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1 von 1 Kunden fanden die folgende Rezension hilfreich:
4.0 von 5 Sternen
., 14. Juni 2000
To me, 'South of the Border, West of the Sun' felt like a very minimal 'Wind-Up Bird Chronicle,' with the focus placed strictly on the love-story aspect of things. In both books, numerous bizarre little things pop up and then disappear without much explanation (the money in the envelope, etc.), and the ending tends to seem to be as much about what Murakami *neglects* to provide you with as with what he *does.* To some extent Murakami is very thought-provoking in this way. But to some extent, in the case of both this and Wind-Up Bird, I couldn't help but feel that he just didn't entirely understand what he wanted to do with his story. Certain aspects of the story can be left hanging in the air in order to deliberately create a particular effect, it's true--but I wonder if Murakami doesn't overdo this technique a bit? The envelope with the money is a good example: a small oddity that is never really explained or explored, it seems thrown in strictly to generate speculation; to, when paired up with other small oddities like it, create that surreal "Murakami effect" while, at heart, remaining just a little too arbitrary. I *like* these small oddities I speak of, but a part of me pines to see Murakami weave a new tale into another startlingly cohesive, strangely powerful anti-climax, like that of 'Hard-Boiled Wonderland and the End of the World.' Not that I consider 'Hard-Boiled' Murakami's crowning acheivement or anything, but it's the one book of his I've so far read that, while still displaying all of the usual Murakami eccentricities, did genuinely leave me 100% satisfied. Not because everything was explained and nice and neat and perfect, but because it felt very competently *orchestrated* in the way it used its own imperfections to highlight its bizarre and unexpected ending (particulary in the 'End of the World' chapters.) By contrast, 'SOB,WOS' feels, to some degree, like it uses its (deliberate) imperfections as an excuse for a lack of clarity. It is still genuinely thought-provoking, but in some respects I guess I'm just beginning to feel like Murakami has it a little too easy. His books are all very similar, and have employed the same techniques again and again. They are *fascinating* techniques, but I'd like to see ... a more ambitious employment of them, perhaps? 'Wind-Up Bird' was a more ambitious employment in many respects, but Murakami refused to bring his intriguing web of surreal juxtapositions and cross-analogies together for optimum impact. He refuses again in 'SOB,WOS,' but it's a smaller and simpler work. Which on the whole almost makes it a step back. I love Murakami and I enjoy all of these techniques I'm discussing. I just want to see him build upon what he has, and after 'SOB,WOS' I just don't feel like he is. I'm nagged by the suspicion he's using his own stylized brand of ambiguity as something of an easy way out. I know that that ambiguity, and the refusal to give the reader what they expect and want, are absolutely vital to what Murakami is all about--and that is fine. I just feel as though Murakami dawdles a bit as an author: he has his own very unique thing going on, but I've seen it MANY times over now, manifest in more or less the same kinds of images, the same kinds of ideas, and in the same attitude; he seems either unwilling to do anything particularly new, or unable. Still though, even with this said, SOBWOS was well worth my time and ought to be well worth any interested readers.
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von Haruki Murakami
von Haruki Murakami
von Haruki Murakami
von Haruki Murakami
von Haruki Murakami
