Translated by Ted Goossen
“Our worlds are all jumbled together—your world, my world, the sheep man’s world. Sometimes they overlap and sometimes they don’t.”
A boy visits the library on his way home after school to return his books and pick up some new reading material. A librarian he doesn’t recognize refers him down to the basement, where his curiosity and quest for knowledge about tax collection in the Ottoman Empire land him in hot water. Entrapped in the “Reading Room” by a bald old man who plans to fatten up his brains with knowledge before eating them, the boy must find a way to lull his jailor into complacency, and escape without leaving behind the sheep man or the mute girl who are also locked in the labyrinth beneath the library.
Libraries are a recurring theme in Haruki Murakami’s fiction, but rarely are they the benign institutions we are familiar with. They tend to have a certain power, but also a certain darkness. In The Strange Library, the sheep man gives voice to what may be the source of both the power and the suspicion Murakami imbues them with: “If all they did was lend out knowledge for free, what would be the payoff for them?” From this cynicism, Murakami spins a dark and phantasmagoric tale of entrapment and escape. Narrated in a simple, straightforward style that counterpoints the bizarre events, The Strange Library is surreal in the manner of a dream or, in this case, a nightmare. The strangeness goes mostly unremarked within the story and indeed seems almost natural, but when you try to explain it to someone else it sounds completely nonsensical.
This book was first published in Japan in 2005, but is being released in English for the first time, with art direction and design by Chip Kidd who has fashioned it with more attention to form than function. (NB: The edition being published in the UK by Harvill Secker has a different design). Two overlapping cover flaps open up and down, while the pages inside open left to right as usual. The cover flaps need to be folded back and held behind the book while reading, making this slim, trade-sized volume surprisingly ungainly. The text is bulked out with grainy illustrations, and though the chapters are numbered, the pages are not. While the design is interesting, it makes the book somewhat awkward to read. The final paragraph of the book is easy to miss, centered alone on the final page of the book in much smaller type than the rest of the text. A lot has gone into the visual design of the book, but the attention is more to aesthetics than utility.
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Also by Haruki Murakami:
Hard-boiled Wonderland and the End of the World
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