| Patiently Waiting for IQ84 |
[Jun. 5th, 2009|01:02 pm] |

Old Murakami book on my desk. After five long years, Haruki Murakami is releasing a new book, 1Q84. I first learned it from Dylan during the weekend and so immediately after that, I ran a literature search on the internet about it. Here are what I have learned: Like many of his previous works, 1Q84 is a complex and surreal narrative. It shifts back and forth between tales of two characters, a man and a woman, who are searching for each other. Through their thoughts and experiences, which include murder and historical references, the book explores social and emotional issues such as cult religion, violence, family ties and love.
There are lots of speculations surrounding about this book. The title itself is assumed to have been homage to Orwell’s 1984. Since the number 9 in Japanese is pronounced “kyuu” like the "letter Q". Or a talk that it might be a play off of Chinese novelist Lu Xun’s novel, "The True Story of Ah Q". The "number 1 in the title could stand for the pronoun “I” so that it should read something like “I am Q”. I should have said that I wasn't quite satisfied with his latest, "What I Talk About When I Talk About Running" which I could relate to because running is close to my heart and the book is a homage to a Raymond Carver's book which I read prior to Murakami's and was quite happy about it. But one thing remains. I am a HUGE FAN of Murakami, so like any loyal fan that I am, no amount of speculation can ruin my anticipation and urge to read one more of his books. 
Murakami's latest, 1Q84 is now released in Japan. photo courtesy of guardian.co.uk -------- |
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| Pain is inevitable, suffering is optional |
[Oct. 16th, 2008|11:02 am] |
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The thoughts that occur to me while I’m running are like clouds in the sky. Clouds of all different sizes. They come and they go, while the sky remains the same sky as always. The clouds are mere guests in the sky that pass away and vanish, leaving behind the sky. The sky both exists and doesn’t exist. It has substance and at the same time doesn’t. bAnd we merely accept that vast expanse and drink in it.
~ What I Talk About When I Talk About Running, page 17~ I passed by FullyBooked last night and got a copy of What I Talk About When I Talk About Running. I’ve been aching for a new Haruki Murakami book since I heard of the release of his latest published work. I've never been this excited. Not only because it's Murakami but more so because he'll talk about his other passion aside from writing--long distance running. I called the bookstore last week if they already have it in their shelves and the lady who received my call informed me that they only have two copies left. I got distressed. I should have whizzed my way to the bookstore and get one of that last two copies but I couldn’t. My workload is killing me. I miss my early days when I would wind away my time at the mall visiting every bookstore I could find or sitting at one particular shop, on that one particualr spot and read there for hours. I miss movie hopping, trying the most outlandish and never-heard films I could watch. Most of all, I miss my “not-so-busy-days” where I would just walk languidly in the middle of a busy and crowded place without looking at the clock. Strangely, I miss my old self. |
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| The subtle Murakami in After Dark |
[May. 15th, 2007|12:27 pm] |
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"Looks like a totally ordinary guy," says Komugi. The ordinary-looking ones are the most dangerous," says Kaoru, rubbing her chin. "They carry aroud a shit-load of stress." - after dark, page 67 I've finished reading Murakami's latest, After Dark. It's a good thing that Monday was declared a national holiday. You got to do something aside from voting, right? It was a fun time to stay in my nook for awhile and finish a book. I've never done that, not usually. These days, finishing a book becomes more of a dispensation rather than a option. I would understand why after reading this book, some people would say they didn't like it (comparing to all his other works), or they might feel a bit cheated at some part (which is very Murakami-esque, by the way), or it's not as thick and rich as the Wind-up Bird Chronicle or as deceptive and mind-boggling as Hardboiled Wonderland and the End of the World, but alas...I got what I came to read. What I meant to say is, I love it nonetheless. I've got at least 5 reasons why I would recommend it to anyone. (I always have a reason, it has becoming more of an annoying habbit but I make it a point to have some). 1) I love its narrative treatment, sort of like writing a screenplay, the readers are being maneuvered; 2) The conversations betwen Mari and Takahashi are witty and rich; 3) Strong characterization, which I believe has always been a strong trait for every Murakami's novel; 4) There's always the "thinking sequence" one has to always connect the dots, sort it out and the readers are alone in this feat; and 5) The cats and the crows are here too, you wouldn't miss them. I could tell you some reasons why you might not like it, but that's besides the point already. ---------- I feel like saying "Sorry" today. I hope it gets to you. |
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| After Dark, coming this May 2007 |
[Nov. 28th, 2006|04:52 am] |
The English version will be released this coming May 2007!!! Can't wait to have it.
Here's the plot:
Alienation is a returning motive in the works of Murakami, and the central theme in this novel set in a major Japanese city at night. Main characters include Mari, a 19-year old girl, who spends the night reading in bars. There she meets Takahashi, a trombone-playing student, who also knows Mari's sister Eri. Eri is being watched in her sleep by someone sinister. Eri also suffers from social withdrawal, a condition often referred to as hikikimori.
Mari and Takahasi cross ways with a fighting champion, now working as a receptionist in a love hotel, a prostitute who has been raped in this same love hotel and a sadistic computer expert. The story takes place in a world between reality and dream.
(source: wikipedia) |
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| 3 Murakami short stories translated |
[Oct. 12th, 2006|07:40 am] |

Semester is finally over! Wahooo! Finally, I have finished my paper for one of my graduate classes in translation. I've translated three of Murakami's works into Filipino. Hehe, sana mataas makuha kong grade. |
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| Anxiously waiting... |
[Jul. 21st, 2006|09:32 am] |
Wah! I wake up anxious today. I learned that Murakami is coming out with a new book. A collection of stories about vomiting. How weird is that? hehe. I love the man, so whatever he wants to write, I think I'll forever love him.
Anyway, the book will be availabe in August 29, 2006. I hope to get my copy then. Yahoooo! |
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| (no subject) |
[Jul. 21st, 2006|08:59 am] |

I borrowed Oki's copy of Hear the Wind Sing a few days ago. She has two copies, one in Japanese and another one in English. I haven't started it though. I haven't read any Murakami book for awhile and I am starting to miss his writings so much. I haven't been to the bookstore lately for my daily New Yorker check out, so I am probably missing on a lot, especially his latest works.
I promise to stop by this week. If not Murakami, maybe David Mitchell's latest. :) |
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| Finally got my copy...yahooo! |
[Nov. 2nd, 2005|04:37 pm] |

Last week, while waiting for M, I passed by Powerbooks to check out some new titles. I don’t have any plan of buying anything, I would just like to look around. Stop by the contemporary fiction, particularly the section with authors whose names start with “M”. Haruki Murakami has always been my effective reading booster. Give me a Murakami book and I’ll devour it with passion. I just like the guy truly and blissfully. He’s more than enough reason for me to write and continue hoping that there’s beyond being 'ordinary' (whatever that means). Anyway, I finished half of the book during the weekend and polished the last two stories last Monday. Sulit naman yung book. Medyo mahal pero ewan ko ba, pag si Murakami, sulit lahat. Wala pa kong book n’ya na totally hinde ko nagustuhan. As in talagang inayawan ko! Siguro pagbinasa ko yung early works n’ya i.e. Pinball at yung Hear The Wind Sing. So anyway, the book was nicely assembled. All the stories are nice read. No kidding. But I have special affinity for Russell Banks’ The Moor,Daniel Lyons’ The Birthday Cake, Claire Keegan’s Close to the Water’s Edge, and Raymond Carver’s The Bath. They are dark and hopeful both at the same time. Somehow, these authors made a somewhat ordinary occasion like birthday into an event that is worthy of storytelling. Murakami’s Birthday Girl is very typical of his style and very digestible. :) |
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| (no subject) |
[Sep. 9th, 2005|01:32 pm] |
I haven't got hold of Murakami's latest short story. I've gone through major bookstores here in Metro Manila but failed to find one. I was hoping Harper would be kind enough to provide some e-copy of the short but it's likely that they won't. Oh well. |
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| (no subject) |
[Jun. 14th, 2005|11:07 am] |
I wonder when will this book be available in the local market...

Like Kafka on the Shore, I believe this book is available in hardbound copies only. |
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| Finally, Kafka on the Shore! |
[May. 26th, 2005|02:51 pm] |
I got the British edition two months ago but I was able to read and finish it a week ago. I haven’t been reading any book reviews because I want to preserve a detached judgement on this book. I want to know how personally it will appeal to me, regardless of what other readers have to say.
Now here’s what I think about the book. For one, it’s either you’ll like it or you don’t (no middle ground). I have five words for this book. AMBITIOUS. EXPANSIVE. ENTERTAINING. SURREAL. BEWITCHING.
The thing is, if you’ve been an avid reader of Haruki Murakami, the surreal part is expected already (and so with nostalgia and detachment of the characters to society). In this book, the whole sense of isolation and nostalgia are there…but this deals more with tour-de-force of the metaphysical reality (which again, is very Murakami-esque).
I've always regard Murakami as an ambitious fictionist. He keeps on pushing his readers to their limits…imagining the unimaginable, describing the indescribable, determining the non-existence and they sink hard. But this book, is yet, the most ambitious he’s ever done. It goes the likes of "Hardboiled Wonderland and the End of the World" but I really can’t put them on the same level since Hardboiled is more on the cyberpunk genre while Kafka takes a turn on the complexities of real and surreal. You have real people living in a real world but then again...there's this sense of 'unreal' taking over. Somewhat fantasy taking its toll on the lives of real people.
The best thing about this book is that, it’s totally entertaining. Guaranteed! I am usually a slow reader…that’s because I take time reading, I make notes on the new words and I write down quotes. But with this book, amazingly, I nailed it in three days. The story is fast-paced and page-turner that soon you’ll realize you’re down with the last two chapters.
Kafka on the Shore is powered by two remarkable characters: a 15-year old Kafka Tamura who runs away from home, either to escape a gruesome oedipal prophecy or to search for his long-missing mother and sister; and the aging Nakata, who never recovered from a wartime affliction, finds his highly simplified life suddenly upset. Their odyssey, as mysterious to us as it is to them, is enriched throughout by vivid accomplices and mesmerizing events. Cats and people carry on conversations, a ghostlike pimp employs a Hegel-quoting prostitute, a forest harbors soldiers apparently unaged since World War II, and rainstorms of fish and leech fall from the sky. There is a brutal murder, with the identity of both victim and perpetrator a riddle. Yet this, like everything else, is eventually answered, just as the entwined destinies of Kafka and Nakata are gradually revealed, with one escaping his fate entirely and the other given a fresh start on his own.
Murakami fan ought to read this book. The usual route to the bizzare re-routing takes you to a wild ride creating a natural high. But if you’re not much of a fan…I advise you to wait for the paperback (which by the way, I'm also looking forward to since I promise a friend I'll send her one).
------ One more thing I like about this book is that, Murakami takes on another form of animal, CROW (a first)...symbolically or meta-physically, I like how he manipulated the image of a crow in this book. |
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| Murakami...as always! |
[Apr. 14th, 2005|04:29 pm] |

I wish I was present during such book launching! Wahhh... |
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| livre en francais |
[Apr. 5th, 2005|02:05 pm] |
i'm still working on my French but i would like to one day read this book and be able to fully savor every word. i've read the English version, but i want to know how the works of murakami have been translated in other languages, particularly French.
Etudiant à Tokyo, Watanabe retrouve par hasard une amie d'enfance, Naoko. Ils ont un douloureux souvenir commun : lorsqu'ils étaient lycéens, Kizuki, petit ami de Naoko et ami de Watanabe, s'est suicidé. Naoko, perturbée par ce drame, part bientôt dans un centre de repos. Watanabe est amoureux d'elle, mais leur relation ne peut s'épanouir. Parallèlement, il devient ami avec Midori, une étudiante fantasque qui a aussi été confrontée à la mort, celle de ses parents... Cet ample roman d'apprentissage, placé sous le parrainage de Salinger et Fitzgerald, a des résonances envoûtantes : le héros doit rencontrer la souffrance, la folie et la mort pour accéder à une liberté lucide, sans avoir abdiqué sa quête du pur amour. Une immense tendresse, un charme poétique se dégagent de ce roman pourtant chargé d'une intensité érotique saisissante.
----- |
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| Feels good to finish something... |
[Mar. 31st, 2005|02:33 pm] |
Ah, finally, I've finished reading Jay Rubin's book. I was feeling kinda loaded but it's good. Good because I learned lots of things plus the fact that I was reading about 'the man'...Haruki Murakami.
I learned quite a few actually. Like the fact that Murakami owns at least 60,000 records, which totally blew me away. No wonder he knows a lot of stuff about music. I'm not really into jazz. I'm all into rock music nonetheless, it's nice to know that a guy like him could have such an enormous collection. I wonder who would have these precious records if Murakami died. Just wondering. It's not like I'm hoping he dies soon cuz that's totally way out of my league. Believe me, I love the man. Never love a man like that. Weh.
I also learned that Murakami saw at least 200 movies in a year. Now this is totally amazing. On the average, I'm not even close to that. I could only go as far as 106 to 159 movies in a year.
Well, i could go on and on but I will just bore you... so I'll leave you to read it for yourself. Rubin did a nice job with this book. Every Murakami fan should read it. At least in my opinion. |
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| whatever the language, it's still murakami! |
[Mar. 21st, 2005|04:33 pm] |
you know, i really feel good everytime i chance upon a copy of haruki murakami book or i can't even begin to describe how my heart leaps everytime i read his name in a magazine, website, article...
honestly, i've never been so hooked to any author. not like this.
the thing is, everytime i see a murakami book, i wanted to buy it instantly (even though i have already a copy of it). i wanted to collect all her works. and i mean ALL. i might study Japanese one day so that i could read even those that are not yet translated.
sometime ago, a friend of mine got me a copy of A WILD SHEEP CHASE from a booksale, for only 45 pesos (that's less than 1$). imagine how happy i was! |
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| wahhhh! |
[Mar. 21st, 2005|01:07 pm] |
I haven't finished Jay Rubin's book. It's been weeks and I haven't gone through half of it!
I'm such a lazy ass shit! Wahhhh...
I bought a copy of Kafka a month ago but I promised myself I won't read it unless I finished Haruki Murakami and the Music of Words and I haven't been progressing. What a shame. Anyway, I really plan to finish Rubin's book this week. Hope so. I wish. Really do.
=) |
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| The Enemy Below - Japanese author Haruki Murakami |
[Feb. 29th, 2005|08:07 am] |
(from Los Angeles Magazine, April, 2001 by John Powers)
JAPANESE NOVELIST HARUKI MURAKAMI EXPLORES THE NETHER REGIONS FROM SUBCONSCIOUS TO SUBWAY
MANY WRITERS GET good reviews, a few produce best-sellers, but only a handful create a cult. Japanese novelist Haruki Murakami has done all three: He's a literary superstar whose fans take his work personally. His most popular book, 1987's Norwegian Wood, was Japan's equivalent of The Catcher in the Rye or This Side of Paradise. Not only did this tale of teen love and suicide sell millions of copies in his home country--the figures would have Philip Roth or John Updike gasping with envy--but its wistful nonconformity made it an anthem for a younger generation who felt that Japan's traditional values weren't so much wrong as irrelevant.
At 51, Murakami is Japanese literature's biggest international name since Yukio Mishima, and like the gay icon, proto-samurai, and practitioner of seppuku, he has not been without controversy. When he first hit it big in Japan with such books as 1982's A Wild Sheep Chase--the absurdist tale of an adman seeking a weirdly marked sheep--the literary establishment didn't quite know what to make of him. Although not a flamboyant bad boy like Mishima, he was accused of betraying the weighty novelistic heritage of Junichiro Tanizaki, Yasunari Kawabata, and Kenzaburo Oe, and replacing it with a pop style steeped in the West. Which is how Murakami was first promoted here a decade ago, as Tokyo's contribution to global hipster fiction--an Asian answer to Tom Robbins, if not Thomas Pynchon.
But Murakami is no glib Japanese trendoid. While he can some times be too cute for his own good, his best work pulls off the same artistic feat as the Pet Shop Boys or Hong Kong filmmaker Wong Kar-wai. He uses an ultrahip style to get at something profoundly un, hip--the melancholy and confusion lying beneath the neon sophistication of today's plugged, in urban life. For all their catchiness, his books are haunted by a distinctively modern forlornness in which movies take the place of loved ones and pop songs express emotions we can't let ourselves feel.
Murakami's trademark blend of the alluring and the bleak runs through two new books that, on the face of it, could hardly seem more different. Even as his slim novel Sputnik Sweetheart (Alfred A. Knopf, $23,211 pages) tells a tale of personal loss and isolation, the nonfiction Underground: The Tokyo Gas Attack and the Japanese Psyche (Vintage, $14, 366 pages) attempts to anatomize the soul of an entire culture. He's never written anything more openly emotion, al than Sputnik Sweetheart, a surreal cross between a mystery and a romance that reads like an edgy riff on his seminal Norwegian Wood. The story's told by a schoolteacher who, like all Murakami heroes, is a youngish everyman--decent, thoughtful, and deadpan in a way that Westerners would be tempted to call "Japanese." He's in love with Sumire, a would-be novelist with beatnik fantasies of freedom and self-sufficiency. But when she falls for an older married woman named Miu, she stops writing and goes to work in her inamorata's wine business. At first, Sumire's ardor rockets her into a kind of transcendent bliss--she privately dubs Miu her "Sputnik Sweet, heart"--but during a visit to an unnamed Greek island that sounds suspiciously like Lesbos, everything goes kerflooey. One night Sumire just vanishes, and Miu asks the narrator to fly from Japan to help solve the mystery of her disappearance. What he uncovers on the island is something far trickier and more agonizing than a missing friend. He's brought face to face with Miu's fragmented psyche, Sumire's shattered romanticism, and his own terrible aloneness.
Like all of Murakami's novels, Sputnik Sweetheart grabs you from its opening lines. Murakami possesses the most peculiarly seductive voice in modern fiction--cool, reassuring, and almost deliberately bland, even when describing bizarre events. He knows that the best way to make the extraordinary feel extraordinary is to present it matter, of-factly, and here we're never quite sure when reality bleeds into hallucination: Does Miu really sit atop a motionless Ferris wheel and watch herself return to her own apartment? This is a book filled with dreams, fantasies, and teasing hints of meaning--for instance, the sweat on a Greek waiter's shirt. "The stain seemed to be sending out a message," the narrator says, "but I couldn't decipher it." What he can decipher is humanity's thwarted longing for connection, the way we all orbit around something or someone but streak across the universe all alone.
"Why do people have to be so lonely?" he wonders. "What's the point of it all? Millions of people in this world, all of them yearning, looking to others to satisfy them, yet isolating themselves. Why? Was the earth put here just to nourish human loneliness?"
While such a cri de coeur may be unexpected from a writer famous for his detachment, the burning awareness of solitude is not. Far from offering us the ritual, rich Japan of the Western imagination, his stories take place in a weightless internationalized culture where video games matter more than Hiroshima and brand names have replaced Bushido. Murakami's characters define themselves not by their great social ideals but by their taste for anachronistic Western pop culture (Sputnik Sweetheart dishes up Kerouac, Ten Years After, The Wild Bunch), and they aggressively defy the Japanese stereotypes of the salaryman and his giggling-drudge wife. Employed or not, his male heroes tend to be overgrown slackers who could fritter away their days listening to Miles Davis were they not energized by the likes of Sumire and Miu. His women are sometimes mysterious, often annoyingly cutesy, and occasionally downright self-destructive, but they are ultimately what makes his world go round. There's enough throbbing anima in his books to keep the Jung Institute busy for decades.
And enough paranoia. Caught in the spiritual undertow of a prosperous, secular age, Murakami's rootless heroes are constantly being drawn into stories they don't quite understand, stories that seem to be controlled by somebody else. Indeed, he's one of the masters of what I'd call Metaphysical Pulp--a smart, dreamlike, postmodern style practiced by novelists as diverse as Paul Auster, Stanislaw Lem, Don DeLillo, J.G. Ballard, and this magazine's own Steve Erickson. All these writers know how to suck you in with tantalizing plot hooks, often derived from sci-fi or noir, but they're too honest to believe in pulp's heavy-handed payoffs--you know, the hero's re, ally a replicant, the sweet blond librarian is actually a man-eating psycho. Pursuing the elusive texture of everyday life, which seems laced with covert meanings and unnerving correspondences, they tend to resolve their enigmas figuratively--with existential abstractions, metaphorical bungee jumps, flourishes of literary style. Murakami can sometimes sink in the quicksand of his own metaphysics, but unlike Auster, he's not pretentious or cleverer than thou. His meandering plotlines (wild sheep chases, if you will) aren't as arbitrary as they first appear. His heroes' dogged attempts to unravel mysteries that defy literal solution play to one of the most nagging postmodern sensations: that there's some vast significance, or desire to communicate, that lies just beyond the range of our perception.
EARLY IN HIS CAREER, MURAKAMI REBELLED AGAINST the cliches of Japaneseness, even living abroad for several years; recently, though, he has been possessed by what he terms a "vested duty" to his homeland. Fulfilling this duty has given his writing a new depth and darkness. His 1995 The Wind-Up Bird Chronicle was a sprawling effort to connect the Imperial Japanese Army's violent 1939 incursion into Mongolia (complete with human medical experiments) to a disturbing portrait of present-day Japan as a land of dried-up wells, abandoned houses, men without rices. Although the book was too long and abstract, it was by far his bravest stab at writing a masterpiece. For the first time ever, he grappled with his country's history and risked offending those Japanese readers who preferred not to think about such awkward matters as war crimes.
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| Kafka, coffee and cigarettes, and my fecking giddy mood |
[Feb. 9th, 2005|04:59 am] |
Prof Nuthead decided not to hold class yesterday. There were only a few of us who came to her class yesterday and she hates conducting class with few people listening to her. It was definitely a good timing since I wasn’t prepared to do my presentation, which is pathetic by the way. With no better things to do, we went to Podium to have some coffee and cigarettes. There was a light rain pouring on our face when we got to our destination. A nice site to picture—drizzle, coffee, cigarettes, with few people winding their time.
Anyway, I excused myself to the group and asked if I could pass by Ink and Stone first to check out some books. When I entered the front door of that little, cozy bookshop the lady at the cashier smiled at me. I felt good vibes pouring down my spines. I looked around and searched for that one book I’ve been wanting to have. No luck. My eyes tired out on me. Then I approached the friendly-looking lady at the desk and ask if they have it.
“Ahm, Miss, do you have Kafka on the Shore by Haruki Murakami?”
I prepared myself to repeat the name and spell it out because there’s 85% chance that they didn’t know or haven’t heard of the name Murakami (which is likely the case). I prepared myself to explain that Kafka on the Shore is not a book by Franz Kafka. I was about to do that when instinctively, the girl smiled and said:
“Yes, we do have it ma’am. We have the last copy here.”
I was stunned for a moment. I didn’t expect for a ‘yes’ because usually I get answers like: sorry out of stocks, we don’t have it, would you like us to order it for you, comeby next week—I expected one of those answers and I didn’t get any of it.
The thing is, I planned on buying my copy at Fully Booked (which was referred to me by Paul) but because it’s too far from where I live, I really couldn’t find the motivation to go there (aside from the fact that I really don’t know how to go there and I’m terrible with directions). I know that Ink and Stone caters to rare and hard to find books so that night I trusted my whim and went for it.
I was so happy last night I swear I could have almost kiss the ass of that smiling lady (nyahahaha, kidding!) Anyway, I danced with joy that night and went out of the bookstore still smiling. Then one of my classmates said, “You need to wear out that smile dude…you look like a psycho!” Beats me. I don’t care as long as I have Kafka here with me…in fact, I’m more than okay. Anyway, I texted a few people that night informing them that I have the treasure on my hand. I don’t care if they’re happy for me or not but I needed to share the bliss I was feeling. I really couldn’t contain myself that night.
So after the thrill, we went to get our coffee and cigarettes. We talked and discussed just about anything that came to mind. Around 10 pm we decided to quit because A had to catch the last trip to Laguna and H needed to meet her Pop somewhere while I prepared myself to go home and get my precious a nice cover.
I rode the MRT with the big smile on my face. I slept last night…still with a big smile on my face. Today, I’m writing this fecking entry…still with a BIG smile on my face. Go ahead, crucify me!
-------- Wouldn't it be nice if we were older Then we wouldn't have to wait so long And wouldn't it be nice to live together In the kind of world where we belong
--Beach Boys |
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| Murakami-esque |
[Jan. 27th, 2005|10:24 am] |

Oki and I passed by Powerbooks yesterday. I was planning to buy a david mitchell book but when I saw Jay Rubin's bio on Haruki Murakami, I didn't thnik twice. Hola!
Oki's copy of the Wild Sheep Chase will come by the end of January and I was hoping I could have my copy around that time too so I won't feel any envious. My friend said, she would send it as soon as she can. So I'm happy now. Oh well.
----- |
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