日本作家村上春樹自一九七九年開始寫作，至一九八七年以《挪威的森林》一書創下日本暢銷紀錄，並進而掀起全球性的「村上春樹現象」，目前全球已有三十多國出版村上春樹作品的譯本。透過翻譯，村上春樹的小說跨越了國界，呈現在各國讀者面前。然而許多讀者在閱讀譯本的同時，卻不禁產生這樣的質疑：「我們到底在讀村上春樹，還是在讀賴明珠（或其他譯者）？」本文即根據這一質疑做為起點，嘗試以比較文學中跨文學、跨文化的研究角度，通過對村上春樹《發條鳥年代記》此書之中、英譯者與譯文的討論分析，來探討在全球化時代中，譯者所扮演的角色和選取翻譯策略的文化背景。此外，本文期以藉由村上春樹本書之華語、英語共四名譯者的對照、比較，能為華語地區的譯者和讀者，在翻譯、閱讀全球性暢銷書時的一個另類的視角，希望讀者能閱讀到百分之一百二十的村上春樹。

In 1979, Japanese writer Haruki Murakami published his first book in Japan. Eight years later, his Norwegian Woods became a record-breaking bestseller. Since then, Haruki Murakami won his fame all over the world, his works have been translated and published over thirty countries. However, by reading Haruki Murakami’s translated copies, many foreign readers spoke out their doubts and confusion: “Are we reading Haruki Murakami, or are we reading Jay Rubin (or any other translators)?” To keep this in mind, this paper is trying to use The Wind-up Bird Chronicle as an example to analyze its different translators. And the traditional method of studying translators and translated works in the field of comparative literature is used in this paper. By doing this, I hope to examine how different translators choose their strategies to translate Haruki Murakami and why. Furthermore, by comparing Chinese and English translators and their translated works, this paper tries to provide an alternative perspective for foreign readers to appreciate Haruki Murakami’s original works.