Setting

On the first page of the chapter entitled "What Happened in the Night," Murakami uses longer sentences to describe the sinister, almost unearthly, setting or atmosphere.  Although the structure of the sentences is not much different from the short ones, these two below are much richer in literary devices -- some of which are personification, onomatopoeia, sound, visual imagery, and simile. 

"The evergreen oak looked almost annoyed as it trembled in the occasional puff of the wind with an unpleasant creaking sound.  The stones in the garden looked whiter and smoother than they ordinarily did, staring up at the sky impassively like the faces of dead people" (355). 

The setting here is creepily eerie, like in a nightmare where one observes, unable to move.  The oak is personified as "annoyed," giving it a human trait.  The word "creaking" could be onomatopoeia, standing out in the silence of nighttime.  It is as if wandering through a graveyard, with stones taking the shape of white long gone faces, the smoothness and whiteness reminding one of bones.  They are personified as "staring," having no emotions at all, appearing apathetic.  Then there is not to forget the wind, which brings about nocturnal noises. 

The reader is very much drawn into this setting because it is so vivid and though surreal, weirdly familiar; in the dark anything is possible to take shape.  In addition, I noticed that giving animate objects human traits also stirs ones imagination and endows the scene with a sense of being overpowered by something supernatural (reinforced by the moonlight).  It also foreshadows danger and fright, especially when the boy (young Cinnamon) hears the cry of the wind-up bird. 


Is there a setting that you liked?

A stop on emotions (1st part)

Another important theme that appears a few times in Haruki Murakami’s novel is the one of emotions. Toru mentions that he is able to put a, “freeze on my emotions.” (78) After being introduced several different characters, it is interesting to tell how each person controls his/her emotions. For example, Toru is able to control his emotions, putting them on freeze. On the other hand, Kumiko’s mother seems to have no emotions. Noburu doesn’t seem to understand what emotions are due to the fact that he was so absorbed in his work and studies all the time (for example, he didn’t have “time” for girlfriends). Finally, the father appears to be heartless, and the only thing he does care about is to be the best and beat the rest. 

Analysis of Characters (1st part)

In this sixth chapter, we are introduced (in some detail) to Kumiko’s family. We have, to begin with, her father; Kumiko’s father who is dedicated to always win, in every way possible. In his description (pages 72-73) we are exposed to this obsession he has with competition. In fact, he is described as a man who always wanted, “to earn the highest possible marks and to shove aside anyone and everyone standing in your (his) path to the top.” (72-73) After being introduced to a man like this, we are then exposed to his wife, Kumiko’s mother, who is a symbol of oppression. So much so that she, “possessed neither the opinions nor the character to oppose her husband’s opinion.” (73) Then again, after seeing how her husband was, how could she?

Next, Noboru Wataya is introduced. Noboru, who is the first member of Kumiko’s family being revealed his surname, is an intelligent and devoted man, who found his way right to the top of society. As I mentioned earlier, the author deliberately chose not to mention the names of Kumiko’s: mother, father, and sister, however we are granted her brothers name. Further more, the whole sixth chapters name is (partially) devoted to Noboru, as his name is in fact the chapter’s title. The cat that is also an important symbol holds the same name as Kumiko’s brother. With these details, we can conclude that Noboru will be of greater importance, in relation to the rest of his family. 

Not just a cat (1st part)

Throughout the beginning of this novel, the cat is a prominent detail; however, as the storyline continues, we start thinking that the cat might be more than just an animal. Once we are revealed Kumiko’s childhood, the cat becomes a symbol. One where Kumiko finally has what she wants, so one can assert that this cat is (possibly) a symbol of independence for her. Having the cat is essential for her because it is something that she wants, and since as a child she was neglected and was not allowed to have what she wants, having this cat allows her to feel important. This also allows us readers to understand why Kumiko was so keen on finding this cat, since the beginning of The Wind-Up Bird Chronicle. 

Kumiko's childhood (1st part)

Kumiko’s childhood: As the novel continues, the narrator opens up and describes his wife’s life as a child. This description makes us feel bad for her. We start feeling pity for her rough childhood with her grandmother. We are then told that Kumiko was "returned" to her parents and siblings, in the, "home where she should have been all along. Her parents were there, her brother and her sister. But it was not her home. It was simply a new environment. " (71) The use of italics on the words: her home, and new environment, is interesting to point out because they make things more awkward. Those two words put together make a sort of contradiction. Home should be an environment that one is used to, not a new and unfamiliar one. The narrator continues talking about the problems that Kumiko endured as a child. He claims that her life could be different now, and believes that so much so that he makes the assertion that, “You have the right to choose your own life.” (72) This is an important aspect to explore. Do we really have the right to choose our own life? One thing is certain, as children, that is not a possibility; our lives are definitely controlled by parents and outside factors. As we grow up, on the other hand, it is possible that we have a bit more choices as to what direction our lives go into. However, I do not know if the term “right” is the correct one to use in this context. Even as an adult, certain adults do not have the “right” to completely control their own lives…it is sure that factors like money and your surroundings contribute to that. It is interesting however that this personage chose (rather that the author chose) to say this exact phrase. With this, as readers, we are beginning to appreciate the narrator more and more. Especially since his character is being revealed, through dialogue with his wife, as a caring one.

This idea of the “right to choose your own life” is quickly juxtaposed when Kumiko father is further introduced and we are shown his opinion. In fact, he believes that, “all men are not created equally.” (73)

Similarities with Jiro Taniguchi's illustrated novel

As I have mentioned in my previous post, Murakami's book reminds me of Taniguchi's illustrated novel Quartier Lointain. The latter evidently includes less text but does contain images that accompany each text box. There is one particular scene in Taniguchi's novel that reminds me of Toru Okada in the well.

The image above represents the moment of transition that Taniguchi's character goes through when he changes from a grown adult to a 14 year old teenager. Although the scene does not explicitly portray this change, the images are laid out in such a way (especially the movement of the butterfly) to show this crucial moment of change. When I was reading the part of Murakami's novel in which Toru is in the well and begins to give deep thought about everything, this specific page of Taniguchi's novel popped up in my mind. To me, Toru experienced some type of change while he remained in that well; the man that went into the hole in the ground is not the same one that emerged from it. His intense and almost painful thought process combined with his aching hunger and thirst, changed the type of person he was. This is much like what happened to Creta Kano with Kumiko's brother. 

Inner Travel

In the second book, Creta Kano finally tells Toru about her relations with Kumiko's brother. At first, I expected it to be a story of a woman raped by a man, but it in reality goes beyond that. Noboru Wataya defiled her in the sense where he not only exploited her body, but her mind as well. On page 306, Creta Kano explains how her relations with Noboru Wataya have allowed her to rediscover her third self. The first version of her was a girl who felt constant intense pain until her failed suicide attempt where she was plunged into an everlasting numbness. Following her strange encounter with Wataya however, she was able to fully manipulate these two previous versions of herself and blend them into one. She says, When pain comes to me, I leave my physical self. It's just like quietly slipping into the next room when someone you don't want to meet comes along." (page 306) I have realized that there are many supernatural aspects in the novel such as Mr.Honda's strange gift or the Kano sister's profession. This side of the novel reminds me of a book that we read in French class by a Japanese manga artist called Jiro Taniguchi; the story is called Quartier Lointain and tells the story of an adult man who strangely goes back in time to his childhood. By the end of the manga, the reader realizes that the time travel (whether it was real or simply a dream) represents an interior voyage of the soul. For some reason, I feel that Toru Okada is experiencing the same things that the main character in Taniguchi's illustrated novel went through.
Throughout the novel, Toru Okada seems to gradually lose his grasp on reality: the disappearance of his cat, his encounter with May and the Kano sisters, followed by Mr.Honda's strange gift, and of course Kumiko's escape with another man. Although he does come to meet many new people such as May Kashara or Lieutenant Mamiya, I feel as though Toru becomes increasingly isolated from the world and begins to focus more on himself. His adventure in the well allowed him to literally escape from the real world and to enclose himself. He could not see or hear anything thus forcing him make his mind more than it usually does; it is without a doubt that if I had chosen to remain in a well for a couple of days, I would be forced to think about everything but in more depth. I feel that Murakami uses Toru Okada's time in the well as a metaphor of the human mind. In his complete state of isolation, the main character was able to dig deep into his conscience, but also through his dreams, he was able to explore his subconscious. Due to the fact that he has absolutely nothing else to do in the well, he is able to question and reevaluate every aspect of his life: his main priority being Kumiko's departure.
At this point in the novel, I have noticed that many aspects of the novel make it appear beyond ordinary. It is as though, Murakami has written this book in such a way that the reader can equally feel the supernatural "vibe" that I feel is instilled in this novel.