All language subtitles for Dreaming.Murakami.2017.DANISH.720p.WEBRip.x264.AAC-[YTS.GG - YTS.BZ]

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"But I really want you to understand
what I am saying."

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From "Super-Frog saves Tokyo"
by Haruki Murakami

When a big frog like me appears -

- and asks you to believe in me -

- it must understandably
be very difficult.

But I really need you
in the fight against Worm.

Our regular listeners will know
that we love Japan. We dream of Japan!

Our guest today has translated
numerous Japanese bestsellers -

- and will take us to Japan
and to the world of the spirits.

Mette Holm is the literary star
Murakami's Danish translator.

He is about to receive the Hans
Christian Andersen Literature Award.

- Welcome, Mette Holm.
- Thank you.

Is it a normal Japanese notion that
a parallel world exists next to ours?

It's very normal in Japanese literature
and also in the Japanese mindset.

The two worlds overlap more, because
Japanese is more fluid than Danish -

- so it can be a struggle
when translating, to retain that...

... invisible border that you keep
crossing without knowing where you are.

My first memory of reading
is me sitting with my dad.

He taught me to read
when I was at school -

- because learning to read
was difficult for me.

So I quite clearly remember sitting
in the chair with my dad, reading.

The pictures, the book and sitting
together with a book was important.

I think I've always been
fascinated by parallel realities.

Having worlds unknown to others.

My parents must have been
so annoyed with me.

I remember my dad shouting
at me to help out at home.

But I wasn't there.

Imagine being a translator -

- and your mother says to you:
"What would you be without Murakami?"

And that's a tough thing to consider,
because wouldn't I be anyone, then?

I'm not a writer.

I just rework someone else's words,
thoughts and style.

And that takes a lot
of background knowledge.

So I am really stalking
a writer's life, background -

- and way with words.

So, there is no...

... no such thing as perfection.

The perfect sentence or perfect
literature, the word has both meanings.

Just as there is
no such thing as perfect ...

... impotence, despair or sorrow.

There's no such thing
as a perfect sentence -

- just as there is no perfect despair.

Or complete.
Is it perfect or complete?

Absolute?

And "sentence"
might just be "text" or...

No one can write perfectly
just as you can't be in perfect despair.

That sentence is full of possibilities.

Hear the Wind Sing
Translated by Mette Holm

"The 'perfect' sentence doesn't exist.
Just as perfect despair doesn't exist."

- Good to see you.
- You brought books?

Yes, because I have
my own ideas about the cover.

- But what have you been doing?
- You want to see?

Yes! I'm so excited.

- We really hope you like it.
- And it's still a draft.

- It's a draft, yes.
- So we have to stay open-minded.

It's not combined yet.
It's just set up as two books.

This is the first one,
and this is the second one.

Well, that's...

It's all very nice and simple,
but why the falling man?

Because of
"The Wind-Up Bird Chronicle"?

No...

It's this lonely man floating
in the experience of emptiness.

- That's our idea. But...
- I don't think Murakami likes him.

- He doesn't want a falling man?
- Not again.

I think he'll say no.
I think... It's just that...

But I don't like those fonts, either,
I hate those. But that's just me.

How about a collage of colours?

And some balls flying around.
Or the rat.

- Michael, you're in despair.
- Yes. In part because there is no rat!

His best friend is called the Rat,
and he's looking for him.

But then he's turned into a sheep.
It's boring.

Maybe the colours are too pale.

I've never been that good at -

- fitting into social life -

- where you have to be in a certain way
to fit into a group of people.

So I just made up other spaces.
Secret spaces.

I think you do that, too,
when you travel on your own.

It's an opportunity to have
more than one life.

Tokyu Stay Hotel,
in Gaienmae, please.

- How long will it take?
- 30 to 40 minutes.

Okay, thanks.

I really need to be alone
when I'm translating.

Because I get so absorbed in it.

Good afternoon. Mette Holm.

- Is it too early to check in?
- Right now...

But loneliness can also
be a good thing.

It's very typical that his characters
progress through loneliness.

The perfect sentence doesn't exist.

Christian?

Christian?

Hi!

- How many years has it been?
- I don't know.

25... More!

No such thing as perfect...

Yes, the perfect text doesn't exist.

In the same way that perfect despair
doesn't exist, right?

Right?

To translate it into "sentence"
would be too limited.

Because "sentence" is "bun"
and not "bunsho".

It's the entirety that's hard to perfect
or that can't be perfected.

You might be able to make
one sentence perfect -

- but turning the entirety
into a perfect whole is impossible.

The technical aspect of translating
isn't as hard -

- as living up to the expectations.

- Some sentences are incomprehensible.
- Yes, some sentences can be difficult.

You have to convey the mood
that Murakami creates in his books.

You have to be true to that,
so that Murakami can be read -

- the same way
in our countries as in Japan.

In our narrow circle of people,
we talk a lot about "Murakami moments".

You have a totally normal conversation,
and then a snail crawls by, or...

In the middle of a normal reality,
something extraordinary happens.

As if to say that ordinary people
are fantastic and special.

And I've always wondered
if we have something in common -

- that makes us feel so at home
in Murakami's world.

If there's a reason
that we like him so much.

How interesting.
I never thought about that.

What is it about us?

You feel like you're a part
of the book somehow.

We feel like we're a part -

- of this never-ending universe.

We're always there.

I was never good at memorizing -

- so I've struggled
with those characters.

The written language consists of
Chinese characters -

- which are images, like hieroglyphs,
so they're semantic characters.

And you have to be able to read
1850 characters to read a newspaper.

Combined characters
are pronounced in Chinese -

- and when they're isolated,
you pronounce them in Japanese.

So it's not just 1850 characters
that you need to learn -

- it's many different
sounds and contexts.

If you combine the character for
"human" with the character for "tree" -

- then the human changes its form
into a human leaning on a tree -

- and then it means "resting".

The tree alone means "tree".

Two trees mean "grove".

And three trees together
mean "woods".

If you combine the character for
"woman" with the character for "child" -

- then it means "to love".

And you can also -

- put the character for "woman"
under a roof -

- and combine it with the character
for "heart", and then it means "safety".

It's like their way of thinking
is completely different.

It's important that
we understand each other ...

... because this is a serious matter.

Only if we believe in our dreams -

- we can fight Worm.

In his first two novels,
there is actually nothing mysterious.

The main character is a young man,
who meets a lot of girls -

- and whose best friend is the Rat,
but the Rat is a very strange person -

- and when he's with the Rat,
it's like he's beyond time.

The novel is quite realistic, but when
he crashes into a tree with the Rat -

- they just leave the car
and go to a park to have a beer.

So already in these two very small,
and at first glance very banal novels -

- he starts working with the duality
of outer self and inner self -

- a very uncommon thing in
Japanese literature up to that time.

When he uses magical elements,
that's when he often becomes political.

It's a critique of his society
that oppresses the individual.

So he lets the individual
express itself in this fantastic way.

It's a constant search for:
"Who am I? And who am I within myself?

And how do you approach that 'I'?"

Many of my fellow translators
don't like to translate -

- if they have other translations
as a reference.

Hi, Anna!

But in all the years I've translated
Murakami, I've been alone.

None of my editors speak Japanese.

So I use other translations
to check my own work.

- Which words did you have? Literature?
- Yes, and text.

- Sentence and text.
- But text is not ...

Text is good, I think.

For us as translators, because
the Japanese language is so different -

- it has so much ambiguity
that we very often have the freedom -

- to interpret a lot or to ...

Every time I try to analyse his works,
I can't do it -

- because people don't agree
with my analysis or ...

I can't really be sure, because it could
just as well be something else or ...

I think that if you translate
the same author a lot of times -

- and with Murakami
the main character is kind of similar -

- then you get this illusion -

- that you know what he should sound
like in Danish, German or Polish.

You develop this conviction that you
know what it should sound like.

And it is an illusion, because somebody
else will have a different illusion.

But the best illusion is that people
who read the books think -

- that Murakami sounds like that.

They think you are Murakami
and want nobody else translating it.

- So it speaks when you approach it?
- No, that's just a coincidence.

- They have this "attract mode".
- It's calling out for me.

He also speaks to them in the book.
So you score by hitting the numbers?

These are bonus points.
By hitting stuff, you accumulate bonus.

That's a spinner. The harder you hit it,
the more points you get.

- Oh, I thought it was these.
- No, those are slingshots.

When he says "bumper", then it's
these pop bumpers or thumper bumpers.

That's a hard sound
like "slam, slam", right?

It's not a door as such, it's more
like a door that separates like this.

Okay. Is "rattling" a good choice, then?
No, it's not precise enough.

- "Slamming"?
- Yes.

I imagine it goes like this...

Or is it more like this?

- "Battan" is more like...
- Yes.

It's more like it's always going
like this, when it's windy, you know?

What would you call that?

- Is it down in the goals or into them?
- We call the goals "targets".

Oh, so he shot the ball through
all lanes and towards all "targets"?

- I will turn there.
- Good.

- Are you from Ashiya?
- I work around here.

- You live somewhere else?
- Yes, I live in Itami.

- This is a nice area for a walk.
- Yes, it is.

So you were at another place,
when the earthquake happened?

I was in Amagasaki.

- And there was no earthquake there?
- Half of the houses collapsed.

- Why do you speak Japanese?
- I used to live in Japan.

But it was a long time ago.
But I do translation nowadays.

- I see.
- So I use Japanese.

I lived in Cologne for 5 years.

- Ah, so you speak German?
- A little.

- A little.
- I don't speak so well.

I understand, but I don't speak well.

I was 30, when I first
got hold of one of his novels.

I almost felt like it was destiny.

I've read all Murakami's books
at least two or three times.

Just reading his writings
makes me happy.

And his style of writing is
that each sentence is very short.

But the short sentences
don't make things more logical.

So you're free to interpret at will
from the closed sentences.

And so his books invite many different
kinds of interpretations from readers.

That makes me worried
about my own work as a translator.

No, no. No one can see what
Haruki Murakami really means.

- It could mean so many things.
- I feel the same way.

Leaving something "unknown" for readers
is his way of doing it, I think.

In that way, he invites us
to use our imagination.

Maybe that's why the stories feel closer
to our own experiences in life ...

I went to France
with my parents when I was 15.

We visited a museum
with gobelin tapestries.

I was so fascinated
by these tapestries that tell a story -

- and are extremely
time-consuming to make.

I visited these places today,
I wanted to see what they looked like.

So when I finished high school, I went
to France to be a weaver's apprentice.

So I had to learn French.

"I, Poul Holm, allow my daughter
to travel to France -

- to learn French and weaving.

In the event of financial problems -

- I promise to provide her
with the means necessary."

I stayed with a weaver
who wrote novels on the side.

And I don't know why
she threw her manuscripts -

- in a wastebasket in my house.
I didn't live in their house, you see.

So I could read her novel
while she was writing it -

- and it was about her cheating
on her husband with a neighbour.

I wonder if second-hand
book shops have it.

- That might be difficult.
- Are you looking for the same as this?

I really want it.

I've been asking for it in a lot of
book shops, but they never have it.

No?

But I still look for it.
I think I'll find it one day.

I lived very isolated in the mountains.

They had a lot of books in that house.
I mostly remember -

- that she had four Japanese books that
had made a deep impression on them -

- and that they said
were important to read.

So I read them.

Especially Kawabata's novel
"House of the Sleeping Beauties".

About a house where they sedate women
who are young and very beautiful.

Then they put them in a bed, so
old impotent men can sleep with them.

I had never read anything
like that book.

So I went to Japan to see
if I liked the country.

It was actually...
my very own space.

There was nothing... left
of the place where I came from.

FIRST TIME IN A KIMONO

First month ... A new world ...
Exciting ... Learning Japanese ...

Moving from ... Meets Scott ...
Starts as ... Extends stay ...

Japanese politics are turning
further and further to the right.

The whole world
is going in that direction.

So maybe we will see
the world change.

There were about 20 years between
the First and Second World War.

The two biggest ... catastrophes.

Now we haven't had one
for 70 years.

- So...
- You think it's going to happen now?

I feel it could happen -

- within one or two years.

- Do you think so?
- It might.

The whole world is
in a violent place now.

The rhetoric is also becoming harder.
It isn't nice in Denmark either.

But Denmark is more stable.

It's not very good these days.
It is scary indeed.

Democracy is to accept different
kinds of opinions and worlds.

People who can convey such things,
philosophers, literary people...

... artists.

If no one sends such a message,
young people will shut themselves in.

- So bad things could take over.
- That's right.

I don't know much
about the world outside of Japan.

But Japan is withdrawing into itself.

There is no exit as it is now.

Now do you understand
why I need you?

Can I count on you
in the fight against Worm?

Worm lives underground.

Here it takes in
every little vibration -

- and stores them inside,
and through a chemical process -

- it turns these vibrations
into hatred.

Worm is so dangerous now -

- that we can't ignore it any longer.

Worm has accumulated
so much hate -

- that it has swollen up
and become gigantic.

Even though we don't want to -

- we have to go to the place,
where Worm is hiding.

If we lose the battle -

- no one will pity us.

Even if we succeed -

- no one will praise us.

So no matter the outcome -

- ours will be a lonely battle.

The only ones who will know
what has taken place -

- will be you and me.

There will be 600 people in the room
and they'll be all the way back here.

And then you two will be sitting...
I've only got one chair...

But you'll be up here,
like two dots, talking.

And it's a special situation,
because he's here with his translator.

And I think we should
do something with that.

Because the two of you have that very
special relationship where you are -

- so much a co-creator of
what people have read in Danish.

Very, very exciting, and very....

Very... Kind of....

... special that it will be in focus,
because that's very rare.

The theme could be "the shadow", because
the shadow is in many of his works.

And that could be an image of
the dark side of man, and if it is...

Without shadow there is no light -

- so if you don't have the shadow,
the darkness, then you can't love.

In Japanese they say that
you lose your heart -

- but in English
that's translated as "mind".

But in Danish I use "heart" because it's
also the Japanese character for "heart".

It can be so different. In Japanese
you lose the ability to love, to feel.

- Maybe even the ability to remember.
- Yes.

- In Edinburgh it was very unpleasant.
- Oh?

He was to sign books after the
interview, which lasted two days.

And before he'd even finished
his last sentence -

- people jumped up and ran out
to get that signature.

- When you send a sentence like that...
- Yes?

It makes me uncertain, because
it's an important sentence, isn't it?

Should it be
like the one you sent me?

I think it works with:
"Everything rages by".

That doesn't work.

Couldn't it work with:
"And no one can hold on to anything"?

It doesn't say that.

It just says that no one can
hold on to it or seize it.

It could work fine to say:
"Everything races by.

No one has time to seize it.
That's how we live our lives."

Will you publish before he comes?

Yes, Camilla would like to have -

- about 14 days between
the publishing date and his arrival.

- What should I do?
- You sat cross-legged earlier.

Is that how you relax?
I want you to be comfortable.

- I hate the stains and all that.
- I can't see any stains from up there.

First time I run into a novel
by Murakami is in...

... the summer of '95.

That's when I read "Norwegian Wood"
for the first time.

I was totally swept away
and really wanted to translate it -

- because it's very...
close to my language -

- so after I'd read it,
I dreamt about translating him.

- Should I look out the window or up?
- We'll try different poses.

But you've also nurtured a close
relationship with him for what, 15...

- 17, 18 years.
- Almost 20 years.

He must be the writer
that has meant the most to you?

He has become a big part of my life
and a big part of my work.

I also give talks about him.

It is very strange to be so...
closely tied to one writer -

- but it's also a huge privilege.

I mostly meet his die-hard fans
when I give talks.

- He's become kind of a cult figure.
- He's a divisive author in that regard.

When some people read him,
they get drawn in and never look back.

Others never really get into it.

HARUKI MURAKAMI'S
DANISH CONNECTION

You get very close to a person,
when you translate their writings.

There are so many habits
in the writing or images used -

- that somehow reflect
what kind of person the author is.

- How long have you owned the sushi bar?
- 55 years.

It's from my father's time.
He died four years ago.

Now my husband
is running the restaurant.

But when you retire, will your sons...

- They don't want to take over.
- They don't?

It's not so lucrative anymore.

Young families buy running sushi.

We bring sushi out to older people.

Most of our customers
date back about 50 years.

Young families
don't order sushi like this.

They order pizza now, not sushi.

That's how it is now.

Many traditional sushi bars have
to close, and my children know that.

And they know it's hard work. They've
seen us working hard with no free time.

- But it's nice to work together?
- We fight sometimes.

- Yes, we fight.
- I guess that's how it is.

- Quite often actually...
- I understand.

Thank you for the food.

We can't live without translation.
Not at all.

We want to read other things than
what's written in our own language.

If you only could read Danish novels,
there wouldn't be enough for a lifetime.

Then we wouldn't have world literature.

We want to get to know other worlds.
Books can help you do that.

If we can't afford all that carbon
emission and have to stop travelling -

- then we can read.

That's an easy way to travel.

- Hi, Michael.
- Hi, Mette.

Where's the book?
Did you hide it?

- It's hidden away in the warehouse.
- No. No!

- You want to see it right away?
- Yes! Does it look like you hoped for?

It looks great.
Let me take a good look at it.

Oh yes.
You can have a pair of scissors.

Then it's like...

... a ribbon-cutting ceremony.

Oh, this looks great.

- It's canvas on the cover?
- Yes, and it turned out very white.

The next option was
very cream-coloured -

- and we didn't want that.

He may feel it's a bit too vague here,
not significant enough.

But on this side it's perfect,
really beautiful.

Let me just see my rats.

You really helped me in my fight.

We've agreed that he shouldn't get
caught up in a bunch of fanatical fans.

- Will he use the main entrance?
- No, he'll use the staff entrance.

You helped me in your dreams.

It's better you don't remember.

The fight took place
in the realm of imagination.

That's where we fight.

That's where we win or lose.

Haruki Murakami.

Hari... Haruki Mura... Murakami.

Haruki.

Murakami received the Hans Christian
Andersen Literature Award in Odense -

- and most of his novels in Danish
are translated by Mette Holm.

He asked to meet her on stage.
He specifically wanted to speak to her.

Thanks to you I could fight Worm.

We used all the weapons
we could get our hands on.

We succeeded in harming Worm -

- but the battle isn't over.

Things are getting blurry now.

But I really want you to understand
what I am saying.

"There's no such thing
as perfect writing -

- just like there's no such thing
as perfect despair."