A. Anyway, its a painting which gives such pleasure!
A. Very cartoonish!
A. The picture you mention was produced at my office. I produced many, in fact, and chose that as the best!
The Happy End of The Painter And The Writer
M. Ought to describe it as a very rare book!
M. Its great, wasnt it?!
M. Really!
A. Using black paint for that round sun is so appropriate!
M. You remember you complained being attacked by a cat? Its just because you dislike cats and dogs!
M. We discussed that in certain special column. A long time ago really. That was the Today magazine of Cultural Publication Department.
A. At first I had thought of using Indiana Jones.
A. Like those Cowboy pictures!
A. I really love those scroll paintings, and had wanted to try that long ago. When I painted the feeling was so refreshing!
A. Hei Ho: Murakami Asahido reminds you of the name of some very old Japanese fruit stores. It looks so harmonic with a tea bowl.
M. Yes, like paste drawings. At that time not so many people would try that method.
M. I remember those samples too!
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M. Of course! I bought them with much care!
Words And Tea Bowl
A. At first I was asked whether Id like to publish an album, a thing which Im tired of hearing. But it would be different if I could publish ittogether with somebodys works. So I phoned Murakami to see if youre interested in working with me.
M. I really loved that painting so much, that I even thought of using the original to decorate my new house!
A. It was a new thing for me too, and many did not discover that was my work.
A. At that time you thought of two possible titles. One was Happy End Of Elephant Factory. The other was White Christmas of Elephant Factory. I thought White Christmas of Elephant Factory was too restricted to December. So Happy End was better!
M. Once I moved to a new house. Of Japanese design. I asked you for a scroll painting, and prepared good white paper. You demanded a bucketof water and a pile of old newspapers to avoid dirtying the floor. After that you told me to leave everything to you. I waited outside for 30minutes and nothing happened. I wondered whether something had gone wrong. So I got into the room and took a look. And you were readingthe newspaper (laughs) and had not even started drawing a single line (laughs)!
M stands for MURAKAMI, A fo九*九*藏*书*网
r ANZAI
A. Thats what I call the power of concentration ... (laughs) I read the paper beforehand, which calmed me down! (laughs)
M. But I didnt notice a single drop of sweat!
M. You mean the one with a dog in it? That was -
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M. I wanted to try words from the start of Firefly. But the feeling produced would like books issued by the post-war Avant Garde ... (laughs)
M. I thought it was a bear which frightened you! But its only a cat!
M. We once tried to discuss the topic in the magazine, but didnt actually delve into it.
M. A long time ago people had asked me whether Id like to publish a collection of my ramblings too. Only I somehow got humiliated. Am I anovelist? The literary ramblings of many writers always seem invaluable. Yet obviously mine are not so. Thus I wished to get it published withsomebodys else. (smiles)
A. When I first looked at your book cover, it striked me as if I had known it somewhere. But I couldnt tell the painter. Moreover, the covers bySasaki Maki really differ different from the styles of others. Theyre so fresh!
A. To tell the truth, I really wrote dozens but still found the first one the best.
A. Its hard to use words. Especially my words. I only tried.
M. Now you remember it! At that time, I was only a new writer. How dare I think of those toppest illustrators? So I decided to ask Sasaki Makito design covers for my long novels. In fact, I have been a big fan of his since the age of Galo. Only at that time very seldom did Sasaki drawcovers for books.
A. In that period I got a special desire. I didnt want to draw the real self with complete clarity. So I tried to extract the outlines of mypictures, and produced effects like those of paper-cut works.
M. Really? (laughs)
M. Many people comment that its hard to guess what the book is about merely on the title and the bowl. (smiles)
M. They striked me as very special, though. And the result was so satisfactory.
Happy End Of Elephant Factory
M. With the mention of original paintings, I suddenly remembered that incident about the scroll painting.
M. Hmm ... then you used Another Attack of Hei Ho: Murakami Ashido as the theme. The so-called spillover method!
A. Its really an amazing book!
The Pictures Of Novels versus That Of Short Fiction
A. The so-called "genuine/ legitimate circles.";
A. Dare you mention that! You sent your cat with a bell to watch over me!
A. What do you think they might guess? (smiles)
M. I belong to the talkative and troublesome type. I asked you to use words for expression.
A. It would be much easier if one could neglect everything but simply draw. But it seems that I was pushed by something to produceuncommon works!
M. But thats really terrific! Last time we two spent our holidays at the Hot Springs. I found in my room a painting resembling yours. But thatwas produced by an 80-year-old painter having accumulated decades of experience! But the design is really not much different from yourswith only 40 years of experience!
A. The first time we worked together!
A. When they told me they decided to use Firefly, Burn The Barn and Other Stories as the book title, I copied it immediately andreproduced it many times until the deadline was near. Finally I still found the first sketch most satisfactory. It seems that I lack profession!(smiles)
A. That tea bowl. I have a special favour toward the shapes of tea bowls or small porcelain teapots. Particularly those traditional and sturdyteapots which exhibit the Japanese style of beauty.
M. Just five minutes, to be exact!
A. In a certain cafe in Sendagaya -- the one introduced by you.
A. I felt the same as you did. Im only an illustrator. Its so embarrassing to be called a painter who has his own album. Were such a nicematch!
A. Its unplanned, careless coalition!
A. Yes! Oh, the first book ought to be A Slow Boat To China!
The Incident of The Scroll Painting ? Sudden Attack by a Cat
A. Hmm ...
A. Thus I felt the real pressure! I tried painting on those papers, and found the quality of be excellent!
M. You mean Part Time News? Thats what I did afterwards ...
M. I didnt mean that! It was just the time for letting cats out!
A. You could acquire the same skill easily provided that you get yourself trained by the advertising company! (smiles)
A. On that day, I came to your new house. A very neat Japanese house, with those expensive sliding paper panels. The moment I startedpainting, there were thunders and rains, which remind me of those great scenes in movies!
M. I would rather you show off all your power! Itd have touched me!
M. Do you think our conversation topics very often have nothing to do with painting?
M. But Mizumuras circles have already reached that stage九_九_藏_书_网.
M. Makis drawings differ from yours in meaning. His are confined by time and space. Yours convey the feeling of "alienation." The reason formy asking Maki to design covers for my novels and you for my short fiction is not simply job devision. To write a long novel takes nearly a yearwith a concentration of energy and spirit. This involvement remains after the writing is finished. Thats why when I give the job to Maki, I wouldfeel that he accepts it with care. On the other hand, I could write several short pieces without much thinking. When I ask you to designafterwards, usually you would accept it lightly, listen to my explanations and then finish it. It is from that time onwards that I start collectingthe fragmentery drafts. Therefore I choose to ask you to design covers for my short fiction, and let you "generalize" the whole collection ofshort stories.
M. Mizumuras circles will become so famous sooner or later.
M. I agreed too! (laughs) But that cover is excellent and enduring. At first the book belong to the library collection series. Later it waspublished as a separate volume. The cover looks even better with its area reduced.
A Conversation betweenMURAKAMIHaruki andANZAIMizumaru
M. Something wrong about that! The original meaning would be lost without the whip!
A. And right after the Hei Ho: Murakami Asahido ...
M. I also like the nostalgic mood, something resembling books published in Shouwa 30s!
A. Ha! Ha! (laughs)
A. Yes! I remember that picture was called "The Sunset In The Mirror"!
A. It always seems to me inappropriate to employ a sharp mode of painting for the works of Murakami, especially his short fiction. Yetsomehow the more you wish not to make yourself stand out, the clearer you depict yourself! I was finally at ease after I received the phonecall from the editor telling me that Murakami liked the effect!
A. Most of them were separate volumes, like the package of Suzuki Shintarous books.
M. That happened just after "White Christmas On The Battlefield"!
A. They asked me to use a gun, instead of a whip to surround the title, which would look simpler. But I felt ...
A. Yet sometimes I too feel I could capture what others want easily. I remember once you asked me to design for Firefly, Burn The BarnAnd Other Stories. You wanted to choose words as the main theme. It happens that I had wanted to try 九_九_藏_书_网that method too.
A. And though it didnt take me much time painting ...
A. I wanted to draw Late Circle a long time ago, and so drew it this time. Never did I realize that you got this title, too!
Co-operating For The First Time
I felt uneasy about that, and didnt wish others to watch when I was painting. You are very considerate, and left all to me. I thought I would notseem serious enough if I finish painting so quickly. After brooding for a while, my eyes suddenly fell on the contents of the newspapers aboutthe third victory of Sino-Japanese Dragons. I got so interested and started reading it ...(laughs) Where did you get those old papers?
M. Actually, I used to have an idea in my mind everytime I ask for help. Only I fail to convey them completely with my own words. It was thesame when I asked for your help.
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M. Youve got pretty strong intuition! You catch the demands and whatever ideas in others mind, and hit on that right away. Thats why Inever have to worry but to leave all to you.
A. It seems so.
A. Writing columns for magazines?
M. No no no - you did a good job and I like it so much. ... What did we do later? Oh! Was it Hei Ho: Murakami Asahido? Very much Japanesecover!
A. It exhaused the same amount of energy as in running thousands of meters!
M. Really!?
M. I didnt recognize your work even.
M. Thats terrific!
A. When I was reading, you came in! Its so embarassing!
M. For Happy End Of Elephant Factory, the illustrations and essays were done separately.
A. Do you mean I only know how to paint circles?!
cover, and it did receive a lot of good comments! Yet short fiction is different from novels. Therefore I also wish to invite some other paintersto help me. So I thought of you Mizamaru Seian. At that time our works ...
A. I hid that deliberately!
A. If we substitute "Elephant Factory" by "Battlefield," itd be exactly "White Christmas On The Battlefield"! (smiles) But for this book, I hadnever read any of your works before I started producing my illustrations!
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A. In fact, I had never scroll painted for others. Since you invited me early, I had to accept it. I told myself I must do a g
99lib•netreat job, though attimes I thought of being sloppish. Nobodys going to discover that! (laughs) Anyway, I pretended to be an expert from the beginning, like askingquestions on the quality of the paper. I never expect you to bring the paper samples to me! (laughs)
A. I agree! (laughs)
M. In the past history, only those painters belonging to noble families could produce real circles.
M. Makis both a cartoonist and painter himself. Its really courageous of me in asking him to design the cover for me!
M. A Slow Boat To China, then Firefly, Burn The Barn and Other Stories ...
M. Later I invited you be to design the cover for me. But before that I had done something more ...
A. Hmm ... many people are really troublesome, wanting this and that. But you do not belong to that type. You voice out your idea at the start.Then you stop saying anything more but leave all to me.
A. You were so bold!
M. Oh yes! Thats interesting!
M. Yet surprisingly, they match!?
M. I was too keen on imploring Sasaki Maki to help me that I thought of nothing else. It turned out that I myself was very satisfied with the
M. At last you gave the picture to me.
M. Thats so!
M. I wrote several short stories in the past. Though Id never thought of getting them published, I include them here this time. For instance, Late-Circle My Own Advertisement, A Day In The Life. Also My Name is Arch.
M. A good business?!
A. Thats the way I feel too. Everytime I draw, I fail to translate my feeling into words. I only want to extract the lines in my drawings I regardas most sensational. Of course I throw all my emotions into all other colors. I get satisfied only if the result produce a completely newimpression!
A. "Letting cats"? I remember how I screamed for help!
M. We had a good time chatting even before that!
A. Oh, about the scroll painting!
M. Many people complain that its too challenging to design the cover for my works.
M. It should be Another Bakery Attack!
M. I thought you could not allow others to watch you painting, like the story of Night Crane. I never guess you were reading! (laughs) Iremembered later you took only five minutes to finish the scroll painting! A four-sided scroll painting, to be exact. To tell the truth, were youthat well-planned or did you jerry-build!?
M. Those apple and orange on the scroll were originally intended to be sun and moon. But they are what I perceive them to be!