{"id":3323,"date":"2026-03-06T16:52:12","date_gmt":"2026-03-06T07:52:12","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/?p=3323"},"modified":"2026-03-19T10:35:29","modified_gmt":"2026-03-19T01:35:29","slug":"letters-from-the-haruki-murakami-library%e2%80%95%e3%83%ad%e3%83%bc%e3%83%ac%e3%83%ab%e3%83%bb%e3%83%86%e3%82%a4%e3%83%a9%e3%83%bc%ef%bc%88laurel-taylor%ef%bc%89","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/essays\/3323","title":{"rendered":"&#8220;Letters from the Haruki Murakami Library&#8221;\u2015\u30ed\u30fc\u30ec\u30eb\u30fb\u30c6\u30a4\u30e9\u30fc\uff08Laurel Taylor\uff09"},"content":{"rendered":"<p>&#8220;Letters from the Haruki Murakami Library&#8221; \u306f\u300c\u65e9\u7a32\u7530\u5927\u5b66\u56fd\u969b\u6587\u5b66\u9928\uff08\u6751\u4e0a\u6625\u6a39\u30e9\u30a4\u30d6\u30e9\u30ea\u30fc\uff09\u3092\u8a2a\u308c\u3066\u3001\u3060\u308c\u304b\u306b\u304a\u624b\u7d19\u3092\u66f8\u304f\u3068\u3057\u305f\u3089\uff1f\u300d\u3068\u3044\u3046\u767a\u60f3\u3067\u3001\u56fd\u969b\u6587\u5b66\u9928\u306b\u6ede\u5728\u3044\u305f\u3060\u3044\u305f\u65b9\u306b\u57f7\u7b46\u3044\u305f\u3060\u304f\u30b7\u30ea\u30fc\u30ba\u4f01\u753b\u3067\u3059\u3002<br \/>\n\u300c\u56fd\u969b\u6587\u5b66\u9928\u7ffb\u8a33\u30d7\u30ed\u30b8\u30a7\u30af\u30c8\u300d\u30672025\u5e7411\u6708\uff5e12\u6708\u306b\u5f53\u9928\u306b\u6ede\u5728\u3044\u305f\u3060\u3044\u305f\u3001\u7c73\u56fd\u5728\u4f4f\u306e\u7ffb\u8a33\u5bb6\u3001\u4f5c\u5bb6\u306e\u30ed\u30fc\u30ec\u30eb\u30fb\u30c6\u30a4\u30e9\u30fc\uff08Laurel Taylor\uff09\u3055\u3093\u306b\u624b\u7d19\u3092\u66f8\u3044\u3066\u3044\u305f\u3060\u304d\u307e\u3057\u305f\u3002<\/p>\n<hr \/>\n<p>Dear Ono no Komachi,<\/p>\n<p>I write to you in a language that doesn\u2019t remotely resemble the languages that were primarily spoken and only rarely written in Europe when you walked this earth. My ninth-century peasant ancestors in the Holy Roman Empire were probably tucked away in corners of West, Middle, and East Francia, and Deheubarth (modern-day Germany, Belgium, France, and Wales), but though those farmers and millers and tailors were almost certainly illiterate, they were still blessed, just as you were, with the power of poetry and story. I imagine they told tales over fires in Old Welsh, Frankish, and Old High German, not to mention smatterings of Vulgar Latin, Church Latin, Old Dutch, Old Frisian, Gallo-Romance, and who knows what else. The lines between languages back then were not so neatly delineated as we like to pretend. (Nor are they now. Don\u2019t believe what scholars say when it comes to the borders between languages.)<\/p>\n<p>My ancestors\u2019 tongues and histories are a mystery to me, save for my guess that they were all humble. With last names like Taylor (the Tanaka of English) and Kommes (a mysterious Germanic name that most likely derives from \u201ckommen,\u201d \u201cto come\u201d) in my family lineage, I can hardly hail from some great dynasty or other. But I was never interested in knowing my ancestors\u2019 depths and nuances and sociocultural peccadillos. At least not the way I was interested in your history, Komachi. In you and your literary peers and descendants I was interested enough that I\u2019ve spent the better part of twenty years studying you all and learning a language that has almost nothing to do with my contemporary English. (Though we do have Japanese loan-words\u2014did you know? Tycoons and skoshes and such.)<\/p>\n<p>In contrast to my ancestors\u2019 mystifying and unfamiliar tongues, the fact that I can pick up your work, Komachi, and with comparatively little effort, read it, enjoy it, and dissect it seems nothing short of a joke played by Time. There are <em>somethings<\/em> between us, across the chasm of thousands of miles and a millennium. On my end, an obsession with the etymologies of words and the traces in their marrow, even in languages I <em>didn\u2019t<\/em> study obsessively. On your end, a fondness for fiery wordplay and wit and a reputation that far outstripped your living truth. (Because when I speak to you, Komachi, I of course mean you, but I also mean Sotoba Komachi and Kayoi Komachi and all the rest. You are as Threefold as the Fates.)<\/p>\n<p>In the thousand years since you lived, your fame has transformed you into figures and forms that I don\u2019t think you could have anticipated in your own lifetime. You became a beggar woman gone to seed yet still trapped in her vainglory and a hollow-eyed skull in a field wailing for the pain of her afterlife. A certain poet even transformed you into a heaving-bosomed vixen. Given the breadth of your presence in Japan and beyond, I wonder if I may find your ghost even in the unfamiliar roots and branches of the Indo-European literary tree? What do you have to say to your contemporaries halfway round the world and what might they have to say to you? I wonder if they could possibly have imagined your silks, your rice, and your fishing boats, or if you could have imagined their wool, their fritters, and their dairy cattle. \u00a0(But again, we shouldn\u2019t trust the territorial lines these pesky scholars draw. Even in your century, the Silk Road was a vital artery stretching from Francia to Japan. My thought exercise in worlds unknown is already a fallacy.)<\/p>\n<p>So Komachi, curiosity roused and wanting to tell you of far-distant poetry, I rooted through fields not my own and fields not your own in search of you, in search of how my forty-two-generations-removed ancestors might also commune with you. In <em>Y Gododdin<\/em>, aided greatly by A.O.H Jarman\u2019s English translation, I read:<\/p>\n<p style=\"padding-left: 40px;\">Er pan want maws mur trin,<br \/>\ner pan aeth daear ar Aneirin,<br \/>\nnu neut ysgaras nat a Gododdin.<\/p>\n<p style=\"padding-left: 40px;\">\u3084\u3055\u3057\u3044<ruby>\u5fa1\u65b9<rt>\u304a\u3093\u304b\u305f<\/rt><\/ruby>\u304c\u3001\u6226\u3044\u306e\u58c1\u306b\u3042\u3044\u3001\u6bba\u3055\u308c\u305f\u305f\u3081\u3001<br \/>\n\u30a2\u30cd\u30a4\u30ea\u30f3\u69d8\u304c\u3082\u3046\u571f\u306b\u88ab\u3089\u3055\u308c\u305f\u305f\u3081\u3001<br \/>\n\u4eca\u306f\u6b4c\u304c\u30b4\u30c9\u30b9\u30a3\u30f3\u306e\u4eba\u3005\u304b\u3089\u5206\u304b\u308c\u3066\u3057\u307e\u3063\u305f\u3002<\/p>\n<p>I have only guesses as to the discreet meanings of each crumb of Old Welsh. Aeth, earth? Daear, to cover? Or perhaps to bury? (The appendices illustrate my own ignorance to me, for \u201cdaear\u201d means \u201cearth\u201d and \u201caeth\u201d is apparently a conjugation of \u201cmyned.\u201d)<\/p>\n<p>But even foreign, Aneirin\u2019s nat still sings, does it not? How close is a nat to your uta, Komachi, or your uta to my poetry, or my poetry to our ancestors\u2019 histories? And what do you make of Aneirin\u2019s fallen-warrior odes and battle-sung eulogies? Do you appreciate the end rhyme or the fixed rhythms of the syllables or is the violence of the work too unseemly for you? Do you sense through the utterly alien language the beating heart of verse that Tsurayuki claimed even frogs and birds sing? I like to think so.<\/p>\n<p>You see, there are indefinable <em>somethings<\/em> between us, Komachi, and between all writers and versifiers and story tellers, and those <em>somethings<\/em> make themselves known to us. In my recent visit to Tokyo, to Waseda University, to Musashino, to Azuma, to the International House of Literature, to the Eastern Frontier, to the Murakami Library, to Et Cetera (etc.) I sensed you and our <em>somethings<\/em>. Those lands and their literary spirit roused your ghost. Our <em>somethings<\/em>, it turns out, are nothing so empty as the twin chasms of Time and space. They are links in a chain, as islands are links and languages are links. Each is forged discreet yet intertwined and inseparable, binding us all loosely (but not too loosely) to that which came before. Hiromi and I had a serendipitous moment, you see, while we were talking about experimentation and language. We discovered a point at which our links touch when I told her I had experimented with you, and she told me she had done the same. \u00a0(I should say, Komachi, that \u201cto experiment\u201d can be a euphemism in English. Take that as you will. I hope you take it well.)<\/p>\n<p>Sensing you, wondering how my worlds and my ancestors\u2019 worlds and links intersected with yours, I look back at the few leaves you left us and see you wrote \u3042\u306f\u308c\u3066\u3075\u3053\u3068\u3053\u305d\u3046\u305f\u3066\u4e16\u306e\u4e2d\u3092\u601d\u3072\u96e2\u308c\u306c\u307b\u3060\u3057\u306a\u308a\u3051\u308c. I also see that placed in answer to you in the pages of the <em>Kokinsh<\/em><em>\u016b<\/em>, an anonymous singer was made to cry back \u3042\u306f\u308c\u3066\u3075\u8a00\u306e\u8449\u3054\u3068\u306b\u7f6e\u304f\u9732\u306f\u6614\u3092\u604b\u3075\u308b\u6d99\u306a\u308a\u3051\u308a. \u00a0In your two voices, the longing for bygone days and the pain of knowing your longing holds you fast\u2014no lotus flower for either of you. Aneirin, too, sang of the past as he lamented men fallen on the battlefield.<\/p>\n<table style=\"width: 100%; border-collapse: collapse; border: none; height: 168px;\">\n<tbody>\n<tr style=\"height: 168px;\">\n<td style=\"width: 30%; vertical-align: top; border: none; padding-right: 8px; height: 168px;\">Ffun yn ardeg<br \/>\nArial rhedeg,<br \/>\nAr hynt wylaw.<br \/>\nCu cystuddiwn,<br \/>\nCu caraswn,<br \/>\nCell\u00e9ig ffaw.<\/td>\n<td style=\"width: 70%; vertical-align: top; border: none; height: 168px;\">\u606f\u82e6\u3057\u3044\u3001<br \/>\n\u8d70\u3063\u3066\u304d\u305f\u3088\u3046\u306b\u3001<br \/>\n\u50d5\u306f\u306a\u304d\u3064\u3065\u3051\u308b\u3002<br \/>\n\u611b\u3057\u3044\u3082\u306e\u306e\u305f\u3081\u306b\u5606\u304d\u3001<br \/>\n\u611b\u3057\u3044\u3082\u306e\u3092\u611b\u3057\u3066\u3044\u305f\u50d5\u306b\u3001<br \/>\n\u5f7c\u306f\u8457\u540d\u306a<ruby>\u96c4\u9e7f<rt>\u3057\u304b<\/rt><\/ruby>\u3060\u3063\u305f\u3002<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Whether in Deheubarth or the Yamato court, there is still loss in the stag\u2019s cry.<\/p>\n<p>But my ancestors were not only of the Welsh persuasion. I wonder, Komachi, what you might make of another woman\u2019s work? I don\u2019t imagine you and Hrotsvitha of Gandersheim would have had much in common. Hrotsvitha would have probably felt more kinship for Akazome Emon or Empress S\u014dshi, both of whom took Buddhist vows relativley early in life. But even so, Komachi, you still wrote of your own desire to leave suitors at the door, and there is kinship in that. Hrotsvitha\u2019s favorite theme was also a demanding male suitor or two pitted against an unwilling woman or three:<\/p>\n<p style=\"padding-left: 40px;\">CALIMACHUS: Primum de amore\u2022<br \/>\nDRUSIANA:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Quid de amore?<br \/>\nCALIMACHUS: Id scilicet\u2022quod te | prae omnibus diligo\u2022<br \/>\nDRUSIANA:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Quod ius consanguinitatis\u2022qu\u1d92ve legalis conditio institutionis\u2022\u3000compellit te ad mei amorem?<br \/>\nCALIMACHUS: Tui pulchritudo\u2022<br \/>\nDRUSIANA:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mea pulchritudo?<br \/>\nCALIMACHUS: Immo\u2022<br \/>\nDRUSIANA:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Quid ad te?<br \/>\nCALIMACHUS: Pro dolor hactenus parum\u2022sed spero quod attineat postmodum\u2022<br \/>\nDRUSIANA: \u00a0\u00a0\u00a0\u00a0 Discede discede leno nefande\u2022confundor enim diutius tecum verba miscere\u2022quem sentio plenum diabolica deceptione\u2022<\/p>\n<p style=\"padding-left: 40px;\">\u30ab\u30ea\u30de\u30b3\u30b9\uff1a\u3000\u307e\u305a\u3001\u611b\u3092\u3059\u308b\u3053\u3068\u3002<br \/>\n\u30c9\u30eb\u30b7\u30a2\u30ca\uff1a\u3000\u611b\u3068\u3044\u3048\u3070\uff1f<br \/>\n\u30ab\u30ea\u30de\u30b3\u30b9\uff1a\u3000\u3044\u3046\u307e\u3067\u3082\u306a\u304f\u3001\u3059\u3079\u3066\u3088\u308a\u3042\u306a\u305f\u3092\u3002<br \/>\n\u30c9\u30eb\u30b7\u30a2\u30ca\uff1a\u3000\u4f55\u306e\u89aa\u65cf\u95a2\u4fc2\u3001\u307e\u305f\u306f\u6cd5\u5f8b\u7684\u306a\u72b6\u6cc1\u304c\u79c1\u3078\u611b\u3092\u3068\u8a00\u308f\u305b\u308b\u306e\u3067\u3059\u304b\u3002<br \/>\n\u30ab\u30ea\u30de\u30b3\u30b9\uff1a\u3000\u3042\u306a\u305f\u306e\u7f8e\u3057\u3055\u304c\u3002<br \/>\n\u30c9\u30eb\u30b7\u30a2\u30ca\uff1a\u3000\u79c1\u306e\u7f8e\u3057\u3055\u3060\u3068\uff1f<br \/>\n\u30ab\u30ea\u30de\u30b3\u30b9\uff1a\u3000\u3044\u304b\u306b\u3082\u3002<br \/>\n\u30c9\u30eb\u30b7\u30a2\u30ca\uff1a\u3000\u305d\u308c\u306f\u30ab\u30ea\u30de\u30b3\u30b9\u306b\u4f55\u306e\u95a2\u4fc2\u3067\u3059\u304b\u3002<br \/>\n\u30ab\u30ea\u30de\u30b3\u30b9\uff1a\u3000\u6b8b\u5ff5\u306a\u304c\u3089\u4eca\u307e\u3067\u4f55\u306e\u95a2\u4fc2\u3082\u306a\u304b\u3063\u305f\u3002\u3057\u304b\u3057\u3053\u308c\u304b\u3089\u306f\u3042\u308b\u3088\u3046\u306b\u671b\u3093\u3067\u3044\u308b\u3002<br \/>\n\u30c9\u30eb\u30b7\u30a2\u30ca\uff1a\u3000\u3084\u3081\u3066\u3001\u51fa\u3066\u3044\u3051\u3001\u9670\u6e7f\u306a\u5973\u8852\u3088\u3002\u79c1\u3092\u6df7\u4e71\u3055\u305b\u3066\u3057\u307e\u3046\u304b\u3089\u3002\u3042\u306a\u305f\u3068\u9577\u304f\u8a00\u8449\u3092\u4ea4\u308f\u3059\u306e\u306f\u56f0\u308a\u307e\u3059\u3002\u30ab\u30ea\u30de\u30b3\u30b9\u306e\u9b54\u6027\u306e\u507d\u308a\u8a00\u306f\u3088\u304f\u7406\u89e3\u3057\u307e\u3057\u305f\u3002<\/p>\n<p>Hrotsvitha\u2019s words are less foreign to my ear than were Aneirin\u2019s. English\u2019s extensive borrowing from Latinate languages and my own excessive education mean that unlike Old Welsh, I have a foothold in Hrotsvitha\u2019s dialogues (though still I draw on aid from Larissa Bonfante\u2019s somewhat decorative English translation). \u201cDiscede\u201d is probably related to \u201cdesist,\u201d \u201cverba\u201d to \u201cverbal,\u201d and \u201cdiabolica deceptione\u201d is very obviously \u201cdiabolical deception.\u201d How lovely to have an educated guess, even if I have no true sense of the work.<\/p>\n<p>Because, Komachi, Hrotsvitha\u2019s rhythms are a different bear, and I cannot rock to them the way I can to Aneirin\u2019s. Her grounding in the Latin works of Plubius Terentius Afer is, her scholars insist to me, a key influence on her plays, but though I have done some reading and fumbled some ad hoc parsing, the classical Latin rhythms confound (confundor) me. There is meter here, but it slips through my unsteady grasp without catching. I am reminded of how it took many years, Komachi, for me to begin to hear fives and sevens in Japanese and to recognize them as a poetic cadence. These prime number groupings ring so different from Western European linguistic traditions, which cling to and uphold even-numbered syllable counts. Shakespeare\u2019s beloved pentameter is, after all, the beat of ten rather than five.<\/p>\n<p>And yet, Komachi, even as rhythmically different as you and Hrotsvitha are, you too wrote of turning away a persistant suitor (or perhaps even persistant suitors?) A certain man wrote \u79cb\u306e\u91ce\u306b\u7b39\u308f\u3051\u3057\u671d\u306e\u8896\u3088\u308a\u3082\u3042\u306f\u3067\u3053\u3057\u591c\u305e\u3072\u3061\u307e\u3055\u308a\u3051\u308a and in tales and collections you were made to reply \u307f\u308b\u3081\u306a\u304d\u6211\u304c\u8eab\u3092\u6d66\u3068\u77e5\u3089\u306d\u3070\u3084\u304b\u308c\u306a\u3067\u6d77\u4eba\u306e\u8db3\u305f\u3086\u304f\u304f\u308b. That certain man was not the true recipient of your poem, but I think I can safely assume the paramour you wrote to still was not welcome. Given that outside your poetry the only verifiable fact about you that has survived to my time is that of your beauty, I\u2019m sure you knew more than enough men who couldn\u2019t take a hint.<\/p>\n<p>Hrotsvitha took vows as a young woman and lived at Gandersheim Abbey surrounded by women for most of her life, so her struggles with men came not in the form of amorous advances but in doubts and crimes the clergy lay at women\u2019s feet\u2014women were inherently weaker than men, Hrotsvitha was told, and women should be held at fault when men strayed from God\u2019s path. She, however, argued that women too could be virtuous and that to write of their virtues was worthwhile work, even if it meant that Hrotsvitha had to expose herself to texts not befitting a chaste woman. \u201cUnde ego Clamor Validus Gandeshemensis\u2022non recusavi illum imitari dictando\u2022dum alii colunt legendo\u2022quo eodem dictationis genere\u2022quo turpia lascivarum incesta feminarum recitabantur\u2022laudabilis sacrarum castimonia virginum iuxta mei facultatem ingenioli celebraretur\u2022\u201d \u4f1d\u7d71\u7684\u306a\u30d7\u30d6\u30ea\u30a6\u30b9\u30fb\u30c6\u30ec\u30f3\u30c6\u30a3\u30a6\u30b9\u30fb\u30a2\u30d5\u30a7\u30eb\u306e\u3044\u3084\u3089\u3057\u304f\u3066\u6c5a\u3044\u5973\u6027\u306b\u3064\u3044\u3066\u306e\u53f0\u672c\u304c\u4eca\u3067\u3082\u5e83\u304f\u8aad\u307e\u308c\u3066\u3001\u3088\u304f\u601d\u308f\u308c\u3066\u3044\u308b\u3068\u308f\u304b\u3063\u3066\u3044\u308b\u304b\u3089\u3053\u305d\u3001\u79c1\u3001\u30ac\u30f3\u30c0\u30fc\u30b9\u30cf\u30a4\u30e0\u306e\u3064\u3088\u3044\u3055\u3051\u3073\u3001\u306f\u5c0a\u3044\u7d14\u6f54\u306e\u3048\u3089\u3044\u4e59\u5973\u3092\u795d\u3046\u305f\u3081\u306b\u9060\u616e\u305b\u305a\u3042\u306e\u811a\u672c\u5bb6\u306e\u82b8\u3092\u771f\u4f3c\u3057\u3066\u66f8\u3044\u3066\u304d\u305f\u3002She was a proud woman, you see, though pro forma she decried her own pride and craft, as did the men who later \u201cdiscovered\u201d her. Like you, Komachi, she burned too hot. (Her passion, however, was for Christ rather than some mortal man.) Given that in your own culture chastity was not yet a virtue, Hrotsvitha and you would have found this the point at which my metaphorical chain links form a boundary rather than a connection.<\/p>\n<p>Because for all my pretty talk about found family and literary <em>somethings<\/em>, Komachi, it is important, too, to acknowledge our differences. If my ancestors had been born into your world, they would have been fixed in their peasant status, presenting rice and hemp to their lords and living from harvest to harvest, singing perhaps, but not for your noble ears. And if you\u2019d been born into a moderately wealthy family in my world, Komachi, I doubt our paths ever would have crossed. I\u2019m still too working class to rub elbows with the rich, and poetry doesn\u2019t pay in my time and culture like it paid in yours. Your family would have set you on a path of business or medicine rather than the arts, though given your way with words and your beauty, maybe you would have made it as an influencer. (I can see your Instagram now, tastefully minimalist save your smattering of houseplants and carefully cultivated quotes.) Of course, we were each born when and where we were, and for that our differences are greater still.<\/p>\n<p>Yet it is in these points of disconnect that I find myself most fascinated and puzzled. Each mystery lost to time is a rich vein of ore, and to melt that treasure into the vast hungry furnace of my own colonizing culture would be to destroy its contrasting beauty. Can you see and sense each of these troves, Komachi? The classical Latin dactyl and the rhyme of Old Welsh? The passion of a courtier awaiting her lover and a canoness\u2019 steadfast belief in the necessity of female virtue? The fascination of a decidedly white, American woman choosing to study a culture a millennium and a world away?<\/p>\n<p>Komachi, I\u2019ve gone on too long, I can\u2019t seem to help myself. And I have no way of knowing if your literary spirit lingers still in this world to have seen a lick of what I\u2019ve written. All of these words to you may just be words to myself and a ghost of my own making. But if that is the case, then in a way I\u2019ve succeeded in bringing my ancestors to you. Because if your ghost is within me, Komachi, then she already knows all the ink I\u2019ve spilled here, and moreover, she\u2019s understood, at least in part, the language I\u2019ve teased her with. Not the meaning of each separate word, no, but rather the beating heart of verse that lives on. She\u2019s heard Aneirin\u2019s wailing and Hrotsvitha\u2019s shouting, the frog song and the bird call. And now she\u2019s even heard a moonlit katsura, sighing in the breeze.<\/p>\n<p>Until the next time I call on you, Komachi,<\/p>\n<p>Laurel Taylor<\/p>\n<h3><strong>\u30ed\u30fc\u30ec\u30eb\u30fb\u30c6\u30a4\u30e9\u30fc\uff08Laurel Taylor\uff09<\/strong><\/h3>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-11818\" src=\"https:\/\/www.waseda.jp\/culture\/wihl\/assets\/uploads\/2025\/11\/LaurelTaylorProfile-610x407.jpeg\" alt=\"\" width=\"300\" height=\"247\" \/><\/p>\n<p>\u7c73\u56fd\u30b3\u30ed\u30e9\u30c9\u5dde\u751f\u307e\u308c\u3002\u73fe\u5728\u7ffb\u8a33\u5bb6\u3001\u4f5c\u5bb6\u3001\u30c7\u30f3\u30d0\u30fc\u5927\u5b66\u3067\u65e5\u672c\u8a9e\u30fb\u65e5\u672c\u6587\u5b66\u306e\u5c02\u4efb\u8b1b\u5e2b\u3068\u3057\u3066\u52e4\u52d9\u3002\u30a2\u30a4\u30aa\u30ef\u5927\u5b66\u4fee\u58eb\u8ab2\u7a0b\u4fee\u4e86\uff08\u6587\u5b66\u7ffb\u8a33\uff09\u3001\u30ef\u30b7\u30f3\u30c8\u30f3\u5927\u5b66\u30bb\u30f3\u30c8\u30eb\u30a4\u30b9\u535a\u58eb\u8ab2\u7a0b\u4fee\u4e86\uff08\u65e5\u672c\u6587\u5b66\u30fb\u6bd4\u8f03\u6587\u5b66\uff09\u3002\u30d0\u30c1\u30a7\u30e9\u30fc\u516b\u91cd\u5b50\u3001\u677e\u7530\u9752\u5b50\u3001\u85e4\u91ce\u53ef\u7e54\u3001\u702c\u5c3e\u307e\u3044\u3053\u3001\u69d8\u3005\u306a\u4f5c\u54c1\u3092\u82f1\u8a33\u3002\u5ddd\u4e0a\u672a\u6620\u5b50\u306e\u300e\u9ec4\u8272\u3044\u5bb6\u300f(Knopf)\u306e\u7531\u5c3e\u77b3\u3068\u5171\u8a33\u304c2026\u5e743\u6708\u51fa\u7248\u3002\u8a69\u96c6\u300eHuman\u69cb\u9020\u300f(\u4e03\u6708\u5802\uff092024\u5e74\u51fa\u7248\u3002<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Letters from the Haruki Murakami Library&#8221; \u306f\u300c\u65e9\u7a32\u7530\u5927\u5b66\u56fd\u969b\u6587\u5b66\u9928\uff08\u6751\u4e0a\u6625\u6a39\u30e9\u30a4\u30d6\u30e9\u30ea\u30fc\uff09\u3092\u8a2a\u308c\u3066\u3001\u3060\u308c\u304b\u306b\u304a\u624b\u7d19\u3092\u66f8\u304f\u3068\u3057\u305f\u3089\uff1f\u300d\u3068\u3044\u3046\u767a\u60f3\u3067\u3001\u56fd\u969b\u6587 [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":2507,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[103],"tags":[],"class_list":["post-3323","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","ja"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts\/3323","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/comments?post=3323"}],"version-history":[{"count":2,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts\/3323\/revisions"}],"predecessor-version":[{"id":3347,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/posts\/3323\/revisions\/3347"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/media\/2507"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/media?parent=3323"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/categories?post=3323"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wihl-annex\/wp-json\/wp\/v2\/tags?post=3323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}