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No matter how much you like Sally Rooney, you won’t say she made Oscar Wilde old-fashioned. No matter how much you admire Emma Cline, you are unlikely to say that you are hiding Joan Didion. One does not replace the other. However, this is exactly how Haruki Murakami introduced himself to the world. Alfred Birnbaum was the first translator of Murakami’s novels into English.
This is how he described Murakami’s work: “the complete opposite of such hard and painful works for the reader as Kenzaburo Oe, Kobo Abe, Juro Kara and Kenji Nakagami”. This view was evident in the 1989 review of A Wild Sheep Chase, the writer’s first publication in the US market, in the New York Times. Herbert Mitgang described the work as “a bold new step forward in the international fiction category … This is not the traditional fiction of Kobo Abe … Yukio Mishima … or … Yasunar Kawabata.” Other American critics echoed that tone, separating Murakami from these Japanese writers to praise him. Murakami himself said that he was more influenced by American fiction than Japanese.
Yet this framing of the writer, the claim that his dominance is determined by the fact that he is so different from other Japanese writers, still smacks of a phenomenon that writer and activist Nikesh Shukla calls “Mountain Syndrome”: when members of the same race or minority group build themselves. against the next. in a way that allows only one of them to become a complete winner.
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