Tämä sivusto käyttää evästeitä palvelujen toimittamiseen, toiminnan parantamiseen, analytiikkaan ja (jos et ole kirjautunut sisään) mainostamiseen. Käyttämällä LibraryThingiä ilmaiset, että olet lukenut ja ymmärtänyt käyttöehdot ja yksityisyydensuojakäytännöt. Sivujen ja palveluiden käytön tulee olla näiden ehtojen ja käytäntöjen mukaista.
It begins simply enough: A twenty-something advertising executive receives a postcard from a friend, and casually appropriates the image for an insurance company's advertisement. What he doesn't realize is that included in the pastoral scene is a mutant sheep with a star on its back, and in using this photo he has unwittingly captured the attention of a man in black who offers a menacing ultimatum: find the sheep or face dire consequences. Thus begins a surreal and elaborate quest that takes our hero from the urban haunts of Tokyo to the remote and snowy mountains of northern Japan, where he confronts not only the mythological sheep, but the confines of tradition and the demons deep within himself.… (lisätietoja)
cpav55: Dance Dance Dance (Dans Dans Dans) maakt met Pinball 1973 en De jacht op het verloren schaap min of meer deel uit van de serie, maar het zijn wel losstaande verhalen.
Good straight-forward Murakami. A little less labyrinthine, perhaps not quite so assured, but as it's such an early one that's understandable. If new to Murakami, I think you'd do better starting with one of his later novels. This one is good, but it feels a little less distinctive than his later books. ( )
Ripeto, ci sono cose che non si possono spiegare in due parole. Ma come ha detto Nietzsche, anche gli dèi ammainano la loro bandiera davanti alla noia... Il succo del discorso è questo, insomma. (32)
Si può dire che noi esseri umani vaghiamo senza meta sul continente della casualità, come i semi alati di qualche specie vegetale portati da una capricciosa brezza primaverile. Tuttavia si può anche sostenere che la casualità non esiste. Ciò che è accaduto è accaduto, senza se e senza ma, e ciò che è di là da venire, è di là da venire. Insomma, la nostra fuggevole esistenza è stretta fra quanto abbiamo alle spalle e il nulla che abbiamo davanti, e non c’è posto né per il caso né per l’eventualità. (52)
Il mondo... questa parola mi fa sempre pensare a un’enorme tavola rotonda tenuta su con sforzo spasmodico da elefanti e tartarughe. Gli elefanti non capiscono il ruolo delle tartarughe, le tartarughe non capiscono il ruolo degli elefanti, e sia gli uni che le altre non capiscono a cosa serva il mondo. (83)
Già, ma se non la troviamo, quella pecora, non sapremo piú dove andare a posare le nostre ossa. Può darsi che ci stiamo cacciando in una bella grana, che ci tocchi vagare da un posto all’altro per tutta la vita. (123)
C’è un posto per la pecora di Murakami in una ipotetica «arca letteraria», insieme allo scarafaggio di Kafka, i maiali di Orwell, l’elefante di Saramago e Moby Dick. (269) ( )
Having read two previous novels (Killing Commendatore, 1Q84), the humor in the story came as a surprise. Bearing resemblance to Monty Python, the nameless characters are a true circus as is the journey to find the 'mystery sheep'. A Sheep Professor, the Boss and 'girl with nice ears' raise eyebrows, while the narrative reminds the reader of a detective story, which is odd since the central character is in advertising. Murakami definitely shows his chops with fantasy when the story nears completion, which given his history is to be expected. If you like the unusual with dabs of humor and more importantly don't object to 'sheep stories', you'll enjoy this book! ( )
Tiedot englanninkielisestä Yhteisestä tiedosta.Muokkaa kotoistaaksesi se omalle kielellesi.
I went back to the riverside road, and by the time I'd managed to catch a taxi the rain was coming down in a drizzle. To the hotel, I said.
"Here on a trip?" asked the old driver.
"Uh-huh."
"First time in these parts?"
"Second time," I said.
There are symbolic dreams — dreams that symbolize some reality. Then there are symbolic realities — realities that symbolize a dream. Symbols are what you might call the honorary town councillors of the worm universe. In the worm universe, there is nothing unusual about a dairy cow seeking a pair of pliers. A cow is bound to get her pliers sometime. It has nothing to do with me.
Yet the fact that the cow chose me to obtain her pliers changes everything. This plunges me into a whole universe of alternative considerations. And in this universe of alternative considerations, the major problem is that everything becomes protracted and complex. I ask the cow, "Why do you want pliers?" And the cow answers, "I'm really hungry" So I ask, "Why do you need pliers if you're hungry?" The cow answers, "To attach them to branches of the peach tree." I ask, "Why a peach tree?" To which the cow replies, "Well, that's why I traded away my fan, isn't it?" And so on and so forth. The thing is never resolved, I begin to resent the cow, and the cow begins to resent me. That's a worm's eye view of its universe. The only way to get out of that worm universe is to dream another symbolic dream.
The place where that enormous four-wheeled vehicle transported me this September afternoon was surely the epicenter of the worm universe. In other words, my prayer had been denied.
I took a look around me and held my breath. Here was the stuff of breath taking.
To sleep with a woman: it can seem of the utmost importance in your mind, or then again it can seem like nothing much at all. Which only goes to say that there's sex as therapy (self-therapy, that is) and there's sex as pastime.
There's sex for self-improvement start to finish and there's sex for killing time straight through; sex that is therapeutic at first only to end up as nothing-better-to-do, and vice-versa. Our human sex life — how shall I put it? — differs fundamentally from the sex life of the whale.
We are not whales — and this constitutes one great theme underscoring our sex life.
"Let me be as frank as possible with you," the man spoke up. his speech had the ring of a direct translation from a formulaic text. his choice of phrase and grammar was correct enough, but there was no feeling in his words.
"Speaking frankly and speaking the truth are two different things entirely. Honesty is to truth as prow is to stern. Honesty appears first and truth appears last. The interval between varies in direct proportion to the size of the ship. With anything of size, truth takes a long time in coming. Sometimes it only manifests itself posthumously. Therefore, should I impart you with no truth at this juncture, that is through no fault of mine. Nor yours."
"I lit up a second cigarette and ordered another whiskey. The second whiskey is always my favorite. From the third on, it no longer has any taste. It's just something to pour into your stomach."
It begins simply enough: A twenty-something advertising executive receives a postcard from a friend, and casually appropriates the image for an insurance company's advertisement. What he doesn't realize is that included in the pastoral scene is a mutant sheep with a star on its back, and in using this photo he has unwittingly captured the attention of a man in black who offers a menacing ultimatum: find the sheep or face dire consequences. Thus begins a surreal and elaborate quest that takes our hero from the urban haunts of Tokyo to the remote and snowy mountains of northern Japan, where he confronts not only the mythological sheep, but the confines of tradition and the demons deep within himself.
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Google Books — Ladataan...
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