Review of: The City and Its Uncertain Walls, by Haruki Murakami

A listless, uninspired, passive young man. A brooding, unsatisfied, troubled young woman. Unrequited love. Jazz music. Cats. Occasional episodes of unremarkable lovemaking. Books. Unresolved plot strands. Magical realism. Moments of literary flourish that flirt with magnificence. Clocks. Fine writing. Insipid prose. Prolonged solitude. Mysterious circumstances. An earlobe fetish. Bizarre incidents unquestioned and unexplored. Beatles tunes. Ghosts. Quotidian monotony. Fantastical beasts. Technology, conspicuous in its absence. Imaginary OtherWorlds. Sophisticated metaphor. Anticlimactic endings.

If each of these descriptions was lettered on the twenty-five squares of a standard bingo card and you checked them all off, the result would be the elements that occur in all or most of the fiction of renowned Japanese author Haruki Murakami. I know this because I have, over the years, read them all. All the novels. All the short stories. For the afficionado like myself, Murakami has become something of an addiction that—like most addictions—begets both pleasure and pain. That is because, as every Murakami cult initiate is aware, the body of his work at once translates to genius and frustration, literature and pulp, the brilliant and the banal. And this is true too for his latest novel, The City and Its Uncertain Walls [published in Japan 2023; English translation 2024], a well-written if meandering and ultimately unsatisfying tale.

For the most part, the Murakami catalog falls into two distinct categories: standard literary fiction, like Norwegian Wood—his breakout bestseller of nostalgia and loss—and  magical realism, such as Kafka on the Shore, an extraordinary fusion of reality and fantasy. Had the former been my first read, I might not have gone back for more, because despite its superb craftmanship, it just didn’t suit my vibe. Instead, a random recommendation from a chatty barista pointed me to Kafka. I bought it. I devoured it. I was hooked.

I have long had a love affair with magical realism, sparked initially by encounters with Gabriel Garcia Marquez (One Hundred Years of Solitude) and nurtured in more recent times by Richard Flanagan (Gould’s Book of Fish). It’s a tricky genre, not easy to pull off elegantly. To my mind, its closest cousin is the objective correlative, a technique popularized by both Hemingway and Garcia Marquez, that has inanimate objects communicate mood and emotion. Magical realism takes a big step beyond that, typically inserting an episode of the fantastical, often teeming with irony and metaphor, into a narrative otherwise grounded in reality. At a certain point in One Hundred Years of Solitude, Garcia Marquez has it persistently rain upon the fictional town of Macondo without respite for four years, eleven months, and two days. In Kafka on the Shore, the main character encounters a pair of youthful World War II era Imperial soldiers in the forest who are stuck in time, decades after Hiroshima.

Another manifestation of magical realism constructs an alternate world that has characters slip between dual realities, either or both subject to supernational ingredients that are usually taken for granted by its inhabitants. That is the literary structure for Flanagan’s Gould’s Book of Fish, which blends and blurs the timelines of a twenty-first century Tasmanian con-man and a nineteenth century convict in what was then Van Dieman’s Land. So too in Murakami’s 1Q84, where a female assassin stalks dual dimensions, one remarkable for an earth that hosts two moons.

The latter style forms the framework for The City and Its Uncertain Walls. (Spoiler alert ahead!) This time around, a seventeen year old listless, uninspired, passive young man whose only companion is his pet cat falls for a sixteen year old brooding, unsatisfied, troubled young woman. She describes for him an imaginary OtherWorld of a walled city with shifting boundaries dominated by a large clock with no hands, where people who cast no shadows cohabitate with fantastical beasts—in this case unicorns who perish at an alarming rate and are cremated in burn pits outside the city walls by a powerful figure, the “Gatekeeper.” Then the girl disappears from his life, and he pines for her. Through mysterious circumstances, one version of the protagonist somehow manages to cross over to the dreamscape of the walled city and is admitted by the Gatekeeper, who separates him from his shadow and damages his eyes in such a way that now he is capable of reading dreams stored at the city’s library, where he is installed as the “Dream Reader,” as the girl once predicted. The girl, who has not aged, also works at the library, but has no memory of him. Meanwhile, his other incarnation in the “real” world is so paralyzed by unrequited love that he can never free himself of longing for the girl, even as he turns to middle age in a life marked by prolonged solitude. He quits his job and moves far away to take a position as head librarian in a remote village where he manages a collection of books rather than dreams. Although set in contemporary times where cell phones and computers abound, in this particular library technology is conspicuous in its absence. But magical realism intrudes here too. Bizarre incidents go unquestioned and unexplored. Then it turns out that his predecessor, who frequents the library to offer anecdotes and advice, is actually a ghost, which upon discovery is treated as oddly unremarkable. Ultimately, the novel disappoints. What at first makes for a compelling narrative that promises to blaze a trail of fascinating possibilities within each of the dual worlds, instead wanders around interminably in successive chapters, fine writing punctuated by insipid prose, and finally narrows to multiple paths of unresolved plot strands and a frustrating anticlimax. Along the way, there is Beatles symbolism as well as a bizarre variation on the earlobe fetish. And that’s a BINGO!

For me, it was quite a letdown. The grand attempts at metaphor strike as forced, at times even cliché. Again and again, Murakami seems to try too hard. Early on, I began to compare the boy’s unresolved longing for the girl to the star-crossed lovers of Garcia Marquez’s Love in the Time of Cholera. So I winced when the character Koyasu casually cites Love in the Time of Cholera in conversation, as if rubbing the reader’s nose in it. I then face-palmed when she defined “magical realism” for us. I wondered how Murakami could go so wrong.

A partial explanation can be found in the “Afterword,” where the author reveals that this book is a reworking of a novella he published in 1980 (but never permitted to be reprinted), and the mystical city is closely related to the one he fashioned in his 1985 novel Hard-Boiled Wonderland and the End of the World. He admits he was dissatisfied with the original story and had always hoped to expand it. To my mind, he should have known better. The writer of the novella was in his early thirties; the author of the novel in his early seventies. They are at once the same man but yet very different men, separated by four decades. Vanity projects often fail. Failure is too strong a word here, but this one certainly falls short.

It was Murakami’s first novel in six years, and I had long anticipated it, especially because I rather disliked his previous two, Killing Commendatore, and Colorless Tsukuru Tazaki and His Years of Pilgrimage. I was hoping instead for something along the lines of magnificence found between the covers of The Wind-Up Bird Chronicle, Sputnik Sweetheart, 1Q84, or, of course, Kafka on the Shore. That was not to be. And yet … And yet, it is not a terrible novel. Despite the flaws—and these are manifold—this work remains thought-provoking and, certainly for Murakami fans, well worth the time. While I mourn the missteps and the unrealized potential, I do not regret reading it.

 

NOTE: I have reviewed other works by Murakami here:

Men Without Women

South of the Border, West of the Sun

Hear the Wind Sing & Pinball 1973

After the Quake

Sputnik Sweetheart

Blind Willow, Sleeping Woman

Killing Commendatore

NOTE: For the uninitiated, a free taste of Murakami—his outstanding 2014 short story “Scheherazade” from Men Without Women—is available online at: http://www.newyorker.com/magazine/2014/10/13/scheherazade-3