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Translating Haruki Murakami’s 1Q84
ANNA ZIELINSKA-ELLIOTT and METTE HOLM
Abstract
This article relates the experiences of several European translators of Haruki Murakami’s novel, 1Q84, GLVFXVVLQJ GLI¿FXOWLHV WKH\ HQFRXQWHUHG LQ WKH WH[W DQG GLIIHUHQW VROXWLRQV WKH\FKRVH7KHVHDUHLQWXUQFRPSDUHGWRWKHVROXWLRQVFKRVHQLQWKH(QJOLVKWUDQVOD-
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¿UVWDQGWKLUGSHUVRQRIWKHQDUUDWRU"+RZWRH[SUHVVLQDOSKDEHWLFODQJXDJHVWKHDXWKRU¶V FUHDWLYHPDQLSXODWLRQRIWKH-DSDQHVHZULWLQJV\VWHP"7KHDUWLFOHDOVRGLVFXVVHVWKHLVVXH of mistakes, including both those appearing in the original text and those made inadver-
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The international Murakami phenomenon reached one of its milestones with the appear-
ance of his novel 1Q84LQ7KRXJKLWKDVUHFHLYHGPL[HGUHYLHZV1Q84VROGZHOOLQHYHU\
PDUNHWLQWKHZRUOGLQ-DSDQDORQHRYHUDPLOOLRQFRSLHVZHUHSULQWHGLQWKH¿UVWWZHOYHGD\V DUHFRUGZKLFKZDVEURNHQLQ$SULOE\0XUDNDPL¶VPRVWUHFHQWQRYHOColorless Tsuku-
ru Tazaki and His Years of Pilgrimage7KH¿UVWWZRYROXPHVRI1Q84 came out in Japanese LQWKHVSULQJRIZLWKWKHWKLUGYROXPHIROORZLQJD\HDUODWHULQ7UDQVODWLRQULJKWV ZHUHTXLFNO\VROGIRUWZHQW\VL[(XURSHDQODQJXDJHVLQFOXGLQJ(QJOLVKDVZHOODVIRU&KLQHVH VHSDUDWHO\IRUWKH35&DQG7DLZDQ.RUHDQDQG+HEUHZDPRQJRWKHUV7KHVDPHSDWWHUQZDV repeated in spring 2013, following the publication of Tsukuru Tazaki, of which one million cop-
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7XEH³WUDLOHUV´DQQRXQFLQJWKHDSSHDUDQFHRIWKHERRN3HUKDSVQRQHRIWKHVHZDVHTXDOWRWKH K\SHSUHFHGLQJWKHDSSHDUDQFHRIWKH(QJOLVKWUDQVODWLRQZKLFKDPRQJRWKHUWKLQJVIHDWXUHG DWUDLOHURQ<RX7XEH2QHIUDJPHQWRIWKHERRNZDVSULQWHGLQ7KH1HZ<RUNHUDIHZZHHNVLQ DGYDQFHRIWKHERRN¶VUHOHDVHE\.QRSILQ2FWREHUDQGVKRUWSDVVDJHVZHUHRIIHUHGWRLP-
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HVWLQJHIIHFWVRQWUDQVODWLRQSUDFWLFHV7KLVDUWLFOHH[SORUHVWKHH[SHULHQFHRIVHYHUDO(XURSHDQ translators of 1Q84 DV UHOD\HG WR XV LQ TXHVWLRQQDLUH UHVSRQVHV DQG HPDLO FRPPXQLFDWLRQ ,W GHVFULEHVKRZWKH\VKDUHGDSSURDFKHVLQGHDOLQJZLWKVRPHVSHFL¿FDQG±IURPWKHWUDQVODWRU¶V SRLQWRIYLHZ±SDUWLFXODUO\SUREOHPDWLFWH[WXDOWHFKQLTXHVXVHGLQWKHRULJLQDO,WDOVRFRPSDUHV WKHVROXWLRQVXVHGE\VRPHRIWKH(XURSHDQWUDQVODWRUVZLWKWKRVHXVHGLQWKH(QJOLVKODQJXDJH WUDQVODWLRQ
Is shorter better?
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7KH ¿UVW WZR ERRNV RI1Q84 FRQVLVW RI WZHQW\IRXU FKDSWHUV HDFK LQ DOWHUQDWLRQ WHOO-
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³WKHZRUOGRI WKH\HDU1Q84´ZKHUH³4´VWDQGVIRUWKH(QJOLVKWHUP³TXHVWLRQPDUN´+HQFHWKHERRN¶VWLWOH DQREYLRXVUHIHUHQFHWR2UZHOO¶VFODVVLF/DWHULWWXUQVRXWWKDWWKHSDUDOOHOZRUOGLVWKHZRUOGRI DQRYHOWKDW7HQJRLVZULWLQJVRLWEHFRPHVWKHVWRU\RIDQRYHOZLWKLQDQRYHOWKHIRUPHULQÀX-
HQFLQJWKHODWWHU7KHQRYHOGHDOVLQGHSWKZLWKVXFKLVVXHVDVYLROHQFHWRZDUGVZRPHQDQGFKLO-
GUHQDVZHOODVWKHHPHUJHQFHRIQHZUHOLJLRXVVHFWVWKHPHVWKDWZHUHRQO\EULHÀ\PHQWLRQHGLQ 0XUDNDPL¶VHDUOLHUZRUNV
,IZHORRNDWWKHSURGXFWLRQRIWKHERRNPDQ\(XURSHDQHGLWLRQVIROORZHGWKH-DSDQHVH H[DPSOHUHOHDVLQJ%RRNVDQG¿UVWZLWK%RRNDSSHDULQJDIWHUDGHOD\(YHQWKH%ULWLVK HGLWLRQZKLFKDSSHDUHGPRUHRUOHVVVLPXOWDQHRXVO\ZLWKWKH$PHULFDQZDVGLYLGHGLQWRWZR SDUWV%RRNVDQGFDPHRXW¿UVWDQGWKHWKLUGYROXPHIROORZHGDERXWDZHHNODWHU+RZHYHU in the US, the American publisher, Knopf, decided to publish all three books of 1Q84 as a single YROXPHLQDMRLQWWUDQVODWLRQE\-D\5XELQ%RRNVDQGDQG3KLOLS*DEULHO%RRN)RUWKDW UHDVRQDEULGJHPHQWVZHUHPDGHSDUWLFXODUO\LQ%RRNZKHUHPDQ\RIWKRVHSDUWVWKDWZHUH PHDQWWRUHPLQGWKHUHDGHURIZKDWKDGKDSSHQHGLQ%RRNVDQGZHUHVLPSO\HOLPLQDWHGDS-
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3 It is worth noting here that in one of the interviews after the publication of the book Murakami said that he NQHZ%RRNKDGWREHDERRN³ZLWKQRPRYHPHQW´7KLVGRHVQRWPHDQWKDWQRWKLQJKDSSHQVLQWKHODVWYROXPHRI WKHQRYHOEXWWKHDFWLRQPDUNHGO\VORZVGRZQDVWKHFKDUDFWHUVVSHQGDORWRIWLPHWKLQNLQJDQGUHÀHFWLQJ0DWVXLH
6LPLODUVLWXDWLRQVKDYHRFFXUUHGEHIRUH$VLVZHOONQRZQFRQVLGHUDEOHHGLWRULDOFKDQJHV were made in the English translation of The Wind-Up Bird Chronicle. 7KHSXEOLFDWLRQRIWKH*HU-
man translation, which was based not on the original Japanese but on the abridged English-lan-
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5XELQ¶VELRJUDSK\Haruki Murakami and the Music of Words$WLVVXHZDVZKHWKHUJLYHQWKH FXWVLQWKH(QJOLVKWUDQVODWLRQ±FXWVDSSURYHGE\WKHDXWKRULWVKRXOGEHVDLG±*HUPDQUHDGHUV DFWXDOO\UHDGWKH³UHDO´ERRNRUZKHWKHUDOOWKH\JRWZDVD*HUPDQWUDQVODWLRQRIWKH(QJOLVK 5XELQTXRWHVDQHPLQHQW*HUPDQVFKRODURI-DSDQHVHOLWHUDWXUH,UPHOD+LML\D.LUVFKQHUHLWDV VD\LQJDERXW0XUDNDPLWKDW³E\SURPRWLQJWKHWUDQVODWLRQRIWKH(QJOLVKYHUVLRQRIKLVZRUNV LQWRRWKHUODQJXDJHVKHKLPVHOIFRPHVWRHPERG\WKDW(QJOLVKODQJXDJHFHQWHUHGFXOWXUDOLP-
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Whatever we might think about this criticism, a fundamental question emerges: to what degree is the English version of a Murakami novel a translation, and to what degree is it a re-
ZRUNLQJRIWKH-DSDQHVHRULJLQDORQGLIIHUHQWHGLWRULDOSULQFLSOHV",VLWIDLUWRVD\WKDWWKH)UHQFK VD\RU5XVVLDQWUDQVODWLRQ±GRQHZLWKRXWDQ\DGGLWLRQDOHGLWRULDOLQSXWLQWKHIRUPRIH[WHQVLYH FXWV±LVPRUH³IDLWKIXO´WRWKHRULJLQDOWKDQWKH(QJOLVK"2ULVWKH(QJOLVKWREHUHJDUGHGDV KDYLQJXQGHUJRQHDIXUWKHUOHYHORIHGLWLQJDQGEHLQJWKHUHIRUHVRPHKRZPRUH³SROLVKHG´",Q RWKHUZRUGVZKDWKDSSHQVWRWKHLGHDRIDQRYHORURIWKH³RULJLQDO´DVDQ³LQWHJUDOWH[W´ZKHQ LWFRPHVWR0XUDNDPL",WVKRXOGEHQRWHGKHUHWKDW0XUDNDPLKLPVHOILQFRUSRUDWHGPDQ\RI the cuts made in the American version of The Wind-Up Bird Chronicle into the Japanese pocket edition (bunkobonWKDWZDVSXEOLVKHGODWHU5XELQ
-DFTXHV:HVWHUKRYHQWKH'XWFKWUDQVODWRUEHOLHYHVWKDW1Q84 was a challenge to trans-
late because of its repetitions:
7KHUHLVVRPXFKRYHUODSLQWKH¿UVWWZRYROXPHV6HYHUDOWLPHVDOPRVWLGHQWLFDO information reaches us from two different sources, so I had to be careful to provide LWLQGLIIHUHQWVW\OHV±GHSHQGLQJRIFRXUVHRQZKRGHOLYHUVWKHLQIRUPDWLRQLQWKDW SDUWLFXODUSDUWRIWKHWH[W,I,KDGEHHQ0XUDNDPL¶VHGLWRU,ZRXOGKDYHWULHGWR SHUVXDGHKLPWRHOLPLQDWHWKHUHGXQGDQWSDVVDJHVEXWDVDWUDQVODWRU\RXKDYHQR FKRLFHEXWWRIROORZWKHWH[WZDUWVDQGDOO$IWHUDOO\RX¶UHQRWWKHDXWKRU<RXFDQ¶W MXVWVWDUWWLQNHULQJZLWKDWH[WEHFDXVH\RXKDSSHQWRWKLQN\RXFDQLPSURYHLW
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(Our translation)
4 The Japanese original reads as follows: 朝目を覚まし、学校に行くために服を着替えるのが苦痛だっ
た。緊張のためによく下痢をしたし、ときどき吐いた。熱を出すこともあったし、頭痛や手足の痺れを感じる こともあった。それでも一日も学校を休まなかった。もし一日休めば、そのまま何日も休みたくなるはずだ。
そんなことが続けば、二度と学校には行かなくなるだろう。それは同級生や教師に自分が負けることを意味す る。(Murakami, Book 3, 90)
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their classmates in school, but possessed of strong characters that enable them to overcome these GLI¿FXOWLHV7KHDEVHQFHRIWKHIRUHJRLQJGHVFULSWLRQIURPWKH(QJOLVKYHUVLRQKRZHYHUSUHYHQWV WKH$QJORSKRQHUHDGHUIURP¿QGLQJIXUWKHUUHLQIRUFHPHQWRIWKLVWKHPHVLQFH±XQOLNHWKHUHDG-
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HU´LWVHOIDVRPHZKDWLOOGH¿QHGQRWLRQ7KHFDVHRI0LODQ.XQGHUD¶VThe Joke, which ended XSZLWK¿YHGLIIHUHQW(QJOLVKWUDQVODWLRQVLVDIDPRXVFDVHLQSRLQW$ERXWWKH¿UVWWUDQVODWLRQ E\'DYLG+DPEO\QDQG2OLYHU6WDOO\EUDVVSXEOLVKHGLQ.XQGHUDZURWH³,UHPHPEHUP\
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Another attempt to make a book more palatable to the English-speaking audience oc-
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In August 2011, we contacted several people and in the end collected eight responses LQFOXGLQJRXURZQIURPWUDQVODWRUVUHDG\WRVKDUHWKHLUH[SHULHQFHV%HORZZHLQWURGXFHWKH YLHZSRLQWVRIGLIIHUHQWWUDQVODWRUVDQGWKHSUREOHPVWKDWDURVHGXULQJWKHLUZRUNRQWKHQRYHO It is our hope that the discussion here will make it possible to see Murakami from a broader SHUVSHFWLYHWKURXJKWKHH\HVRIKLVPRVWHDUQHVWDQGWKRURXJKUHDGHUV±KLVWUDQVODWRUVZKRLQ FRQWUDVWZLWKOLWHUDU\FULWLFVJHWWRVHHWKHZRUNLQWLPDWHO\IURPZLWKLQDQGKDYHWRGLJHVWDQG LQWHUSUHWHYHU\VLQJOHZRUG
The translators responded to a number of questions, but the one that produced the most LQWHUHVWLQJDQVZHUVZDV:KDWGLI¿FXOWLHVGLG\RXHQFRXQWHULQ\RXUWUDQVODWLRQ"2QHIHDWXUHRI the book several people mentioned in this context was the question of how to handle the changes RISHUVRQLQWKHQDUUDWLRQRFFXUULQJHYHQZLWKLQWKHVDPHSDUDJUDSK$VUHDGHUVRIWKHRULJLQDO ZLOONQRZWKHQRYHOLVQDUUDWHGLQWKHWKLUGSHUVRQEXWWKHDXWKRURIWHQVHDPOHVVO\VZLWFKHVWR LQWHUQDOPRQRORJXHZULWWHQLQWKH¿UVWSHUVRQZKLFKLVTXLWHQDWXUDOLQ-DSDQHVHZKHUHSHUVRQDO SURQRXQVDUHRIWHQRPLWWHGDQGWKHVXEMHFWLVQRWVWDWHGVLQFHLWLVXVXDOO\XQGHUVWRRG1RWWKDW Murakami omits his pronouns;; in fact, he is often accused of using them too often, which gives KLVZRUNVD³IRUHLJQ´ÀDYRXU7KH3ROLVKWUDQVODWRU$QQD=LHOLQVND(OOLRWWVDLGWKDWLWZDVDUHDO FKDOOHQJHWRWUDQVODWHWKDWSDUWLFXODUDVSHFWRIWKHQRYHOLQWR3ROLVK7KLVLVVXHVXUIDFHGPRVWO\LQ
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6 7KHSDSHUVJLYHQDWWKDWPHHWLQJZHUHFROOHFWHGDQGSXEOLVKHGLQDYROXPHHGLWHGE\0RWR\XNL6KLEDWDHW DO
7 7KHUHVSRQGHQWVZHUH9LEHNH(PRQG6ZHGLVK8UVXOD*UlIH*HUPDQ0HWWH+ROP'DQLVK7RPiã -XUNRYLþ&]HFK,ND.DPLQND1RUZHJLDQ'PLWU\.RYDOHQLQ5XVVLDQ+pOqQH0RULWD)UHQFK-DFTXHV:HVWHU-
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8 See the following passage:青豆は短くきっぱりと首を振る。いや、考えすぎてはいけない。天吾はいつか
公園に戻ってくると信じ、ここでじっと待ち続けるしか私には選択肢がない。私にはここを離れることはできないし、こ の公園が今のところ、私と彼を結びつけるただひとつの接点なのだから。(Murakami, Book 3
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$RPDPHJDYHDVKRUWGHFLVLYHVKDNHRIKHUKHDG6KHVKRXOGQ¶WRYHUWKLQNWKLQJV The only choice I have, she thought, is to believe that Tengo will return to this play-
ground, and wait here patiently until he does. I can’t leave – this is the only point of contact between him and me.
9
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9 Here is the same passage in three language versions:
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10
10 Here is the same passage in the original and in four different language versions:
その日の午後はサイクリング・マシンと、ベンチ型の器具を使って運動をする。それらを与えてくれる適度な負 荷を、青豆が久方ぶりに楽しむ。そのあとシャワーを浴びて汗を流す。FM放送を聴きながら簡単な料理をつく る。夕方のテレビのニュースをチェックする（彼女の関心を引くニュースはひとつもない）。そして日が落ちると ベランダに出て公園を監視する。薄い膝掛けと双眼鏡と拳銃。美しく光る新品の金属バット。(Murakami, Book 3
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cribed to the novel’s protagonist, a translator:
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Some observations on Murakami and Europe
To conclude, it is worth mentioning a few points concerning references to and quotes from differ-
ent European and Japanese works included in 1Q84, as well as some personal experiences related E\WKHWUDQVODWRUV.
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ment of the Tale of HeikeDSDVVDJHIURPDVWRU\E\+\DNNHQ8FKLGDZKLFKLVQRWLGHQWL¿HGDV VXFKLQWKHERRNDOPRVWDZKROHFKDSWHUIURP&KHNKRY¶VSakhalin, a long passage from Isak 'HQLVHQ¶VOut of Africa DQG D SDVVDJH IURP -XQJ 0RVW WUDQVODWRUV XVHG H[LVWLQJ WUDQVODWLRQV LQWKHLURZQODQJXDJHVRUSURGXFHGWKHLURZQH[FHSWIRU.RYDOHQLQZKRIHOWWKDWWKH³RI¿FLDO WUDQVODWLRQ´RIWKHTale of Heike ZDVWRRGLI¿FXOWWRUHDGEHFDXVHLWZDVZULWWHQLQD³YHU\KHDY\
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Bibliography
Source text and translations
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