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The Happy End of The Painter And The WriterA versatioweenMURAKAMIHaruki andANZAIMizumaru
M stands for MURAKAMI, A for ANZAI
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Co-operating For The First Time
M. Do you think our versation topics very often have nothing to do with painting?
A. It seems so.
M. We oried to discuss the topi the magazine, but didnt actually delve into it.
A. Hmm ...
M. We discussed that iain special n. A long time ago really. That was the Today magazine of Cultural Publicatioment.
A. Yes! I remember that picture was called "The Su In The Mirror"!
M. You mean the oh a dog in it? That was -
A. The first time we worked together!
M. We had a good time chatting even before that!
A. In a certain cafe in Sendagaya -- the oroduced by you.
M. Later I invited you be to design the cover for me. But before that I had done something more ...
A. Writing ns fazines?
M. You mean Part Time News? Thats what I did afterwards ...
A. Yes! Oh, the first book ought to be A Slow Boat To a!
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 sihe age of Galo. Only at that time very seldom did Sasaki drawcovers for books.
A. When I first looked at your book cover, it striked me as if I had known it somewhere. But I couldhe painter. Moreover, the covers bySasaki Maki really differ different from the styles of others. Theyre so fresh!
M. Makis both a cartoonist and painter himself. Its really ceous of me in asking him to design the cover for me!
A. You were so bold!
M. Really!
A. I agree! (laughs)
M. I was too keen on impl Sasaki Maki to<tt>藏书网</tt> help me that I thought of nothing else. It turned out that I myself was very satisfied with the
cover, and it did receive a lot of good ents! Yet short fi is different from novels. Therefore I also wish to invite some other paio help me. So I thought of you Mizamaru Seian. At that time our works ...
A. Very cartoonish!
M. They striked me as very special, though. And the result was so satisfactory.
A. In that period I got a special desire. I didnt want to draw the real self with plete clarity. So I tried to extract the outlines of mypictures, and produced effects like those of paper-cut works.
M. Yes, like paste drawings. At that time not so many people would try that method.
A. It was a hing for me too, and many did not discover that was my work.
M. I didnt reize your work even.
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The Pictures Of Novels versus That Of Short Fi
A. It always seems to me inappropriate to employ a sharp mode of painting for the works of Murakami, especially his short fi. 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 tellihat Murakami liked the effect!
M. Many people plain that its too challenging to design the cover for my works.
A. It would be much easier if one could everything but simply draw. But it seems that I ushed by something to produon works!
M. Actually, I used to have an idea in my mind everytime I ask for help. Only I fail to vey them pletely with my own words. It was thesame when I asked for your help.
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 pletely newimpression!
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. You could acquire the sa<dfn></dfn>me skill easily provided that you get yourself trained by the advertising pany! (smiles)
M. Thats terrific!
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 wao choose words as the main theme. It happens that I had wao try that method too.
M. I belong to the talkative and troublesome type. I asked you to use words for expression.
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.
M. Makis drawings differ from yours in meaning. His are fined by time and space. Yours vey the feeling of "alienation." The reason formy asking Maki to design covers for my novels and you for my short fi is not simply job devision. To write a long akes nearly a yearwith a tration of energy and spirit. This involvement remains after the writing is fihats why when I give the job to Maki, I wouldfeel that he accepts it with care. Oher 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 collegthe fragmentery drafts. Therefore I choose to ask you to design covers for my short fi, a you "generalize" the whole colle ofshort stories.
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Words And Tea Bowl
M. I wao try words from the start of Firefly. But the feeling produced would like books issued by the post-war Avant Garde ... (laughs)
A. Ha! Ha! (laughs)
M. I also like the nostalgic mood, something resembling books published in Shouwa 30s!
A. Most of them were separate volumes, like the package of Suzuki Shintarous books.
M. Oh yes! Thats iing!
A. Wheold 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)
M. A good business?!
A. To tell the truth, I really wrote dozens but still found the first ohe best.
M. I agreed too! (laughs) But that cover is excellent and enduring. At first the book belong to the library colle series. Later it ublished as a separate volume. The cover looks eveer with its area reduced.
A. Its hard to use words. Especially my words. I only tried.
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. That tea bowl. I have a special favour toward the shapes of tea bowls or small porcelais. Particularly those traditional and sturdyteapots which exhibit the Japayle of beauty.
M. At last you gave the picture to me.
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. Many people ent that its hard to guess what the book is about merely ole and the bowl. (smiles)
A. What do you think they might guess? (smiles)
M. A Slow Boat To a, then Firefly, Burn The Barn and Other Stories ...
A. And right after the Hei Ho: Murakami Asahido ...
M. It should be Another Bakery Attack!
A. At first I had thought of using Indiana Jones.
M. Hmm ... then you used Atack of Hei Ho: Murakami Ashido as the theme. The so-called spillover method!
A. They asked me to use a gun, instead of a whip to surround the title, which would look simpler. But I felt ...
M. Something wrong about that! The inal meaning would be lost without the whip!
A. Like those Cowboy pictures!
M. I really loved that painting so much, that I even thought of using the inal to decorate my new house!
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The I of The Scroll Painting ? Sudden Attack by a Cat
M. With the mention inal paintings, I suddenly remembered that i about the scroll painting.
A. Oh, about the scroll painting!
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 neers 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 neer (laughs) and had not even started drawing a single line (laughs)!
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 great job, though attimes I thought of being sloppish. Nobodys going to discover that! (laughs) Anyway, I preteo be an expert from the beginning, like askiions on the quality of the paper. I never expect you t the paper samples to me! (laughs)
M. I remember those samples too!
A. Thus I felt the real pressure! I tried painting on those papers, and found the quality of be excellent!
M. Of course! I bought them with much care!
A. On that day, I came to your new house. A very Japanese house, with those expensive sliding paper panels. The moment I startedpainting, there were thunders and rains, which remind me of those great ses in movies!
I felt uneasy about that, and didnt wish others to watch when I ainting. You are very siderate, a all to me. I thought I would notseem serious en<big>..</big>ough if I finish painting so quickly. After brooding for a while, my eyes suddenly fell on the tents of the neers aboutthe third victory of Sino-Japanese Dragons. I got so ied and started reading it ...(laughs) Where did you get those old papers?
M. Its great, wasnt it?!
A. When I was reading, you came in! Its so embarassing!
M. I thought you could not allow others to watch you painting, like the story of Night e. I never guess you were reading! (laughs) Iremembered later you took only five mio 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!?
A. Thats what I call the power of tration ... (laughs) I read the paper beforehand, which calmed me down! (laughs)
M. Really? (laughs)
A. And though it didnt take me much time painting ...
M. Just five mio be exact!
A. It exhaused the same amount of energy as in running thousands of meters!
M. But I didnt notice a single drop of sweat!
A. I hid that deliberately!
M. I would rather you show off all your power! Itd have touched me!
A. Anyway, its a painting which gives such pleasure!
M. You remember you plained being attacked by a cat? Its just because you dislike cats and dogs!
A. Dare you mention that! You sent your cat with a bell to watch over me!
M. I didhat! It was just the time for letting cats out!
A. "Letting cats"? I remember how I screamed for help!
M. I thought it was a bear which frightened you! But its only a cat!
A. I really love those scroll paintings, and had wao try that long ago. When I paihe feeling was so refreshing!
M. Those apple and e on the scroll were inally inteo be sun and moon. But they are what I perceive them to be!
A. The picture you mention roduced at my office. I produced many, in fact, and chose that as the best!
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 thatroduced 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. Using black paint for that round sun is so appropriate!
M. In the past history, only those painters belonging to noble families could produce real circles.
A. The so-called "genuine/ legitimate circles."
M. But Mizumuras circles have already reached that stage.
A. Do you mean I only know how to paint circles?!
M. Mizumuras circles will bee so famous sooner or later.
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Happy End Of Elephant Factory
M. For Happy End Of Elephant Factory, the illustrations and essays were done separately.
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 ied in w with me.
M. A long time ago people had asked me whether Id like to publish a colle of my ramblings too. Only I somehow got humiliated. Am I a? 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. I felt the same as you did. Im only an illustrator. Its so embarrassing to be called a painter who has his own albu<var>藏书网</var>m. Were such a ch!
M. I wrote several short stories in the past. Though Id hought 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.
A. I wao draw Late Circle a long time ago, and so drew it this time. Never did I realize that you got this title, too!
M. Thats so!
A. Its unplanned, careless coalition!
M. Really!?
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. That happened just after "White Christmas Otlefield"!
A. If we substitute "Elephant Factory" by "Battlefield," itd be exactly "White Christmas Otlefield"! (smiles) But for this book, I hadnever read any of your works before I started produg my illustrations!
M. Yet surprisingly, they match!?
A. Its really an amazing book!
M. Ought to describe it as a very rare book!
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