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Haruki Murakami - Killing Commendatore

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Killing Commendatore: summary, description and annotation

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The much-anticipated new novel from the internationally acclaimed, best-selling author of1Q84andColorless Tsukuru Tazaki and His Years of Pilgrimage,Killing Commendatoreis an epic tour de force of love and loneliness, war and art--as well as a loving homage toThe Great Gatsby--and a stunning work of imagination from one of our greatest writers.

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ALSO BY HARUKI MURAKAMI Fiction 1Q84 After Dark After the Quake Blind Willow - photo 1
ALSO BY HARUKI MURAKAMI
Fiction

1Q84

After Dark

After the Quake

Blind Willow, Sleeping Woman

Colorless Tsukuru Tazaki and His Years of Pilgrimage

Dance Dance Dance

The Elephant Vanishes

Hard-Boiled Wonderland and the End of the World

Kafka on the Shore

Men Without Women

Norwegian Wood

South of the Border, West of the Sun

Sputnik Sweetheart

The Strange Library

A Wild Sheep Chase

Wind/Pinball

The Wind-Up Bird Chronicle

Nonfiction

Absolutely on Music (with Seiji Ozawa)

Underground: The Tokyo Gas Attack and the Japanese Psyche

What I Talk About When I Talk About Running: A Memoir

THIS IS A BORZOI BOOK PUBLISHED BY ALFRED A KNOPF Translation copyright 2018 - photo 2

THIS IS A BORZOI BOOK PUBLISHED BY ALFRED A. KNOPF

Translation copyright 2018 by Haruki Murakami

All rights reserved. Published in the United States

by Alfred A. Knopf, a division of Penguin Random House LLC, New York. Originally published in Japan in two volumes, titled Kishidancho goroshi: Dai ichi-bu, Arawareru idea hen and Kishidancho goroshi: Dai ni-bu, Utsurou metafa hen by Shinchosha Publishing Co., Ltd., Tokyo, in 2017. Copyright 2017 by Haruki Murakami.

www.aaknopf.com

Knopf, Borzoi Books, and the colophon are registered

trademarks of Penguin Random House LLC

This is a work of fiction. Names, characters, places, and incidents either are the product of the authors imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.

Ebook ISBN9780525520054

Cover images: (blue canvas) Alis Photo /Alamy; (eyes) Science Photo Library /Alamy

Cover design by Chip Kidd

Title page images: (moon) Stocktrek Images, Inc./Alamy; (eye) Science Photo Library /Alamy

v5.3.2

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Contents
PART
THE IDEA MADE VISIBLE
Prologue

Today when I awoke from a nap the faceless man was there before me. He was seated on the chair across from the sofa Id been sleeping on, staring straight at me with a pair of imaginary eyes in a face that wasnt.

The man was tall, and he was dressed the same as when I had seen him last. His face-that-wasnt-a-face was half hidden by a wide-brimmed black hat, and he had on a long, equally dark coat.


I came here so you could draw my portrait, the faceless man said, after hed made sure I was fully awake. His voice was low, toneless, flat. You promised you would. You remember?

Yes, I remember. But I couldnt draw it then because I didnt have any paper, I said. My voice, too, was toneless and flat. So to make up for it I gave you a little penguin charm.

Yes, I brought it with me, he said, and held out his right hand. In his handwhich was extremely longhe held a small plastic penguin, the kind you often see attached to a cell phone strap as a good-luck charm. He dropped it on top of the glass coffee table, where it landed with a small clunk.

Im returning this. You probably need it. This little penguin will be the charm that should protect those you love. In exchange, I want you to draw my portrait.

I was perplexed. I get it, but Ive never drawn a portrait of a person without a face.

My throat was parched.

From what I hear, youre an outstanding portrait artist. And theres a first time for everything, the faceless man said. And then he laughed. At least, I think he did. That laugh-like voice was like the empty sound of wind blowing up from deep inside a cavern.

He took off the hat that hid half of his face. Where the face should have been, there was nothing, just the slow whirl of a fog.

I stood up and retrieved a sketchbook and a soft pencil from my studio. I sat back down on the sofa, ready to draw a portrait of the man with no face. But I had no idea where to begin, or how to get started. There was only a void, and how are you supposed to give form to something that does not exist? And the milky fog that surrounded the void was continually changing shape.

Youd better hurry, the faceless man said. I cant stay here for long.

My heart was beating dully inside my chest. I didnt have much time. I had to hurry. But my fingers holding the pencil just hung there in midair, immobilized. It was as though everything from my wrist down into my hand were numb. There were several people I had to protect, and all I was able to do was draw pictures. Even so, there was no way I could draw him. I stared at the whirling fog. Im sorry, but your times up, the man without a face said a little while later. From his faceless mouth, he let out a deep breath, like pale fog hovering over a river.

Please wait. If you give me just a little more time

The man put his black hat back on, once again hiding half of his face. One day Ill visit you again. Maybe by then youll be able to draw me. Until then, Ill keep this penguin charm.


Then he vanished. Like a mist suddenly blown away by a freshening breeze, he vanished into thin air. All that remained was the unoccupied chair and the glass table. The penguin charm was gone from the tabletop.

It all seemed like a short dream. But I knew very well that it wasnt. If this was a dream, then the world Im living in itself must all be a dream.


Maybe someday Ill be able to draw a portrait of nothingness. Just like another artist was able to complete a painting titled Killing Commendatore. But to do so I would need time to get to that point. I would have to have time on my side.

1
IF THE SURFACE IS FOGGED UP

From May until early the following year, I lived on top of a mountain near the entrance to a narrow valley. Deep in the valley it rained constantly in the summer, but outside the valley it was usually sunny. This was due to the southwest wind that blew off the ocean. Moist clouds carried by the wind entered the valley, bringing rain as they made their way up the slopes. The house was built right on the boundary line, so often it would be sunny out in front while heavy rain fell in back. At first I found this disconcerting, but as I got used to it, it came to seem natural.

Low patches of clouds hung over the surrounding mountains. When the wind blew, these cloud fragments, like some wandering spirits from the past, drifted uncertainly along the surface of the mountains, as if in search of lost memories. The pure white rain, like fine snow, silently swirled around on the wind. Since the wind rarely let up, I could even get by in the summer without air conditioning.

The house itself was old and small, but the garden in back was spacious. Left to its own devices it was a riot of tall green weeds, and a family of cats made its home there. When a gardener came over to trim the grass, the cat family moved elsewhere. I imagine they felt too exposed. The family consisted of a striped mother cat and her three kittens. The mother was thin, with a stern look about her, as if life had dealt her a bad hand.

The house was on top of the mountain, and when I went out on the terrace and faced southwest, I could catch a glimpse of the ocean through the woods. From there the ocean was the size of water in a washbowl, a minuscule sliver of the huge Pacific. A real estate agent I know told me that even if you can see a tiny portion of the ocean like I could here, it made all the difference in the price of the land. Not that I cared about an ocean view. From far off, that slice of ocean was nothing more than a dull lump of lead. Why people insisted on having an ocean view was beyond me. I much preferred gazing at the surrounding mountains. The mountains on the opposite side of the valley were in constant flux, transforming with the seasons and the weather, and I never grew tired of these changes.

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