Killing Commendatore by Haruki Murakami

A cold and gloomy Sunday afternoon in November was the perfect time to finish Killing Commendatore. I sat down with a cup of tea and read the last 110 pages.

I had begun the book over two weeks previous. Usually, it takes me a few days to read a book. But this one was the size of two books--the advanced reading copy is 674 pages! It took several weeks to read, with little impetus to flip pages. The style of writing felt leisurely, describing mundane things like what people were wearing or what the protagonist was cooking. These details puzzled me, for I really wasn't sure of their purpose.

Still, something drew me on; I couldn't even name it. The story was a journey that I was willing to take. I trusted the author to make it worth my while.

The narrator's wife of six years decides she wants a divorce. He has made a living by portrait painting, believing he has settled when he could have developed his contemporary art style. He believes his wife gave up on him because he had settled.

First, he gets into his car and drives around Japan. A fellow artist and friend offers him the use of his father's house in the mountains, a retreat where he had created the traditional Japanese style paintings that made him famous. The father is now in assisted living with dementia.

The narrator moves into the mountaintop house. He is in a slump, unable to paint. He teaches art classes and has liaisons with married women. He is approached by Menshiki, a mysterious man from a neighboring mountain. "Menshiki" means "avoiding color," very apt considering his pure white hair and secluded and walled-off life. Menshiki commissions the narrator to paint his portrait, and then to paint a portrait of a girl he believes to be his daughter. The girl happens to be one of the narrator's art students. He discovers a new way of painting that is intuitive, impressionistic, and powerful.

Meanwhile, otherworldly experiences arise that disturb the membrane between reality and the unreal.

Soon after moving into the house, the narrator discovers a painting in the attic,  Killing Commendatore. It is based on a scene from Mozart's Don Giovanni but also perhaps an image from the artist's experience as a student in Nazi-controlled Vienna, painted in the traditional Japanese style. No one has ever seen the painting before. A ringing bell in the forest leads the narrator to a mysterious pit. Ideas and Metaphors take a corporeal form, based on the images in Killing Commendatore. When the girl disappears our narrator goes on a quest to save her, entering another reality, crossing a river, walking through a dark wood, and crawling through a narrow tunnel.

The last half was intriguing and rewarding. The novel is called an "homage to The Great Gatsby," and I can see that. But I also connected it to other literary works and mythology.

In the end, the narrator states that his capacity to believe made him different from Menshiki; he is not one of T. S. Eliot's "straw men," a hollow man without feeling., for he trusts there is some guide which leads us where we need to be.

This is a story of transformation, a death and rebirth re-enacted, and yet the narrator's endpoint is to return to the life he started with, as a portrait painter, reunited with his wife, embracing her child. It is enough, now, for them both.

I received an ARC from the publisher in exchange for a fair and unbiased review.

Killing Commendatore: A Novel
by Haruki Murakami
A. A. Knopf
ISBN-10: 052552004X
ISBN-13: 978-0525520047