novella said:
"In Europe and America they say I am surreal and unrealistic and postmodern and I'm happy to hear it," Murakami laughs. "But in Korea or China or Taiwan nobody says these things. They just enjoy the stories."
-I wonder if that's because of something in the translation? Or do you think it's a basic cultural difference?
I think this is *clearly* a difference in culture.
Take, for example, last month’s Chinese New Year festivities.
Animals, colours, grandiose parades, symbology, mythology, superstition, food, etc - all these things play a very large part of the celebrations and meaning.
Compare this to the traditional Western New Year: get drunk and watch a ball drop from the sky.
Most certainly in the US people simply do not know how to comprehend mythology or symbology. That died out with the mass-extinction of the Native people there.
Religion took over.
What are some of the only symbols floating around? A cross, blood/wine, a fish (as a consumable, not as an animal).
What *is* (and always will be) basic mythology _has_ to be taken for Divine Truth for it to be palatable.
That, and the art of the metaphor has been lost.
Horrible writers like Stephen King and John Grisham, who can barely turn a readable sentence let alone an artistic one, dominate the field.
And when it is used, it’s often mislabeled as “proverbial” (again, the religious aspect brought in).
Yet another gawd-awful typist, Dan Brown, when he writes a tale of fiction bifurcated from established myth; many are convinced this is Yet More Truth.
They demand that it is real.
The only times the masses seem to be able to handle some kind of mythology or fantasy are when the line is clearly established (not that they are not for religion, but therein lay mankind’s downfall), say the Tolkien books or Harry Potter. “Oh, ok, this is a wizard, so “magic” is allowed.” Their safety zone is not breached.
Either that or truly most people’s reading ability is that of a 10-year old.
Another thing is that the Western way of doing things is by labeling. As in books, which are simply a marketing device, publishers will say, “how can we sell this?”
Many people want to know more than, “it’s a great book”, and question (something like), “well, what’s it like?”
Yes, the irony of people complaining or commenting that they don’t “understand” Murakami’s books is decisively rich, this from a sound-bite society that *clearly* doesn’t [truly] “understand” most of what of going on around them.
j