor and against his views while developing an exceptional range of storytelling. Therefore, the following discussion provides a clear analysis of the favorable and non-favorable characteristics of Murakami in response to his literary imaginations. In Favor of the Arguments in Murakami’s Views. In order to identify the favorable factors associated with the work, the imaginary and supernatural skills of Murakami can be considered as few of the major attributes that are often observed in his novels. All the way through the discussion of the few renowned novels, it has been critically identified that Murakami has extraordinarily represented his strong set of supernatural skills in order to emphasize selfhood of the key characters involved in his novels (James,“Crossing Boundaries: Postmodern Realities in the Selected Works of Haruki Murakami and Rana Dasgupta”). The imaginary skills of the protagonist include accustoming capacity of the different stages of life and how it can empower oneself to revitalize their innate capabilities. Moreover, the imaginary skill of the novelist also includes the extensive capability of structuring story lines which is a fundamental and key aspect of a novel. The method of developing story line in Murakami’s work can be witnessed to demonstrate a critical view of the overall story and demonstrates different layer in response to the key intention of the novel (Napier 140). With this regard, the imaginary skills and techniques used in the novels can be referred as a major set of factors in Murakami’s works. Conversely, the novelist faces arguments from different scholars due to the consideration of surrealism in the storytelling. The imaginary skills throughout his surrealities found in the storytelling have been criticized by the scholars from different realism backgrounds. It has been observed in the early discussion, Murakami’s work is often contended by different scholars due to his imaginations and views that conversely avoid any realism backgrounds (Seats 25-30; Napier 140). Correspondingly, surrealism can also be referred as one of the major factors used by Murakami throughout his novels. According to the observation of the summaries of few renowned novels, it can be postulated that the novelist clearly represented the theme of surrealism in each stage of his storytelling. The mainstream novels along with storytelling made by the protagonist have been considerably identified to integrate a core set of realistic attributes in “The Norwegian Woods” (Hirata 215). In addition, the practice of developing characters in different roles in the novel can also be regarded as a major favorable aspect in Murakami’s work. Throughout his writing as a novelist, Murakami has represented different types of names along with their assigned roles in his each storytelling that are fundamentally related to his overall theme of the novels. Simultaneously, the thematic storytelling of in the novels written by Murakami also conveys the contemporary ennui, which is also a major aspect that has been observed in the novelist works. In this context, each novel of Murakami involves an exceptional theme, which is likely to enhance the morale of the readers in the modern literary world (Seats 25-30). However, the novelist has also been recognized to critically explore the spectrum of reality throughout his works. In this regard, novel “The Norwegian Woods” can be considered as one of the major examples of Murakami’s work, which provides a realistic view of selfhood (Gewertz, “Murakami is Explorer of Imagination”). Arguments against Murakami’s Works. According to the analysis of different reviews made by different global scholars, Murakami’s works have also been criticized based on several grounds. In this context, editorial meddling can be recognized as a major factor of arguments against the works of Murakami throughout his different translation works. According to the pre-novelist era, Murakami has obtained extensive support from the American and Japanese readers due to his exceptional translating capability of few major American novels. The novelist gained worldwide recognition for his contribution and translation of the novels over the years. However, interfering in the translation process along with the exclusion of few novels’ parts has also been witnessed to create a major argument against Murakami’s works. Correspondingly, these translation concepts from different translators along with skill of predictability of the characters or their traits and occurrences has also been recognized to face major criticism of the works performed by Murakami (Tanaka, “Postmodernist Views of Two Japanese Writers on Faulkner: Haruki Murakami and Kenji Nakagami”). With regard to the aforesaid discussion, the use of crisp and curt sentences along with witty dialogues in different works done by Murakami has also been recognized to draw major criticism (Kuryleva & Boeva, “Literary Texts by H. Murakami in Terms of Intercultural Communication”). A few years after being renowned as a novelist, Murakami’s works have been conjured in different novel by different scholars. According to the observation of reviews made by different authors, it has been identified that foreign readers were troubled as Murakami’s works are accessible only in a translation format. It is also criticized that his works have had numerous translators along with their interference which have also been witnessed to create major arguments on Murakami’s works. The interference of the editors in Murakami’s works further resulted in eliminating major portion of the novels which can also be regarded as major flaws in the translation works made by the novelist (Slocombe, “Haruki Murakami and the Ethics of Tran slation”). In addition, extensive reflection on the cross-cultural communication is also a major factor to be considered in Murakami’s works. The novelist tends to bring a wide range of lexical units along with word combinations that are written in English and German languages into most of his work. In addition, the use of word combinations written in French, German, Latin American, Italian and English inserted in different Japanese versions have also been recognized criticized by several critics. In this regard, the greater influence of Western culture in writing, storytelling has been criticized by different Japanese scholars (Kuryleva & Boeva, “Literary Texts by H. Murakami in Terms of Intercultural Communication”). Less focus on realism has long been witnessed as a major argumentative factor in Murakami’s works. According to the arguments of the different scholars and novelists, Murakami’s novels are also criticized on the ground that his works in storytelling involved wild fantasy with taking different unrealistic turns. However, the novelist practices in a most blasé characters which have been willingly accepted by his readers. The reviews of his works have also claimed that the stories in Murakami’s works are likely to remain on the spectrum of reality due to their romanticism and philosophical rationales. Nevertheless, the thematic focus on surrealism often enables Murakami’s works to willingly accept by his readers from the literary world (Zuromski, “Getting to the Pulp of Haruki Murakami’s Norwegian Wood: Translatability and the Role of Popular Culture”). CONCLUSION With reference to the concept of post fiction, it has been recognized that the domain of the fictional world highly depends upon a strong constructive process. The characters along with other objects occupied in the fictional world are generally represented in the actions to be explored within it. Usually, in a modernist or realist writing style, the spatial form of construction is fundamentally prepared on the perceiving subjects, which might be a character or any other viewing position assumed by a particular incorporeal narrator. Murakami has implemented a wide range of strategic measures with the aim of constructing his works using clear languages and characters in storytelling. The novelist has been observed to centrally focus on practicing spatial representation of his works throughout different novels. According to the reviews of his works, it has been revealed that most of his work involves deconstructing the key spatial elements of his storytelling and focuses on describing quotidian with more emphasis that can boost the amazement of the readers. In this context, the literary works of Murakami involves a practice of exploring a specific quotidian, which subsists within an imaginary world and represents key character(s), not likely to be amazed with this particular amazing world. The scenario not only heightens the amazement of the readers, but it also helps to sharpen disparities and confrontations alongside these two different worlds. In accordance with the aspects discussed about the Murakami’s works, a higher level of temporal distortions is represented by the novelist in contrast to the contemporary aspects of imaginations and views. According to the imagination skills and practices, the postmodernist novelists move more like narrative postcards that can describe or stop or they might move through sideways rather to comply with a chronological mechanism. Moreover, the characters associated with these storytelling strategies may uncertainly conclude the story from where it was begun. However, the works that are practiced by Murakami tends to connect or bring together various dissimilar functions within his common temporal framework in order to maintain adequate balance along with conserving postulated moral of the story. According to the past few years, Murakami’s works were able to draw the wider attention of the novel readers across Japan, the US along with different other nations. The novelist for his enthralling work was liked by large numbers of readers globally. The core thematic representation of fictions along with colorful characters in each storytelling was substantially able to draw the significant attraction and interest of mass readers. The extensive capability of imagination along with various enthralling stories has won millions of hearts across different corners of the world. In addition, emphasizing and delivering well-furnished stories to the modern readers and sophistically representing characters can also be regarded as few of the major attributes of Murakami’s works that lead him to be a favorable novelist. However, the works in the novels have also been a subject of major criticisms due to his translation procedures of the novels at the very beginning stages of his literary works. The use of different translators, along with editorial meddling related works that resulted to omit a major portion of the novels have strongly criticized by the readers along with different novelists. In addition, the extensive use of surrealism theme in the novels along with the exclusion of realism was also witnessed to create confrontation regarding Murakami’s works. Works Cited Anderson, Sam. The Fierce Imagination of Haruki Murakami., 2011. Web. 18 Oct. 2014. Atkins, Midori Tanaka.Time and Space Reconsidered: The Literary Landscape of Murakami Haruki. 2012. Web. 18 Oct. 2014. Baxter, Charles. Behind Murakami’s Mirror, 2011. Web. 18 Oct. 2014. Cruickshank, Noah. Haruki Murakami Delivers His Most Human Novel Yet. 2014. Web. 18 Oct. 2014. Dil, J. P. Murakami Haruki and the Search for Self-Therapy. 2007. Web. 18 Oct. 2014. Gewertz, Ken. Murakami is Explorer of Imagination2005. Web. 18 Oct. 2014. Gullette, Alan. The Theory and Techniques of Surrealist Poetry., 1979. 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