Name: Natalya Zaychenko

Student No: 2114674

Musico-literary intermediality in the novel Norwegian Wood by Haruki Murakami

Introduction

Haruki Murakami appears to be one of the most popular Japanese artists in

contemporary literature. His books are translated into more than 40 languages and sell in

millions to people of different gender, age and culture. Japanese readers perceive Murakami‘s

writing as largely westernized, which makes it extraordinary along with the surreal plots and

sensuality, while the Western audience sees its ―exoticness‖ in the depiction of the Japanese

lifestyle in the way, which is easily accessible and understandable. What makes Murakami‘s

books so popular? It can be the mixture of fantasy and reality, fluidity of the writing, complex

characters, which are very similar to real people. The books can be analyzed on various levels:

for those readers who see only the superficial layer, the stories may appear extremely vague and

dream-like, but those, who are able to see the symbols employed by the author, can take a closer

look at the parallel worlds of the story and track the same characters in their different

incarnations through several books.

One of the most important layers of Murakami‘s stories is music. It‘s enough to take a

look at the titles of his books to understand that. They invoke either classical music: The Wind-

Up Bird Chronicle: The Thieving Magpie (Rossini's opera overture); Bird as Prophet ( a piano

piece by Robert Schumann The Prophet Bird), The Bird-Catcher (a character in Mozart's opera

The Magic Flute),- or songs: Dance, Dance, Dance ( The Dells' song); Norwegian Wood (The

Beatles' song), and South of the Border, West of the Sun (the first part being the title of a song by
Nat King Cole)1. This, of course, is not a mere coincidence. It the interview that Haruki

Murakami gave to the New York Times, he confessed:

I never had any intention of becoming a novelist — at least not until I

turned 29. <…>The professional area I settled on was music. I worked
hard, saved my money, borrowed a lot from friends and relatives, and
shortly after leaving the university I opened a little jazz club in Tokyo.
<…> I kept this up for seven years. Why? For one simple reason: It
enabled me to listen to jazz from morning to night. <…> Practically
everything I know about writing, then, I learned from music. 2

Both short stories and novels of the author are pierced with references to music. An

inattentive reader might simply overlook those, since they usually do not interfere with the plot,

but help the reader indulge in the atmosphere of the book and understand the inner world of the

characters. However, attention to music in Murakami‘s writing can alter its perception, make it

more profound.

One of the author‘s most ―musical‖ books is Norwegian wood published in 1987. It

became a turning point in Murakami‘s career, as it sold millions of copies in Japan bringing

national recognition to the author3. The book is considered to be one of the most realistic novels

written by Murakami, who himself admits that writing such a ―straight boy-meets-girl story‖ was

―an adventure‖ to him4. The plot of the novel is following: 18 year-old Toru Watanabe studies in

Tokyo. One day, he meets on the train Naoko, a girlfriend of his friend, Kuzuki, who committed

suicide two years before. They start spending time together as three of them did, when Kuzuki

was alive. Naoko celebrates her twentieth birthday with Toru, and by the end of the night they

have sex. After a while, Naoko goes to a mental health sanatorium called Ami Hostel situated far

away in the mountains. Meanwhile, Toru meets Midori, a lively and joyful girl, who he starts

spending time with. Later, Toru visits Naoko at the sanatorium, where he also meets Reiko, an

older woman, who plays guitar and sings songs for them. After Toru comes back, their

relationship with Midori develops further, but in a few months he learns that Naoko committed

1
Wikipedia, “Haruki Murakami”; Chozick
2
Murakami 2007
3
Thompson 2001
4
Rubin 2005, p. 149; Murakami
suicide. Toru feels devastated since he broke the promise given to Naoko. He leaves Tokyo and

travels around Japan for a month without explaining anything to Midori. When he comes back,

Reiko pays him a visit, and they organize a ―funeral‖ for Naoko - they sing her favorite songs to

guitar and in the end have sex. The novel finishes with the scene where Toru calls Midori.

As I already mentioned, the novel can be called very ―musical‖: it contains numerous

references to various pieces of music and songs, quotations of songs and some musical features.

Thus, it can be a rich source for the analysis from the point of musico-literary intermediality5. In

the following section I will provide the approach adopted for the analysis, which was proposed

by Werner Wolf. I will analyze various elements of musico-literary intermediality present in the

English version of the novel, translated from Japanese by Jay Rubin, and conclude whether the

novel can be called ―musicalized fiction‖ or not.

1. Wolf‟s classification of musico-literary intermediality

In the book The Musicalization of Fiction: A Study in the Theory and History of

Intermediality Werner Wolf develops an extended classification of various forms of

intermediality and applies it to the interrelation of music and literature 6. The basic forms of

musico-literary intermediality include overt (or direct) intermediality, which is characterized by

the equal use of both musical and verbal signifiers (―music and literature‖), and covert/indirect

intermediality, which uses signifiers of only one of the media, while the other medium is present

in the form of reference. The covert intermediality is subdivided into two types depending on the

dominant medium: “literature in music” and “music in literature”. This paper deals with the

latter type of musico-literary intermediality, namely music in literature.

The main modes of covert musical presence in literature are thematization (―telling‖)

and imitation (―showing‖). Thematization can be textual, paratextual or contextual. Textual

―telling‖ occurs in literature, when music is generally referred to in descriptions, discussions or

narration. Paratextual thematization includes references to music in the title of a book, chapter-

5
Wolf 1999, p. 51
6
Wolf 1999, p. 70
titles, epigraphs, forwords and afterwords. Music can also be referred to contextually, that is not

in the analyzed work, but in the author‘s letters, essays or interviews concerning the interrelation

of music and literature in his writing. As for music imitation, it may occur in texts in the forms

of „word music‟, formal and structural analogies and imaginary content analogies. The term

„word music‟ can be applied, when the author tries to imitate musical signifiers by means of

verbal ones so that the text acquires certain characteristics of music: pitch, timbre, rhythm,

harmony, dissonance etc. When the imitation of music occurs not only on the level of verbal

signifiers, but on the level of textual structures, we talk about formal and structural analogies.

These involve the imitation of both musical microforms (echo, thematic variation, polyphony

etc.) and macroforms (musical genres). When it comes to imaginary content analogies, they

make use of imagery present in a particular piece of music. In this way they are more specific

that the former two types of ‗showing‘.

As opposed to the general theory of intermediality provided by Wolf in the same work,

covert musico-literary intermediality comprises one more specific type of musical presence in

literature – evocation of vocal music through associative quotation. Since vocal music

represents a case of overt intermediality through combining musical and verbal signifiers, the

textual part of it can be easily borrowed by a literary work. In this case, the second medium

(music) is not quoted directly, but evoked through association (provided that the piece of vocal

music is recognized by the reader). Vocal music can be evoked through association by means of

either general reference to the song genre or specific reference to a particular song.

It is crucial to note that the term “musicalization of fiction” introduced by Wolf

comprises only instances of ―showing‖ music in literature7. It is evident that the identification of

imitation in the text is far less straightforward than that of thematization or the evocation of

vocal music, since it is usually present on a deeper level of structure or the organization of

verbal signifiers rather than on the semantic level. However, Wolf describes several types of

7
Wolf 1999, pp. 51-52
“potential evidence for the musicalization of fiction”8, which are primarily divided into

circustantial/contextual evidence and textual evidence. The former can be either indirect

(cultural and biographical evidence (e.g. the author‘s musical education, ability to play a musical

instrument); parallel works of the same author with musicalization of fiction) or direct (authorial

thematization of musicalization referring to the text in question), while the latter may comprise

overtly intermedial mixture of music/musical notation and text; thematization of music/ of

musicalization of fiction (paratextual/intratextual); evocation of vocal music through associative

quotation or the following symptoms of an imitation of music: deviations from traditional or

typical story-telling due to acoustic foregrounding, unusual patterns and recurrences, self-

referentialization, or departure from narrative plausibility and referential/grammatical

consistency.

In accordance with this typology of musico-literary intermediality, I will further analyze

Haruki Murakami‘s novel Norwegian wood and decide on whether or not the novel can be called

―muzicalized fiction‖.

Analysis of the book

Thematization

As I have already discussed in the introduction, Haruki Murakami openly stated in his

interview to The New York Times that ―everything [he knows] about writing <…> [he] learned

from music‖9. In accordance with Wolf‘s classification this can be regarded as an example of

contextual thematization. Further in the interview the author elaborates on the topic of what

particular features of music are applied in his writing:

Whether in music or in fiction, the most basic thing is rhythm. Your

style needs to have good, natural, steady rhythm, or people won‘t keep reading
your work. I learned the importance of rhythm from music — and mainly from
jazz. Next comes melody — which, in literature, means the appropriate
arrangement of the words to match the rhythm. <…> Next is harmony — the

8
Wolf 1999, p. 83
9
Murakami 2007
 internal mental sounds that support the words. Then comes the part I like best:
free improvisation10.

The influence of music on the author‘s style is discussed in the book Haruki Murakami

and the Music of Words written by Jay Rubin, the translator of several Murakami‘s novels:

―Murakami is a lover of music – music of all kinds: jazz, classical, folk, rock. It occupies a

central position in his life and work‖11.

As for Norwegian Wood, Murakami does not mention it specifically in his interviews.

However, the general style of its translated version in connection to music is discussed by Jay

Rubin:

<…> the tone of the entire book resembles nothing so much as a

sweet, sad pop tune. In English translation, Murakami‘s style lends itself to the
language of a pop melody, and readers may sense a deliberate attempt to impart
such resonance to the language12.

As for an example of paratextual thematization, it can be found right on the cover of

Murakami‘s novel. The book is named after the Beatles‘ song, Norwegian wood, which is often

referred to in the text of the novel itself as Naoko‘s favorite song.

It is interesting to note that the Japanese title of the book Noruwei no mori is a common

misinterpretation of the title of the Beatles‘ song. It can be translated into English as ―Norwegian

forest‖ or ―Norwegian woods‖, while originally the song only mentions furniture made of

Norwegian wood13. That explains why Naoko has certain associations with the song: ―I don‘t

know, I guess I imagine myself wandering in a deep wood. I‘m all alone and it‘s cold and dark,

and nobody comes to save me‖ 14. However, the song plays far more important role in the novel

than simply representing Naoko‘s taste in music. This question will be addressed later in the

discussion of imitation of music in the novel.

As said above, the reference to the Beatles‘ song Norwegian Wood appears not only in

the title, but also in the text. The protagonist hears the song on the airplane, and as it reminds

10
Murakami 2007
11
Rubin 1999, p.2
12
Rubin 1999, p.153
13
Rubin 1999, p. 149
14
Murakami 2000, p.131
him of Naoko, he starts telling the story. All in all, the song is mentioned nine times throughout

the book. However, it is by far not the only song that we come across in Norwegian Wood. The

mentioning of rock, pop and folk songs and pieces of classical music occurs here and there

throughout the story and becomes particularly dense every time when Toru meets Reiko. During

the ―home-made‖ funeral, which Toru and Reiko organize to commemorate Naoko, Reiko plays

51 pieces of music, among which are songs by Henri Mancini, Bacharach, other songs by the

Beatles, musical pieces by Ravel, Debussy and Bach etc. Apart from specific songs and musical

pieces, the reader often comes across scenes, where different characters hear or play unspecified

music. All of these references fall into the category of textual thematization proposed by Wolf

in his work.

Apparently, all these references are used in the novel not simply out of the author‘s love

to music, but for particular reasons. First, they create a special atmosphere; add a certain mood to

the whole narration like in the following example:

We drank some Chivas Regal that he had quietly removed from his
father's place, grilled some smelts on his charcoal stove, and listened to
Robert Casadesus playing a Mozart piano concerto15.

The novel is filled with such scenes, and if a reader bothers enough to listen to the

musical pieces mentioned here and there, he or she can unmistakably recreate the mood that the

author was trying to render with so much care.

Secondly, the music is used to describe the characters, their inner world. Thus, Naoko‘s

other favorite songs, Dear Heart16 and Michelle17, are about the separation of beloved ones and

the hope for their reunion. In case of Naoko, these songs are a premonition of her suicide, since

her beloved person died, and they can be together only if she follows him. As for Midori, she

likes cheerful songs like Seven Daffodils18 and Lemon Tree19, which reflect her love for life and

15
Murakami 2000, p.306
16
DEAR HEART, 1965
17
MICHELLE, 1965
18
SEVEN DAFFODILS, 1961
19
LEMON TREE, 1960s
inborn optimism20. Raiko is a special character in the novel, and this can also be seen in her

relationship with music. She is a talented musician, and the author would not ascribe this gift to

an unimportant character. Raiko is the one who alters the protagonist. She connects him with

Naoko, but shows him by leaving the mental sanatorium that life is precious and death shouldn‘t

stand on its way. However, Raiko‘s function in the book is much debated and can have more

interpretations21, but such a discussion would need a separate essay.

As we can see, Norwegian Wood makes extended use of the ―telling‖ mode of musico-

literary intermediality. The examples illustrate all the three categories of thematization

introduced by Wolf. However, the novel cannot be called ―musicalized fiction‖ until the

evidence of other modes is found.

Evocation of vocal music through associative quotation

The novel contains two examples of evocation of vocal music through association: first,

we find it in the episode, where Toru talks about a ceremony of raising the Japanese flag on the

campus, where he lives:

Then Uniform pressed the switch for the playing of the anthem.
"May Our Lord's Reign..." And up the flag would climb.
"Until pebbles turn to boulders ..." It would reach halfway up the pole.
"And be covered with moss‖22.

It is interesting to observe how the intermedial device works, when the book is

translated into another language. Since in this case the lyrics of the national anthem are also

translated into English, the readers would not associate them with the melody of the anthem in

the same way as the Japanese readers would do it while reading the text in Japanese. Thus, the

intermedial effect would be much stronger in the original text. However, there‘s no reason to

exclude this example from the discussion of intermediality in the translated version of the book,

since the effect can still be reached if a reader knows the melody of the Japanese national anthem

and can recall it in connection with the reference.

20
Karlsdóttir 2004, pp. 21-24
21
Dmitry Kovalenin 2004
22
Murakami 2000, p. 16
 The second instance of vocal music appears, when Toru hears Midori singing a song

that she had written herself:

I'd love to cook a stew for you,

But I have no pot.
I'd love to knit a scarf for you,
But I have no wool.
I'd love to write a poem for you,
But I have no pen23.

Although the lyrics of the song were translated into English as well, the perception of

this example by English- or Japanese-speaking readers would not differ, since the song is

imaginary, and every reader can build her own associations with the melody given the hint that

―it was a truly terrible song, both words and music‖ 24 and that the song was ―musical mess‖ 25.

Despite the fact that both cases of evocation of vocal music through associative

quotation do not evoke popular songs in the English-speaking society and therefore do not bring

strong associations with a particular melody for English-speaking readers, they add to the

―musicality‖ of the novel in general and, in the case with the national anthem, show that the

intermedial effect can be easily reached if the book is read in its original version.

Imitation (musicalization of fiction)

Before searching for the instances of imitation of music in Norwegian Wood, I would

like to pay attention to the presence of some potential evidence of musicalization of fiction.

As discussed earlier, there exists much indirect contextual evidence of the influence of

music on Murakami‘s writing. His love to jazz, his ability to play the piano and his own

comments on the importance of rhythm, melody and harmony in his style serve as a basis for an

assumption that his novels can be ―musicalized‖. The direct contextual evidence is however

limited to the comments made by the translator of his books, Jay Rubin, quoted earlier in the

essay. Although Norwegian Wood does not include instances of musical notation, the extensive

23
Murakami 2000, p.91
24
Murakami 2000, p.91
25
Murakami 2000, p.91
use of thematization and the evocation of vocal music through association add certainty to the

hypothesis that examples of ―showing‖ can be found.

However, when it comes to the symptoms of imitation of music (such as acoustic

foregrounding), certain issues arise from the fact that the analysis deals with the translation of

the novel. Regardless of the fact that the importance of certain musical features is often

mentioned as typical of Murakami‘s style, there‘s no access to the original text, where relevant

examples could be found. The English version offers us several scenes, where rhythm becomes

somewhat prominent, as there appears certain tension in the narration. One of the clearest

examples is the mentioning of the student strike:

"Dismantle the University!" they all screamed. Go ahead, do it, I

thought. Dismantle it. Tear it apart. Crush it to bits. I don't give a damn. It
would be a breath of fresh air. I'm ready for anything. I'll help if necessary. Just
go ahead and do it.26

Since the passage deals with the rhythm, we can categorize it as an example of „word

music‟ in the text. Unfortunately, it is hard to say whether the passage in the original text has the

same rhythm or it is an invention of the translator. It also appears problematic to search for other

instances of acoustic foregrounding and examples of „word music‟, as the analysis of the

translated version alone cannot be reliable. Due to this fact, I will turn my attention to the

imitation of music in structure and imagery of the novel.

Returning to the potential evidence of musicalization in fiction, it is easy to notice that

the elements of the plot in Norwegian Wood are largely repetitive. For example, the theme of

Toru spending time with two of his friends, who are boyfriend and girlfriend, starts with the

story about Naoko and Kizuki and appears again when the main character goes out with his

friend Nagasawa and his girlfriend Hatsumi during his university years. Both Kizuki and

Nagasawa are smart and easy-going people, ―capable talkers‖, as the protagonist calls them.

Both Naoko and Hatsumi go to prestigious educational institutions and try to arrange a date for

Toru, so that the couples could double-date. And both girls commit suicide in the end. The main

26
Murakami 2000, p.51
character himself makes the note that the two situations are very similar, when Nagasawa asks

him to go to the restaurant with him and Hatsumi: ―Oh no, it was Kizuki, Naoko and me all over

again‖27.

There‘r also certain similarities in the ways that Murakami‘s characters commit suicide:

Kizuki suffocated in the garage, having started the engine of his car and closed the windows,

Raiko also tried to kill herself with gas; both Naoko and her elder sister hanged themselves; all

of those who died did not show any signs of such an intention.

These patterns remind of a theme-variation pattern used in jazz improvisations.

Murakami picks certain plot lines and re-employs them throughout the book with necessary

changes. The main character goes up to the roof seven times in the novel, constantly pays

attention to women‘s ears, mentions the same songs. Taking into consideration the importance of

harmony and improvisation in Murakami‘s style, it‘s possible to suggest that the repetitive

occurrence of certain elements helps the author reach the desired effect. Thus, we are dealing

with formal and structural analogies in Norwegian Wood.

Another hypothesis comparing the structure of the novel to the structure of a musical

piece was expressed by Eygló Dada Karlsdóttir in her review to the novel: she suggested that

there is a certain pattern in the organization of topics throughout the novel. It can be seen in

Table 128.

Table 1

Chapter Topic Topic Chapter

1 Toru presents Naoko and her fears. Toru gets to know Midori better. 7

2 Toru speaks of his triangle Toru goes out with Nagasawa 8

relationship with Naoko and the and his girlfriend Hatsume and

27
Murakami 2000, p. 241
28
Karlsdóttir 2004, p. 5
 late Kizuki. is reminded of the first triangle.

3 Toru becomes nineteen. Toru Toru becomes twenty. Toru 9

spends a lot of time with Naoko. spends a lot of time with Midori.

4 Toru gets to know Midori tells Toru she‘s in love 1

Midori for the first time. with him. 0

5 Naoko explains in a letter that Naoko commits suicide in the 1

she‘s feeling a bit better than Ami Hostel after having been 1

before. She talks about her daily sent to a facility for mental

routine at the Ami Hostel. patients.

6 Set in the sanatorium where Naoko is. Toru also

meets her roommate Raiko. She plays her guitar

and tells Toru her story.

In her article Karlsdóttir compares the structure of the novel to the musical A-B-A and

sonata forms stating that the first five chapters and the last five chapters refer are A-sections with

the sixth chapter representing a B-section. The reason for such an assumption is the fact that the

sixth chapter takes more than 70 pages of the book and ―is thematically set in a different area‖29,

while the rest of the chapters are set in Tokyo and have repetitive topics as shown above.

However, the author of the article herself points out that it is hard to say whether Murakami tried

to imitate the sonata form in his novel and that the question needs further consideration and a

closer examination of the original version of the book.

We can also find repetitive patterns on the micro-level of sentences and clauses, which

might imitate musical microforms such as echo:

My arm was not the one she needed, but the arm of someone else. My
warmth was not what she needed, but the warmth of someone else 30.
Midori stopped talking and washed. I stopped talking and wiped 31.
29
Karlsdóttir 2004, p. 6
30
Murakami 2000, p. 35
 I must have led you around in circles and hurt you deeply. In doing so,
however, I have led myself around in circles and hurt myself just as deeply 32.

Another example of imitation we can find in Norwegian Wood is imaginary content

analogies. As I have already mentioned, the song by the Beatles does not appear in the novel as

a mere reference. The first part of the song is almost precisely ―translated‖ into the novel‘s plot:

I once had a girl, or should I say, she once had me…

She showed me her room, isn‘t it good, Norwegian wood?
She asked me to stay and she told me to sit anywhere,
So I looked around and I noticed there wasn‘t a chair.
I sat on a rug, biding my time, drinking her wine
We talked until two and then she said, ―It‘s time for bed‖ 33.

The first line reflects the feelings the Toru had for Naoko, who was never in love with

him. She ―had him‖ in a sense that his thoughts were always occupied by her, and he spoke of

her as his girlfriend, while she only accepted his love. The next five lines strongly remind us of

the day, when Naoko took Toru to her place and they celebrated her birthday sitting on the floor

and drinking wine, and ended up in the same bed. The next four lines of the song do not

completely correspond to the events described in the book, but the end of it – ―And when I

awoke, I was alone, the bird had flown‖ – might be regarded by the author as a symbol for the

death of the girl. The main character indeed stayed alone at the end of the novel and the reader is

not sure whether Toru started a relationship with Midori or not.

This is not the first time that Murakami uses imaginary content analogies in his writing.

The bright example of this technique of musico-literary intermediality can be found in his early

short story, The Girl from Ipanema, 1963/1982. Not only Murakami explains his feelings

associated with the song, but also his protagonist indulges in the conversation with the

―metaphysical‖ girl from Ipanema. The conversation is set on a ―metaphysical‖ beach, where she

―walks to the sea‖, as described in the song 34. The fact that a great number of Murakami‘s novels

31
Murakami 2000, p. 86
32
Murakami 2000, p. 103
33
NORWEGIAN WOOD (THE BIRD HAS FLOWN), 1965
34
Murakami 1982; THE GIRL FROM IPANEMA 1962
and short stories are named after certain musical pieces can lead to an assumption that this

technique is widely spread in his works. However, this assumption needs further profound

analysis of Murakami‘s writing.

Conclusion

The analysis presented in this essay leads to several important inferences.

Firstly, the classification of musico-literary intermediality developed by Werner Wolf

appears to be highly applicable to real data. The researcher provides detailed explanations of

every mode of the musical presence in fiction, as well as gives useful examples. Wolf recognizes

the difficulties that may arise in connection with the identification of ―imitation‖ in fiction and

dedicates a whole chapter of his work to the potential evidence of this mode of intermediality.

There is also a clear explanation of a term ―musicalized fiction‖ and the reasons for this term to

refer only to the ―showing‖ rather than to all three modes of musico-literary intermediality.

As for the application of the theory to the particular material, i.e. the translation of

Haruki Murakami‘s Norwegian Wood into English, certain problems arose due to the lack of

access to the original Japanese text. Thus, the identification of ‗word music‘ and structural

analogies on the level of micro-forms appeared problematic and the decisions need to be

supported by the further analysis of the Japanese version of the novel. However, the structural

analogies on the level of macro-forms and imaginary content analogies do not depend on the

language of writing and thus, can be identified in the translated version.

Finally, it is possible to answer the main question of the essay, namely, whether the

novel can be called ―musicalized‖ or not. Despite the fact that certain types of ―imitation‖ of

music in the text cannot be reliably identified, the presence of imaginary content analogies

related to the lyrics of the Beatle‘s song Norwegian Wood in the text is barely questionable. On

the other hand, since the structure of the novel had a repetitive pattern, the assumptions can be

made that it takes after a musical theme-variation pattern or a sonata A-B-A form. These

observations are enough to classify the novel as ―musicalized fiction‖, since the presence of all
the three types of ―imitation‖ is not necessary for the text to fall into this category. However, the

possible presence of ‗word music‘ in Norwegian Wood is an interesting topic for later research,

which could prove that the novel is musicalized on all the three possible levels.

Bibliography

1. Chozick, Matthew, ―The Wind-Up Bird Chronicle‖, The Literary

Encyclopedia, (August 2007) in Wikipedia, ―Haruki Murakami‖,

http://en.wikipedia.org/wiki/Haruki_Murakami#cite_note-11, (25 December 2010).

2. DEAR HEART, Ray Evans, Jay Livingston and Henry Mancini (writers),

RCA 1965.

3. Dmitry Kovalenin/Дмитрий Коваленин, Суси-Нуар. Занимательное

МуракамиЕдение, Moscow, ЭКСМО 2004.

4. Karlsdóttir, Eygló Dada, ―Norwegian wood‖ (May 2004)

http://www.murakami.ch/about_hm/bookreviews/bookreview_norwegian_wood.html,

(25 December 2010).

5. LEMON TREE, Will Holt (writer), 1960s.

6. MICHELLE, John Lennon/Paul McCartney (writers), London, EMI

Studios 1965

7. Murakami, Haruki, ―Jazz Messenger‖, The New York Times, (8 July 2007)

http://www.nytimes.com/2007/07/08/books/review/Murakami-t.html?_r=2, (25

December 2009).

8. Murakami, Haruki, Murakami Haruki zensakuhin, in Rubin, Jay, Haruki

Murakami and the Music of Words, London, Vintage books 2005.

9. Murakami, Haruki, Norwegian Wood, London, The Harvill Press 2000

10. NORWEGIAN WOOD (THE BIRD HAS FLOWN), John Lennon/Paul

McCartney (writers), London, EMI Studios 1965

 11. Rubin, Jay, Haruki Murakami and the Music of Words, London, Vintage

books 2005.

12. SEVEN DAFFODILS, Lee Hayes and F. Moseley (writers), 1961.

13. THE GIRL FROM IPANEMA Vinícius de Moraes (writer)/ Norman

Gimbel(English lyrics), 1962 (first release).

14. Thompson, Matt, ―Nobe prize winner in waiting?‖ The Guardian, (26 May

2001) http://www.guardian.co.uk/books/2001/may/26/fiction.harukimurakami/print, (25

December 2010).

15. Wolf, Werner, Musicalization of Fiction: A Study in the Theory and

History of Intermediality, Amsterdam – Atlanta, GA, Rodopi 1999.