{"id":88662,"date":"2015-08-10T09:17:13","date_gmt":"2015-08-10T13:17:13","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=88662"},"modified":"2015-08-10T12:50:17","modified_gmt":"2015-08-10T16:50:17","slug":"kafka-on-the-shore-stage-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/08\/10\/kafka-on-the-shore-stage-and-other-news\/","title":{"rendered":"Kafka on the <del>Shore<\/del> Stage, and Other News"},"content":{"rendered":"<div id=\"attachment_88663\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/kafka-2900x1800-2-credit-takahiro-watanabe.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-88663\" class=\"wp-image-88663\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/kafka-2900x1800-2-credit-takahiro-watanabe.jpeg\" alt=\"KAFKA-2900x1800-2-credit-Takahiro-Watanabe\" width=\"600\" height=\"384\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/kafka-2900x1800-2-credit-takahiro-watanabe.jpeg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/kafka-2900x1800-2-credit-takahiro-watanabe-300x192.jpeg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-88663\" class=\"wp-caption-text\">From <i>Kafka on the Shore<\/i>.\u00a0Photo: Takahiro Watanabe<\/p><\/div>\n<ul>\n<li>\u201cIt wasn\u2019t easy to interest glossy magazines in poverty in the 1980s and 90s,\u201d Barbara Ehrenreich writes: \u201cI once spent two hours over an expensive lunch\u2014paid for, of course, by a major publication\u2014trying to pitch to a clearly indifferent editor who finally conceded, over decaf espresso and cr\u00e8me brulee, \u2018OK, do your thing on poverty. But can you make it upscale?\u2019 \u201d That was then. Today, things are even worse: \u201cNow there are fewer journalists on hand at major publications to arouse the conscience of editors and other gatekeepers. <a href=\"http:\/\/www.theguardian.com\/commentisfree\/2015\/aug\/06\/america-rich-write-about-poverty\" target=\"_blank\">Coverage of poverty accounts for less than 1% of American news<\/a>.\u201d<\/li>\n<li>How New York Review Books is <a href=\"http:\/\/www.nytimes.com\/2015\/08\/08\/books\/new-york-review-books-fills-a-niche-by-reviving-forgotten-works.html?_r=0\" target=\"_blank\">perfecting the art of the reissue<\/a>: \u201cIt was our intention to be resolutely eclectic, and build our classics series as different voices build a fugue \u2026 We set out to do the whole mix of things that a curious person might be interested in, which would take you back and forth from fiction to certain kinds of history \u2026 We were picking low-hanging fruit, only no one knew the fruit was out there, hanging from the branches.\u201d<\/li>\n<li>In 2003, the Russian writer Kirill Medvedev lifted the copyright from his publications, putting them all into the public domain worldwide. Twelve years later, <a href=\"http:\/\/www.englishpen.org\/pen-atlas\/copyright\/?utm_content=buffer2396d&amp;utm_medium=social&amp;utm_source=twitter.com&amp;utm_campaign=buffer\" target=\"_blank\">he defends his choice<\/a>:<em> \u201c<\/em>Do you, as a poet or writer or musician, really want to go the way of prohibitions, fences, barbed wire and guard towers to defend texts and music the way some would defend private cottages, private forests, private fields and private earth?\u201d<\/li>\n<li>Nearly a century after it was composed, \u201cThe Love Song of J. Alfred Prufrock\u201d remains <a href=\"http:\/\/www.nytimes.com\/2015\/08\/09\/magazine\/letter-of-recommendation-the-love-song-of-j-alfred-prufrock.html?smid=tw-nytmag\" target=\"_blank\">the quintessential adolescent poem<\/a>: \u201cEliot himself was barely out of his teens when he wrote it, uncannily in touch with the exquisite torments of hypersensitive youth, and with the peculiar burden of seeing through everything without having experienced much of anything. This was a different species of verse. It exuded cinematic urgency rather than exam-ready \u2018messages\u2019 and \u2018themes.\u2019 It was full of sudden rhythmic jolts and colliding tones, and could make emotional pirouettes on a vowel. Unapologetic, brash, discontinuous, \u2018Prufrock\u2019 taught me the thrill of disorientation in language. No matter how often I returned, it was never tamped down by classroom-style explanations. It grew. It seemed to understand me more than I understood it.\u201d<\/li>\n<li>Murakami\u2019s novel <em>Kafka on the Shore<\/em> has been adapted for the stage at Lincoln Center by Yukio Ninagawa: the production is \u201c<a href=\"http:\/\/www.nybooks.com\/blogs\/nyrblog\/2015\/aug\/05\/downpour-fish-ninagawa-murakami-kafka\/\" target=\"_blank\">a collage of modern, neon-lit, commercialized, glitzy Japan<\/a>, haunted by dark, mostly unspoken memories of World War II, including the atom bomb, shown in what looks like a stylized advertising logo \u2026 [it\u2019s] still unmistakably Japanese: stylized, poetic, comical, violent, full of spectacular effects, and often exquisitely beautiful to look at.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>\u201cIt wasn\u2019t easy to interest glossy magazines in poverty in the 1980s and 90s,\u201d Barbara Ehrenreich writes: \u201cI once spent two hours over an expensive lunch\u2014paid for, of course, by a major publication\u2014trying to pitch to a clearly indifferent editor who finally conceded, over decaf espresso and cr\u00e8me brulee, \u2018OK, do your thing on poverty. [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[19079,2081,19082,10575,19080,187,19081,15537,1772,19083],"class_list":["post-88662","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-barbara-ehrenreich","tag-haruki-murakami","tag-kafka-on-the-shore","tag-kirill-medvedev","tag-new-york-review-books","tag-poverty","tag-prufrock","tag-reissues","tag-t-s-eliot","tag-yukio-ninagawa"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Murakami\u2019s \u201cKafka on the Shore\u201d Comes to the Stage<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2015\/08\/10\/kafka-on-the-shore-stage-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kafka on the Shore Stage, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"August 10, 2015 \u2013 \u201cIt wasn\u2019t easy to interest glossy magazines in poverty in the 1980s and 90s,\u201d Barbara Ehrenreich writes: \u201cI once spent two hours over an expensive\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2015\/08\/10\/kafka-on-the-shore-stage-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2015-08-10T13:17:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2015-08-10T16:50:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/kafka-2900x1800-2-credit-takahiro-watanabe.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"640\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/08\/10\/kafka-on-the-shore-stage-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/08\/10\/kafka-on-the-shore-stage-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"Kafka on the Shore Stage, and Other News\",\"datePublished\":\"2015-08-10T13:17:13+00:00\",\"dateModified\":\"2015-08-10T16:50:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/08\/10\/kafka-on-the-shore-stage-and-other-news\/\"},\"wordCount\":477,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2015\/08\/10\/kafka-on-the-shore-stage-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/08\/kafka-2900x1800-2-credit-takahiro-watanabe.jpeg\",\"keywords\":[\"Barbara Ehrenreich\",\"Haruki Murakami\",\"Kafka on the Shore\",\"Kirill Medvedev\",\"New York Review Books\",\"poverty\",\"Prufrock\",\"reissues\",\"T. 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