Haruki Murakami’s “Pinball, 1973»
In the Rat trilogy, Pinball, 1973 is the second novel and simultaneously a continuation of the previously written work “Listen to the wind song”. In addition, this is the second work, written and published Haruki of Murakami. In every way, Pinball 1973 was a deeper and more intense book than Listen to the wind. Including in terms of content. The main character is not named. The main character is the narrator – a certain “I”. As in the first book, Pinball, 1973 also has a lot of beer and cigarettes, but quite a few actions and logical events. But despite the lack of logic and completeness, “Pinball, 1973” can be attributed to short, but still “anti-stress” novels.
In the course of this story, it is quite interesting to observe how the fate of the narrator and his friend – the Rat-intersect. The story takes place three years after the first part: the narrator already lives and works in Tokyo, while his roommates are very unusual – two twins. The fate of the Rat is somewhat different: he dropped out of school, still spends days at the coast, drinks beer all day and tries to completely distance himself from society.
But Murakami would not be himself if he did not place a certain metaphysical depth in such seemingly meaningless prose. As the story progresses, the narrator often reflects on the significance of entry and exit. If there is an entrance somewhere, there must be an exit, and this applies to almost every subject or concept. For the narrator, this is a rather personal topic, and he does not discuss it with many people. And only with a Rat can he talk about it freely. It turns out that they both share a special love of pinball. But for the Rat, it’s just a game, while the narrator sees something more in this soulless machine. It is only after conducting his own research that the narrator comes to some metaphysical understanding of the essence of entry and exit.
As in most of Murakami’s works, his characters are again somewhat bizarre and mysterious. But this is the whole charm of the Japanese works. At an early stage of his work, brevity was definitely the sister of talent. Whatever it was, but such works are valuable for their “atmosphere” and the mood that they form. And if it’s raining outside, you’ll never find a better book.