Pablo J.

Recinos, A01020160


Portfolio on
The Elephant
Vanishes,
by Haruki Murakami










CONTEXT OF
PRODUCTION




































The Author,
Haruki
Murakami































Facts

Haruki Murakami
DOB: January 12, 1949
POB: Kyoto, Japan [during post-WWII baby boom]

- Spent youth in Shukugawa, Ashiya, and Kobe
- Born to Japanese literature teaching parents
- Heavily influenced by Western culture, esp. music and literature
- Studied drama at Waseda University in Tokyo
- Met wife, Yoko
- Frist job: at record store [influenced Norwegian Wood]
- Opens coffeehouse and jazz bar before finishing studies Peter Cat Kokubunji, Tokyo
- Influenced South of the Border, West of the Sun
- Marathon runner triathlon enthusiast
- Began writing fiction before he was 29
1986 left Japan, traveled through Europe, and settled in the US, writing in three different
universities around the country













Murakami An Impression

Although one should always attempt to be as objective and purpose-oriented as possible
when writing about ones first impression of someone, Haruki Murakami is such an interesting
character that such tasks would prove to be herculean. That said, after reading the article The
Fierce Imagination of Haruki Murakami, published in The New York Times, by Sam Anderson,
I started realizing what an extraordinary human being this man is. Everything about him seems to
be taken from something produced by Hayao Miyazaki; unpredictable, enthralling, and overall,
surreal. From the description of his voice, his way of moving and speaking, to a strange black
butterfly at the authors house, one can see that there is an atmosphere of magic around
Murakami. Not only that, but it kind of spoils what we might find in his stories; most probably,
characters as out of this world as the author himself. We might even see a black butterfly!
As an author, I expect Murakami to be, compared as I did before to the productions of
Miyazaki, every bit as a bigger-than-life, out-of-this-world, fantastic storyteller as the Japanese
filmmaker. The article talks a bit about his works, of his novel (or series of novels) 1Q84, and
how there are characters that see things and experience things that are in a world below theirs.
This might indicate a heavy use of fairytale-esque situations or aspects in his stories. Fairies,
talking animals, and witches shouldnt surprise me when reading The Elephant Vanishes.
However, being Japanese, I would expect honorable spirits and evil sprites (probably in high-
pitched colors) more than knights in a suit of armor and fairies protecting the newborn child of
an evil queen. Nevertheless, a sense of the magical should be present in Murakamis work. This
should apply not only to setting and themes, but also to characters and their interactions with the
world. I dont expect a Lord of the Rings fictitious world, but more of an Alice in Wonderland
world-under-the-surface plotline.










A Very
Murakami
Worldview































April 1st, 1978 Who, What, Where?

April 1st, 1978 marks the day Dave Hilton, an American baseball player, hit a double for
the Yakult Swallows (a Japanese-based baseball team. It was the start of Hiltons career at Japan,
and what a great start it was. However, another persons career started that same day, at the same
Jingu Stadium. Haruki Murakami was reportedly drinking beer and enjoying the game when
Hilton hit that double. It was in that moment that, Murakami often says, I knew I was going to
write a novel. It was a warm sensation. I can still feel it in my heart. Murakami said that
Hiltons perfect hit inspired him into writing a novel; at the instant the young American batted
the double, Murakami realized, You know what? I could try writing a novel. He succeeded.


Context of 1968 The Zenkyoto Movement and the Zengakuren

Zenkyoto Movement
During 1968, Japan experienced protests and demonstrations throughout the country as
part of a student movement that criticized American actions and participation in the Vietnam
War. Universities suffered the constant absence of students and constantly struggled to keep
afloat in the calamitous atmosphere. Massive numbers of students across Japan created then an
organized association named the Zenkyoto. This movement/association sought, among other
things, the eradication of censorship in school publications, freedom of association, and the
ending of disciplinary actions against activist students. It was in 1968, beginning in March all the
way to September and even continuing during the beginning of the 70s, that the Zenkyoto
aggressively confronted the local authorities, invading schools, classrooms, and university
campuses; nonetheless, multiple times the movement ceased violent actions and tried to
rationally and patiently convince the authorities of their cause.

Zengakuren
The Zengakuren is a student group that actively sought for a revolution in Japan. Though
once considered Japans Communist Party, most of the sects and branches of the Zengakuren
were against it. The origins of this association go back to 1945, when at the Mito High School,
students shut themselves in their rooms as a demonstration against the schools presidents
actions of censoring and restricting both the facultys and the students rights to speak, act, and
write freely. Since the demonstrations were successful, such practices and movements spread
across Japan in a short amount of time. The founding date of the Zengakuren is said to be
September 18, 1948, when 250 students from 145 universities gathered to create the new student
federation called Zen Nihon Gakusei Jichikai Sorengo, also known as Zengakuren, with its
headquarters at the Tokyo University campus. The association mainly looked for opposition to
the fascist-colonialist reorganization of education, protection of the freedom of study and student
life, opposition to the low wages paid for student part-time work, and complete freedom for the
student political movement, among others.







Works Cited
"Haruki Murakami." Cool Japan. N.p., n.d. Web. 13 Sept. 2013. <http://www.cool-
jp.com/articles/haruki/haruki_fs_pcat2.php?article_id=122>.
Smaal, Bob. "Baseball Links American Infielder, Japanese Literary Giant." AJW by The Asahi
Shimbun. N.p., 20 Oct. 2011. Web. 13 Sept. 2013.
<http://ajw.asahi.com/article/behind_news/people/AJ2011101814994>.
"SPIEGEL Interview with Haruki Murakami: 'When I Run I Am in a Peaceful Place'" SPIEGEL
ONLINE. N.p., n.d. Web. 13 Sept. 2013.
<http://www.spiegel.de/international/world/spiegel-interview-with-haruki-murakami-
when-i-run-i-am-in-a-peaceful-place-a-536608-2.html>.
Dowsey, Stuart J. Zengakuren: Japan's Revolutionary Students. California: Ishi, 1970. Print.
Ken. "1968 in Japan: The Student Movement and Workers' Struggles." International Communist
Current. N.p., 30 Sept. 2008. Web. 13 Sept. 2013.
<http://en.internationalism.org/2008/09/japan-1968>.
! Magical realism:
is what happens when a highly
detailed, realistic setting is
invaded by something too
strange to believe

! Murakami uses magical realism as a
tool to seek a highly individualized,
personal sense of identity in each
person, unlike Latin American authors
who use magical realism as the
assertion of a national and/or cultural
identity based on indigenous beliefs
and ideologies.
Worldview [class notes]

Murakami
(worldview)
b. 1949
1969 (20yo)
[6870]

Post WWII
- reconstruct (sense of identity)

[1956] economic growth (end of reconstruction)
- technological
- affluence: $$$
consumerist society
(symbol in Japanese culture)
Walkman society
[dependent & disfranchised from the self]
- identity is bestowed/imposed by consumerist Japan " - role you have
- how much you have
#
- collective identity
- dictatorship of [the mind]
$
(a) assimilate
(b) destruction of the
self by that system
that rejects individualization























CONTEXT OF
RECEPTION





































Personal
Reception































Literature? Yes, Please!

I remember going once to the movies in 2001 to check on this very hyped film, Harry
Potter and the Sorcerers Stone. After watching it, I became obsessed, and so I looked for
everything and anything that belonged to the just-starting franchise: notebooks, pens, toys, and
the like. When one day, I came across this book; it was titled just like the movie! I decided to
give it a shot. It wasnt until the third book that I realized they werent based off the movie, but
quite the opposite. I ate the following books in less than a year. I caught up with the then-
evolving series. I even went to midnight release parties! These books soon showed me how
books bring to the mind so much more than a movie, because, as much as you might like what
you see, it will never rival with what you imagine.
After reading these books, I started to long for more. I started checking classics, like Tom
Sawyer or David Copperfield (both from my granddads personal library), and soon moved to
more mainstream books, such as The Hunger Games, enjoying all of them equally (well, not
really There were some books I just said, Why?). I became so fascinated with literature and
its potential to create vast worlds, I soon started to write my own. I still own the very first draft
of an unfinished novella I wrote when I was in 7
th
grade (still with a published author, who also
happened to be my great-aunt!). I still continue to cherish and enjoy books, plays, poemsI even
read two scripts from friends. To me, literature means opening the souls doors to fantastic
worlds, characters, and stories that happen right in your imagination, and enjoying the process.











What to Expect When Youre Expected to Read Haruki Murakami

From what Ive read about Haruki Murakami, his context, his personality, his values and
his struggles, heres a (hopefully, accurate) prediction of what Murakamis stories shall have:
Fantastic worlds underground, with magical creatures and all!
Characters that try to find their way out of the real world (most likely
controlled by an institutionbased on the Zengakuren and the Zenkyoto
movement), finding themselves in a magical world as depicted above.
Possibly, butterflies as a symbol of freedom.
Stories taking place in the city, possibly at locations that have a direct
connection with Murakami (e.g. the Jingu Stadium from the Yakult Swallows
math, or a coffee bar like the one he used to own).
Perhaps stories about the mind having a well, a mind of its own, and
holding possession of the body.
Characters struggling between a real self and a fictitious self.






Critical
Reception










New Historicism:
New Historicism, very similar to Marxism and Cultural Materialism, is a school of
literary criticism that give history and historical context of production vital importance when
analyzing texts. Its main proponent was Stephen Greenblatt, and became widely used and
accepted in the 1990s. Critics that analyze texts under the New Historicism light tend to weigh
the authors past, his life, possible literature of the time, and how these elements have a direct
effect on the authors writing and style. This school is different from typical Historicism because
it doesnt only weigh on Historys input on writing, but rather on the authors own historical and
political context. This, however, implies that the critics assessment of the text is also tainted by
his or her own historical context.

Magical Realism:
Magical realism is a literary genre in which magical, surreal, and/or unbelievable
elements surpass the barriers of reality and intervene in it. It is often referred to as serious
fiction, deviating from mere fiction due to its stylistic and conventionally realistic elements. It
originated when describing Latin American fictitious literature, such as the one written by
Gabriel Garcia Marquez.

Postmodern Literature:
Literary movement that originated after the 1950s, a time marked by consumerism and
excess. This literary movement is characterized by its disregard for high or low culture, by
loosened structure, and a lack of closure. It claims that the search for reality is pointless, given
that this is built around conceptions of sexuality, space, class, race, time, etc. It deals with topics
of absurdity in contemporary life, employs black humor or parody, there is no grand narrative,
and condemns commercialism, mass production, and economic globalism.

Traditional Japanese Literature:
Traditional Japanese literature has its origins in the Middle Ages, all the way to the 19th
century. It is characterized by a strong foreign influence that started towards the end of said
century. As such, it holds Marxists, romantic, and naturalist queues.











The Second
Bakery
Attack































Summary

A man recalls a previous attack to a bakery when discussing a sudden episode of hunger
with his wife. His wife sees the hunger as a curse, and suggests repeating the felony to end it.
The wife leads then the second attack to a bakery, which is performed at a McDonalds, and both
agree the curse has ended when the attack is over.


Themes

Alienation:
As many Murakami stories, the main theme of The Second Bakery Attack is alienation,
the feeling (and knowledge) of not belonging to something. In this instance, we can observe how
the narrator in his younger years is alienated from society: he is reckless, lazy, and went against
what was supposed to be his role in society as a young man. We can see that when Murakami
writes, We did some pretty awful things to get our hands on food (39), and then, when
confronted over why he didnt get a job to gain food by himself, the narrator explains, We
didnt want to work. We were absolutely clear on that (40).
His older self, however, is aligned to what society demands of him, but his alienation is
with his wife. This is clearly exemplified when he observes on the fact that his wife had a gun
and ski masks: Why my wife owned a shotgun, I had no idea. Or ski masks. Neither of us had
ever skied. But she didnt explain and I didnt ask. Married life is weird, I felt.









Literary Devices

Imagery
One, I am in a little boat, floating on a quiet sea. Two, I look down, and
in the water, I see the peak of a volcano thrusting up from the ocean floor. Three,
the peak seems pretty close to the water's surface, but just how close I cannot tell.
Four, this is because the hypertransparency of the water interferes with the
perception of distance.
(38)

Murakami uses this kind of rich, vivid visual imagery when creating the cinematic images
the narrator uses to present his special kind of hunger. Murakami uses these cinematic images
(there are four in total throughout the story) to explain better the narrators state of mind, his
thinking about his wife and even his life, using metaphors and symbols alike in them.

Symbols
Murakami uses two distinct categories of symbols in this short story. First, we have
symbols within a metaphor, just as presented above in the cinematic image used to create an
image of the narrators mind. In it, the volcano comes to represent the wife, her force being
represented as the menacing thrusting up of the volcano, which symbolizes her power in the
relationship, her lead. The little boat, on the other hand, is the narrator, being passively,
submissively drifting through the water, not taking control of his direction.
I took another look at my undersea volcano. The water was even clearer
than beforemuch clearer. Unless you looked closely, you might not even notice
it was there. It felt as though the boat were floating in midair, with absolutely
nothing to support it. (43)
The second category of symbols used is constant references to the west, to the Western
Civilization, which represent nothing more than that: Murakamis strong influence from the
West. Examples such as the use of a McDonalds (which is often a symbol for globalization and
the power of the U.S.) as the second bakery, or multiple references to western iconography (e.g.
The Wizard of Oz, Wagner overtures) clearly represent this.
Motifs
Motifs like hunger, the curse, and cinematic images help create a mood of anxiety and
self-awareness throughout the story. The hunger is often combined with the curse to further aid
in the newlyweds struggle in The Second Bakery Attack, thus enhancing the moods stated
above, be it hunger itself or satisfaction of hunger.
What reminded me of the bakery attack was an unbearable hunger (36)
They were leftovers, soft and soggy, but we each ate two, savoring every crumb.
It was no use. Upon this hunger of ours, as vast and boundless as the Sinai
Peninsula, the butter cookies and beer left not a trace. (38)
Never had enough food. We did some pretty awful things to get our hands on
food. (39)
Our hungerthat hunger that had felt as if it could go on forevervanished as
the dawn was breaking. (48)

Narration
The point of view this story is narrated from is first person. The narrator is also the main
character in this story, so we have a first-hand view of the action. This creates a very insightful
short story, and makes it easier to explain the main characters mindand consequently, to
understand it. The story is also told as a re-telling of the events, which creates a story within a
story feel, although it isnt strictly one.
I am still not sure I made the right choice when I told my wife about the
bakery attack. But then, it might have not have been a question of right or wrong.
(36)

Diction
The diction Murakami uses in this short story is simple, common, every-day language. He
uses simple syntax, although he does use figurative language, such as similes and metaphors.
This creates an easy-to-relate story, inviting people to read it in a very common and day-to-day
way. The next quote exemplifies the urban every-day language used by the author:
That seemed to satisfy them. At least they didnt ask any more questions.
Then my wife ordered two large Cokes from the girl and paid for them. (48)
Structure

The story follows a two-scene structure, taking no more than two days (with exception of
the flashback explained after): first, we have the narrator and his wife feeling hungry in the
middle of the night, at their home, and then we see them preform the second attack on a
bakerywhich happens at a McDonalds, the very next day. However, within the first part of the
narrative, we have a moment similar to a story within a storyalthough not one strictly
when the narrator has a flashback and tells his wife about the first bakery attack. Structurally,
this shifts are showed in a change in the font and a space to signify the variation; throughout the
story, there are three shifts like so.

Characterization

Narrator:
When it comes to the characterization of the narrator, Murakami goes for extremes in this
story. First, we have a very submissive narrator, well assimilated in society but alienated from
his wife. As he says in the very last line of the short story, I stretched out in the bottom of the
boat and closed my eyes, waiting for the rising tide to carry me where I belonged (49).
However, his younger self displays apathy, is more rebellious, and is alienated from what society
asks a young man to be. The wife, however, also displays these extremes, except she doesnt
change overtime: she is two at once. While she seems to be this very traditional Japanese wife,
she shows terrifying robbery skills and an aggressive personality.

Wife:
The narrators wife is shown at the beginning of the story as the very traditional, old-
fashioned Japanese wife. As the narrator puts it after she rejects going to an all-night restaurant
for food, She is old-fashioned that way. We see, however, how it is she the one who leads the
relationship. She is the one in charge, and even leads the narrator to venerateto a certain
extenther opinion and decisions. When they finally decide to attack the McDonalds,
however, theres a shift in character. She is no longer the traditional Japanese wife, but a master
in theft, showing expertise with shotguns and ski masksall to the narrators shock.
Understanding the Learning Outcomes

Learning Outcome #1: Consider the changing historical, cultural, and social context in which
particular texts are written and received. Focus on:
a. the role of the individual and family in society
b. the impact of the prevailing values and beliefs.

Murakami addresses aspects of the individuals role in society in this short story by
making it an allegory of a man who simply goes with the flow. This is a critique of a
conformist society, thus of conformist individuals. In a Japanese context, this is highly relevant,
since in Japan there is a concept of the collectiveness of the individualthe individual is who he
is in relation to the whole. Under Murakamis alleged existentialist state of mind, this critique
makes perfect sense, since what existentialism seeks is an alienation of the collective society to
find meaning in oneself. Family is also shown in the text as a less than weak institution, between
people who barely know each other. Again, Japanese context is necessary to understand this: in
Japan, contrary to Western civilization, marriage grows out of convenience rather than love. As
such, it ends up being between strangers who are just that, and nothing else.

Learning Outcome #2: Demonstrate how the formal elements of the text, genre and structure can
not only be seen to influence meaning but can also be influenced by context.

(Already assessed in Themes, Literary Devices, Structure, and Characterization.)

Learning Outcome #3: Understand the attitudes and values expressed by literary texts and their
impact on readers.

(Already assessed in Critical Reception and Personal Reception.)




Critical Reception

Existentialism:
This story, when seen under an existentialist light, reflects how Murakami makes a point
by using a character that lacks conviction, that goes with the flow. Such is the case of the
narrator, who has no power of judgment in his life. On the other hand, the younger version of
this character, it shows the first step of existentialism: alienation. The narrator in his younger
years used to be precisely outside of societys rules and norms. This, according to existentialism,
is elemental when looking for meaning in life.

Marxism:
We can see some mockery of globalization in this story. Such mockery is present in the
fact that the couple robs a McDonalds. This fast-food restaurant is a symbol for globalization,
and as such, represents the westernization of the East as well. It also depicts themes such as
hunger, which could be considered an effect of this capitalist globalization. This, seen under a
Marxist light, proves to be a critique to western civilization made by Murakami.


Personal Response

This short story (Murakamis short stories overall, really) had a message personally for
me. I tend to be very passive in life, usually a reaction instead of a reactant. Seeing the main
character just flow through life kind of struck me because I could see myself in him. Such values
as assimilation, traditionalism andalthough more of an anti-valueapathy not only made me
open my eyes about several things in my life, but also made me appreciate the text, not as mere
good writing, but as a critique to a society that is content with flowing through a river of
predestination. This little detail turned this story from a simple light read to a life lesson.




Vocabulary

pangs: a brief piercing spasm of pain.
shriveled: to become dry and wrinkled from heat, cold, or old age.
sauted: to fry (food) in a small amount of fat.
soggy: heavy with water or moisture; completely wet and usually soft.
oozed: to flow out slowly.
solar plexus: the pit of the stomach.
steeple: a tall, pointed tower on a church.
holdup: a robbery that is done using a gun.
inconspicuous: not very easy to see or notice.
faltered: to stop being strong or successful : to begin to fail or weaken
buckwheat: grain or flour made from the seeds of the buckwheat plant.
husks: an outer layer.
jabbing: to push something sharp or hard quickly or suddenly into or toward someone or
something.

Works Cited
Merriam-Webster Dictionary and Thesaurus. Merriam-Webster, n.d. Web. 18 Sept. 2013.
<http://www.merriam-webster.com/>.













































On Seeing
the 100%
Perfect Girl
One Beautiful
April Morning































Summary

The tale of a man who, upon encountering the 100% perfect girl for him, and thinking
what he shouldve said to her, devices the following story: a man and a woman find that they are
perfect for each other, but to prove their love they part, so that destiny shall reunite them once
again. However, the two of them become terribly ill and lose their memory, becoming unable to
recognize each other when they finally meet.

Themes

Loneliness:
The theme of loneliness is present in two ways in this short storyone being very clear
and the other being more underlying. First we have the literal loneliness due to the fact that the
narrator doesnt speak to the 100% perfect girl. There is also this kind of loneliness in the
storyarguably, of his own making so he can find a way of excusing his lack of proactivity
the narrator tells, about the man and the woman who wont recognize each other. The other
underlying loneliness in the story is the one due to the alienation of the self from reality. This
could either be an interpretation of the physical, literal loneliness above, or a whole new theme,
suggesting the man excuses his lack of action with fictitious tales that are meant to sooth his
pain.
No, she wouldnt believe me. Or even if she did, she might not want to
talk to me. Sorry, she could say, I might be the 100% perfect girl for you, but
youre not the 100% perfect boy for me. It could happen. and if I found myself in
that situation, Id probably go to pieces. Id never recover from the shock. Im
thirty-two, and thats what growing older is all about.
(70)





Literary Devices

Imagery
Tell you the truth, shes not that good-looking. The back of her hair is
still bet out of shape from sleep. She isnt young, eithermust be near thirty, not
even close to a girl, properly speaking. The moment I see her, theres a
rumbling in my chest, and my mouth is as dry as a desert. (68)

Imagery doesnt play a key role in this short story (in comparison with other short
stories). However, it is present in the story, mainly to accompany the structure in a seamless
narration. As seen above, for example, description is used to show that the 100% perfect girl is
not precisely perfectrather, she is quite ordinary. The perfectness, however, is more
deterministic instead of physical: they were alreadyin a waydetermined to be perfect for
each other yet not be together.

Symbols and Motifs
Perhaps due to the length, symbols and motifs arent as frequently used in this story as in
others. It doesnt even have the overload of western referencestheres but one throughout the
story (see Vocabulary). However, it could be argued that the story itself is a symbol of
Determinism. With a story of two people who were simply destined not to be with one another,
and a character who, despite his strong feelings for the girl and all his thinking on the subject,
fails to do anything at all to find the girl, we see a Murakami criticizing a deterministic society,
one that goes with the flow of not being proactive. The quote in Themes clearly exemplifies this.

Narration
The narrator in this story is again the main character. Of course, he also narrates the story
within the story, but he no longer participatesat least directly and bluntlyin it. This can be
taken as a way for the author to express his ideas more freely, and to make the story more
relatable. This creates a change in narration from 1st person to 3rd person.
One beautiful April morning, on a narrow side street in Tokyos
fashionable Harajuku neighborhood, I walk past the 100% perfect girl. (68)

Diction
This being the second story being read from Murakami, we can start seeing a pattern of
easy, laid-back language and diction that simply makes the story not only twice as digestible, but
twice as relatable as other literature.
A sad story, dont you think? (72)
Yes, thats it, that is what I should have said to her (72)

Structure

This particular story holds a story-within-a-story structure, and, although the proper
timing of the story happens in less than a day (its actually just a brief moment), most of the
narrative happens inside the narrators head. Overall, there is one very distinct division when it
comes to the flow of the story, which is precisely when the narrator tells the story he shouldve
told to the girl.

Characterization

Narrator:
Murakami manages to create a main character that could be defined in a single word:
feckless. The narrator in the story fits the definition of the word almost perfectly. His lack of
initiative is unsettling on itself, and when combined with his fictitious self-excuses, the character
becomes a very blunt statement: Murakami is criticizing a society that is okay with zero
accountability. Furthermore, this character resembles everything Determinism preaches: we
cannot change our fate. The only difference is that the narrator not only embraces this, but
creates fiction to excuse himself from his action-less life.
Now, of course, I know exactly what I should have said to her. It would have
been a long speech, though, far too long for me to have delivered it properly. The
ideas I come up with are never very practical.
Oh, well. It would have started Once upon a time and ended A sad story,
dont you think? (70)
Understanding the Learning Outcomes

Learning Outcome #1: Consider the changing historical, cultural, and social context in which
particular texts are written and received. Focus on:
a. the role of the individual and family in society
b. the impact of the prevailing values and beliefs.

In On Seeing the 100% Perfect Girl One Beautiful April Morning, Haruki Murakami
manages to convey the values of proactivity and pursuit of dreams in this warning fairytale. The
message is clear: if you want the 100% perfect girl (read, to accomplish your dreams), then
you have to take action, stop going with the flow of a conformist society and actually step up and
do something about your dreams, about what bothers you. I use the term warning fairytale
referring to the fact that Murakami depicts a solitary manboarding on patheticwho, in order
to feel good about doing nothing about his hopes and reams, devices stories to excuse himself
from his actions. This critique is unmistakably directed to a Japanese society that measure their
weight and value in comparison to others: who grows economically better, who becomes
intellectually smarter, and so on and so forth.

Learning Outcome #2: Demonstrate how the formal elements of the text, genre and structure can
not only be seen to influence meaning but can also be influenced by context.

(Already assessed in Themes, Literary Devices, Structure, and Characterization.)

Learning Outcome #3: Understand the attitudes and values expressed by literary texts and their
impact on readers.

(Already assessed in Critical Reception and Personal Reception.)




Critical Reception

Magical Realism:
This story has a little element of the fantastical in its narrative. The story the narrator
devices to excuse his actions could be nothing but fairytale-esque. This isnt different from other
fairytales: a prince is destined to be with his perfect princess. However, this story does end the
fairytale rather quickly, when both get sick and forget about each other. Still, the inability to
control ones destiny is present in this story.

Existentialism:
This story could be seen as a critique Murakami makes to a conformist society. The
narrator seems oblivious to the fact that he has the chance to get the girl. Furthermore, he lacks
the initiative to talk to her, thus losing the chance to ever have her. He fails to take responsibility
for his own actions. Furthermore, he devices elaborate excuses to make himself believe there was
nothing he couldve done to get the girl.

Personal Response

Recently, I have been going through a time when everybody tells me I should be more
proactive. From my parents to the girl I like, everyone seems to have gone to the same
conference on proactivity. This, combined with the college-looking and scholarship-seeking
nature of senior year, makes this story truly personal to me. Even the in-class discussion
becomes terrifyingly coincidental. This adds a subjective significancea personal relevanceto
this story in particular.
I personally like to think I follow a religious free-will state of mind: our actions are
whichever we want them to be, but there are values and principles we ought to stick to; also, I
follow the everything happens for a reason logic, mainly from a religious point of view. This
creates in me a sort ofto a certain extentconformist me. This usually means I take things for
granted, and do things thinking I was meant to do them. Id say I am very much everything
Murakami criticizes in this story. However, instead of creating a clash between me and the story,
the ideas here expressed made me reflect on my vision of life.
Vocabulary

crisp: a thin, hard, and usually salty piece of food.
silver: coin made of silver,
young D. H. Lawrences piggy bank: D. H. Lawrence was a Western writer who had a very
humble childhood (i.e. he was poor), and then became rich as he gained fame for his writing.
gleam: a small amount or sign of something.
glimmered: to shine in a weak, faint, or unsteady way.

Works Cited
Merriam-Webster Dictionary and Thesaurus. Merriam-Webster, n.d. Web. 21 Sept. 2013.
<http://www.merriam-webster.com/>.
"Lawrence, D(avid) H(erbert)." Chambers Biographical Dictionary. London: Chambers Harrap,
2011. Credo Reference. Web. 21 Sept. 2013.
<http://www.credoreference.com/topic.do?uh=lawrence_d_1885_1930/>






















Family
Affair































Summary

A man enjoys a very free and close relationship with his sister. However, when her sister
becomes engaged, the man starts to fear this relationship between siblings might come to an end,
and thus despises her sisters fianc.


Themes

Alienation:
Throughout the story, the narrator seems to be far off everything that happens in his life.
He seems to be alienated from his girlfriend, and even when he is seen with another girl, his
focus is somewhere else. His life itself is separated from what society determines is a productive
life. Even when he watches TV, there is a separation from what he sees and him due to the lack
of sound. This alienation further reaches his life in the form of his Noboru Watanabe, taking
away his sister from him.
Now, thanks to [Noboru Watanabe], my house is equipped with a soldering iron.
But because of that damned soldering iron, my house doesn't feel like my house
any longer." (182)

Family:
The short story has references to familiar relationships, the need of a family, and family
as a general concept throughout its length. We first see a reference to family when the narrator
introduces his sister, with who he seems to have a very close and open relationship. We then see
how his sister is trying to have a family with her fianc, Watanabe. Then we meet the narrators
parents, and the fiancs parents, and get introduced to parent-child relationships.
One morning after New Years Eve, my mother called me at nine oclock
She asked if I knew the man my sister was seeing-
I said I didnt. (167)


Literary Devices

Imagery
From her window you could see a big Nikon ad tower. A TV next door
was blasting the days pro-baseball results. What with the darkness and my
drunkenness, I hardly knew what I was doing. You couldnt call it sex. I just
moved my penis and discharged some semen. (182)
Murakamis visual imagery in this particular story is used to further emphasize on the
idea of a man who is bored, who lives in boredom, who is uninterested, disengaged in life.
Mostly, Murakami uses bored descriptions of visually shocking events; apatheticalmost
disrespectfulaccounts of sex, drinks, and women. Since the narrator is the main character,
these descriptions are often happening in his head, demonstrating the anti-values the narrator
lives by.

Symbols
"Their cannons shot silent shells, their machine guns shot silent bullets, and
people died silently, one after another.
I sighed for what must have been the sixteenth time that day." (163)
"Now, thanks to you, my house is equipped with a soldering iron. But because of
that damned soldering iron, my house doesn't feel like my house any longer."
(182)
One example of symbolism in Family Affair is the fact the narrator constantly
watchesor is aroundsoundless TV. This happens multiple times across the story, and is used
to signify the narrators unwillingness to settle down, mature, to grow up. As so, the first
instance and the last of this are very different: first the narrator seems just uninterested that the
TV is soundless; he watches it all the same in the most careless way. However, he starts noticing
this recurring thing in his life: soundless TV. By the end of the story, he realizes how Noburo
Watanabe marked the end of his careless, uninterested life with his sister by fixing the stereo.
Another symbol worth mentioning is the fact that all of Murakamis characters so far go
unnamed. However, Murakami gives a namea very specific oneto the sisters fianc:
Noburo Watanabe. This could be interpreted under two lights: first, we could argue that
Murakami did this to give the narrator a something specific to hate. The name solidifies the
origin of the narrators problems. Second, we could say that the author did this to symbolize
how, for the first time in the narrators uninterested life, there is someone who takes precedence:
the fianc: in contrast, the narrators life is characterized by a lack of names. Hes uninterested in
knowing who anyone is, up until the moment Watanabe appears.

Motifs
There are several motifs in this story. One of them is alcohol, and is mostly used to either
numb feelings, or to further push on the narrators disorganized life. Another theme is music,
mostly used to play on the Wests influence in Japanand in Murakamis writing. The
narrators narrow-mindedness also appears as a motif, often addressed by the narrator himself.
Maybe Im just narrow-minded. (158)
Thats probably because I have such a narrow personality. (182)

Narration
This story, as most of Murakamis,, is narrated from a first-person point of view, which is
the main characters point of view. This results, as usual, in an insightful story, one which is easy
to connect with.
He asked to hear some easy-listening vocals, so my sister put on a Julio
Iglesias record. Since when did we have crap like that in the house? (177)

Diction
The diction Murakami uses in this short story is simple, common, every-day language. He
uses simple syntax, although he does use figurative language, such as similes and metaphors.
This creates an easy-to-relate story, inviting people to read it in a very common and day-to-day
way. The next quote exemplifies the urban every-day language used by the author:
It probably happens all the time, but I disliked my kid sisters fianc right
from the start. (158)



Structure

This story is particularly longer than the rest of the stories so far read. It happens
throughout a comparatively long time, contrasting with other short stories (these take presence in
hours or two days). There are no flashbacksexcept perhaps the time the narrator tells a small
recollection of a time he found his sister crying in the kitchen. The plot is lineal, however, it
lacks the usual introduction-conflict-resolution structure; Family Affair, although by the end of
the story the characters do learn some lessons, isnt traditional in that aspect.

Characterization

Narrator:
Murakami does a fantastic job characterizing his main character as an arrogant, using his
dialogue, his sense of humor, his choice for women, even his reflections. He uses all of this as a
tool for further stepping on this trait. This aspect, when contrasted with Noburo Watanabe, who
is the stereotypical young Japanese mansmart, technological, assimilated, becomes a clear
compare-and-contrast between Japans traditional society and outsiders like the narrator himself.
The narrator himself seems to be not only an outsider but someone who isnt particularly looking
to be in society. At the end, however, he starts evaluating his vice-oriented personality and will
probably decide becoming someone productive.
How many years had it been since I last vomited from drinking? What
the hell was I doing these days? The same thing over and over. But each
repetition was worse than the one before. (182)

Sister:
The narrators sister is seen as a typical girl. From her taste in music to her choice in men,
she represents thousands of women across the globe. She isnt, however, a typical Japanese
woman, but a stereotypepossibly imported from the westof a young, healthy girl. She still is,
however, a stereotype of a smaller sister: she gets annoyed at the compulsive behaviors of her
brother, at his mess, and at his lack of respectboth to the self as to others. She is also used by
the author to serve as a sort of outside conscience to the narrator. The next quote exemplifies
that, when the sister asserts, Youre so arrogant. Thats why you havent got a steady girlfriend.
I mean, youre twenty-seven years old (160).

Noboru Watanabe:
Noboru Watanabe is used by the author as a plot device in two different ways. First,
Noboru Watanabe is the first character to have a name, which is used by the author give the
narrator a very specific something to hate. It wouldnt be the same to hate something generic,
like the fianc; it has a stronger impact on hating a named someone. The second way the
author uses Watanabe is to exemplify what the traditional Japanese society expects a young
fianc to be: the stereotypical young, smart, potentially successful, and assimilated young
groom-to-be. As the narrator puts it, Theres nothing wrong in having one guy like him in every
family (166). Watanabe is, then, the perfect opposite of the narrator, in every aspect.

Understanding the Learning Outcomes

Learning Outcome #1: Consider the changing historical, cultural, and social context in which
particular texts are written and received. Focus on:
a. the role of the individual and family in society
b. the impact of the prevailing values and beliefs.

This story is one of Murakamis most critiquing stories. Family Affair manages to
present a character so apathetic and lazy one cannot but feel disgust for him. Through him,
Murakami manages to present the alienation from society, from what society expects you to be.
His purpose, however, is quite difficult to place. It could either be a) Murakami is presenting the
dangers of alienating from society in the search for meaning under a Deterministic light, or b)
Murakami makes a statement on how not to alienate from societythe narrator isnt, after all,
looking for meaning in his life, but rather being lazy.



Learning Outcome #2: Demonstrate how the formal elements of the text, genre and structure can
not only be seen to influence meaning but can also be influenced by context.

(Already assessed in Themes, Literary Devices, Structure, and Characterization.)

Learning Outcome #3: Understand the attitudes and values expressed by literary texts and their
impact on readers.

(Already assessed in Critical Reception and Personal Reception.)


Critical Reception

New Historicism:
This story is clearly influenced by Japans technological boom that happened in the
authors context. Frist, we see that two of the characters work at technology-oriented companies.
We also see multiple references to technological companies such as IBM and Nikon, both part of
the technological boom. Another aspect of the authors context present in this story is
globalization. This can be observed in the multiple references to western culture, such as songs,
books, food and drink, etc.

Existentialism:
This story could be seen as a critique towards the lack of responsibility for ones own
actions in society. The narrator constantly lives a meaningless life, failing to take credit for his
obnoxious actions. However, the narrator also displays alienation aspects, which is the first step
into an existentialist seeking for meaning. The narrator doesnt live inside societys rules and
regulations. Therefore, it is seen as an alien, and is called on it by his sister, a very stereotypical
example of assimilation into society.



Personal Response

Personally, I found this story quite visually shocking. Its the first time Murakami uses
subjects as sex, pornography, masturbation and such in such a free-flowing manner. Its also the
first time I read something along the lines. However, it is of appraisal. It gets the point across:
the narrator is a clear statement of someone lying outside societys boundaries, societys
requirements for someone to bewell, normal. Murakami manages to create a contrast between
the perfect Japanese man, someone assimilated in society, and someone who lacks societal value.
However, although the effectiveness of the story isnt something to be argued with, I
particularly couldnt find myself identifying with anything in it. I would even go on and say I
didnt quite like it. Its lack of a more conventional structure makes it irritating. I guess we are
just typically used to closure in stories. Nevertheless, it is a fantastic work of literature, one that
Murakami displays seamlessly in his bizarre worldmy personal preferences not withstanding.
Its themes are interesting and relevant, and the narrative is simply superb.

















Vocabulary

proxy: power or authority that is given to allow a person to act for someone else.
under par: worse than the usual or expected standard.
Herbie Hancock: American pianist that belongs to the first to embrace the synthesizer and funk
music.
Bruce Springsteen: American singer-songwriter.
Hustler: monthly pornographic magazine.
julienned: to slice into thin strips about the size of matchsticks.
miso clam soup: Japanese based on clams and miso paste.
Chablis: white wine is made of Chardonnay grape that becomes golden and spicier when older.
astride: with one leg on each side.
zephyrs: a breeze from the west.
put-put: a sound made by or suggestive of the operation of a small gasoline engine.
washbasinful: an amount similar to the full volume of a kitchen sink.
unabashedly: not embarrassed or ashamed about openly expressing strong feelings or opinions.
vichyssoise: a soup typically made of pureed leeks or onions and potatoes, cream, and chicken
stock and usually served cold.
Ob-la-di, ob-la-da: song accredited to The Beatles.

Works Cited
"Chablis Wine Information." French Wine Guide. N.p., n.d. Web. 24 Sept. 2013.
<http://www.terroir-france.com/region/burgundy_chablis.htm>.
Merriam-Webster Dictionary and Thesaurus. Merriam-Webster, n.d. Web. 18 Sept. 2013.
<http://www.merriam-webster.com/>.
"Miso Soup with Clams." About.com Japanese Food. N.p., n.d. Web. 24 Sept. 2013.
<http://japanesefood.about.com/od/misosoup/r/clammisosoup.htm>.
Wikipedia. Wikimedia Foundation, Web. 24 Sept. 2013.
<http://en.wikipedia.org/wiki/Main_Page>.





The Dancing
Dwarf































Summary

A man dreams with a dancing dwarf, with whom he talks for a while until the dream
ends. After returning to work and fixing his eye on the most popular girl there, the man is visited
again by the dwarf, who promises he can get the girl if the dwarf possesses the mans body and
dances to impress her. As a condition, the man must not talk, and the dwarf constantly projects
images in the mans mind to make him do so, but ultimately fails. However, the authorities find
out that the man has been in touch with the dwarf, and chase him, forcing the narrator t flee on an
elephant.


Themes

Alienation:
A very recurring theme in Murakamis stories, The Dancing Dwarf displays the theme
of alienation through the narrators exceptional quality of seeing the dancing dwarf in his
dreams. At the very moment he has the first dream with the dwarf, he becomes differentthat is
to say, he was outside of what is normal. As a matter of fact, there was only one other guy who
knew about a dancing dwarf: the old man at the tavern. The old guy in Stage Six! He told me
about the dwarf way back when. Said it was a good dancer. I didnt pay much attention to him,
figured he was senile (248). As we can see in that quote, the old guy is also seen as something
out of the ordinary, thus strengthening the theme of alienation.

Reality vs. Dream:
Throughout the story, we can see several elements of reality and dream being put together
under one ceiling. First, we see the narrator encounter a dancing dwarf in his dream, which he
discarded as just a dream. A dwarf came into my dream and asked me to dance. | I knew it was
just a dream (242). However, dream elements start converging inside the real world, again
with the old guy, when he says, You heard me. Right here. [The dwarf] used to dance here
every day. Before the revolution (250). Eventually, the dwarf becomes a real and threatening
force inside the story. This builds on a contrast that exists between the dreameverything light,
happy, and unthreateningand realitypain and threat.

The traditional vs. the new:
In this story, Murakami proposes another contrast: the traditional and the modern. He
uses the context of the Revolution, a long lost King, and an old factory to represent the old, the
new and the old. On one hand, the factory represents the old. On the other, the Revolution
represents modernity. The narrator says, The tavern was an old, old place. It had been there
since long before I was born, before the revolution. For generations now, the elephant craftsmen
had been coming here to drink, play cards, and sing.


Literary Devices

Imagery
Pus began to pour from her eyes, the sheer force of I causing her eyeballs
to twitch, then fall and dangle to either side of her face. In the gaping cavern
behind the sockets, a clot of maggots like a ball of white string warmed in her
rotting brain. (263)
As we can see, Murakamis descriptive language in this story functions as a tool to
provide the fictitious and unbelievable elements in it a sense of realism, almost credibility,
providing a layer of depth and sanity to an otherwise insane story. The descriptions of the
elephant factorys departments, color, and shapes; of its products and processes, on the other
hand, are used to mock the idea of consumerism and mass production.
Stage 8the leg shopwas housed in a low-set, spacious building, a long narrow place
with a partially sunken sandy floor. Inside, your eyes were at ground level, and narrow glass
windows were the only source of illumination. Suspended from the ceiling were movable rails
from which hung dozens of elephant legs. If you squinted up at them, it looked as if a huge herd
of elephants was winging down from the sky. (254)


Symbols
In The Dancing Dwarf, Murakami uses the image of the old man at the tavern to
symbolize the traditional Japanese society, a society content with predeterminism and the
collectiveness of the people; along with him, it is arguable that the factory also comes to
represent this. In contrast, the dwarf represents everything not traditional: western influence (as
the image of the dwarf isnt properly Asian but more of early European folklore), freewill (in
contrast with determinism), and the unique individual as an individual, not as a part of a group of
people. It is also possible that the dwarf symbolizes the dream world while the old man
symbolizes the real world, or reality.
But none of this confusion seemed to matter to the dwarf. As long as he
could dance to whatever was playing, he was satisfied His body whirled like a
tornado, sucking up the wild fury of the notes that poured from Charlie Parkers
saxophone. (243)
The factory is also a symbol for the old and the traditional. As seen in Themes:
The Traditional vs. the New, the factory has been around since before the revolution. The
revolutionary guardsthe whole Revolution, in factbecomes then a symbol for
modernity and change. However, Murakami also mocks monotonous consumerism and
mass production society by thoroughly explaining ridiculous processes (as seen in
Imagery).

Narration
The storys narration is done from the main characters perspective (1st person point of
view), and doesnt change throughout the story; this includes the old mans recollection of the
dwarfs history, which, although originally told by the old man himself, is retold by the narrator
to us, the readers. The old man went on to tell me how the dwarf had arrived from the north
country without a penny in his pocket (250). The narratives point of view restrains to the main
characters knowledge and understanding of things, and as such, makes the story more
introspective and personal.



Diction
The register in this story is informal, yet it keeps some distance from the audience. There
are no queues that indicate that the narrator is telling the story directly to the audience, but it
seems as if it were a recollection of the events in a memoire or a letter. Introspective annotations
like, And when they do, theyll strap me to the winch and tear me to pieces. Or so Im told,
(264), or the last line, I hear the dogs howling now. Theyre almost here, (265) suggests,
instead, a live introspective as the events happen.


Structure
Though the plotline runs lineal with the exception of the old guys recollection of the
dwarfs history, there are changes in setting: the story goes from occurring in a dream, to
occurring in real life, to even taking place in both places at the same time, as when the dwarf
possesses the mans body and makes him see his girl being disfigured (my nostrils filled with
a putrid smell. But this lasted only a moment. When I opened my eyes, I found myself kissing
the beautiful girl I had come here with [264].). There are also multiple changes in font and
spacing to signify a change in time, way of narrating, and/or setting.


Characterization

Narrator:
The narrator is seen to have an ordinary life up until the moment the dwarf appears in his
dream. He says, All I did was make ears. The month before, I had I had been assigned to the
green building, where I wore green helmet and pants and made heads. This creates a feeling that
the narrator used to have an average life, working at the elephant factory. He also seems to be
unable to get any dating partner, as he suggests hes made a point of going to see any hot girls at
the factory, thus implying he is usually available as to check out girls. This is also explored when
he accepts the help offered by the dwarf to get the beautiful girl from Stage Six, because he feels
he isnt able to get the girl by himself.

Dwarf:
The dwarf is seen as a light and possibly fun spirit at the beginning. All he does is
dancein particularly amazing fashionin the narrators dreams. However, a change starts
taking precedence, when the narrator finds him sitting down, smoking a cigarette. There were
signs of weariness in his face that made him look a little more advanced in years than he had
when I first saw himthough in no way could he be taken for someone who had been born
before the revolution (255). From there, a change in character starts taking place, all the way to
the villainous sprite he becomes at the end. The dwarf is primordially representing uniqueness,
individuality, and freedom.

Understanding the Learning Outcomes

Learning Outcome #1: Consider the changing historical, cultural, and social context in which
particular texts are written and received. Focus on:
a. the role of the individual and family in society
b. the impact of the prevailing values and beliefs.

Murakamis context comes into play in this story more than in any of the other stories so
far read. We can see the analogy that is the revolution and the loss of the King, representing
WWII and the loss of the Emperor in Japan. Also, we see how, in an industrialized Japan, life
takes a monotonous and consumerist pace. As the narrator, working in factories becomes the
norm. Murakami critiques, however, this idea of not trying to escape this monotony. This he
does by using the dwarf to represent the sacrifice you have to make in order to escape monotony:
give in to your individual self, to who you really are.

Learning Outcome #2: Demonstrate how the formal elements of the text, genre and structure can
not only be seen to influence meaning but can also be influenced by context.

(Already assessed in Themes, Literary Devices, Structure, and Characterization.)

Learning Outcome #3: Understand the attitudes and values expressed by literary texts and their
impact on readers.

(Already assessed in Critical Reception and Personal Reception.)

Critical Reception

Magical Realism:
This story has clear elements of the fantastic intertwining with the realistic. The first one
is the dwarf and its participation in dreams, which are interconnected with reality. Second, we
have a fictitious history of the narrators context that is imbued with realism, as it is very
detailed. Also, we see how the dwarf (a.k.a. the magical) appears almost out of nowhere in the
narrators otherwise reality-oriented life. The dwarfs possession and tricking of the narrators
body and mind also come into play when assessing this story under a magical realism lens.

New Historicism:
The authors context is clearly seen in this story. Being the Japanese, the author uses the
following two aspects of contemporary Japanese history. First, we see the effects of WWII,
represented through the revolution and the loss of the King. In this instance, Japans king would
be the Emperor. Second, we see clear allusions to a traditionalist Japanese society through the
factory, reflecting the industry-oriented life in a 20th century Japan.


Personal Response

Personally, this was the kind of story I was expecting after reading the article on
Murakamis life. I was expecting more fictitious creatures, underground worlds, or at least
parallel worlds like the one in The Dancing Dwarf; worlds with their own history and culture. I
myself feel addressed to in subjects such as giving in to our own unique self, and escaping
monotony. In my opinion, this story is a particular good read by itself, and becomes truly
enriching when assessed in terms of context, structure, and symbolism.
Vocabulary

miscellany: a mixture or collection of different things.
tonearm: the movable part of a phonograph or record player that carries the pickup and permits
the needle to follow the record groove.
eunuchs: a man who has had his sexual organs removed.
bedecked: to decorate (someone or something) with things : to add decorative things to
(something or someone).
boundless: not limited in any way; having no boundaries.
fief: a large area of land that was ruled over by a lord in medieval times.
utmost: greatest or highest in degree, number, or amount.
knockout: a sensationally striking, appealing, or attractive person or thing.
lush: having a pleasingly rich quality.
troupe: a group of actors, singers, etc., who work together.
disgorge: to empty whatever is in the stomach through the mouth; to let out or release
(something).

Cited Works
Merriam-Webster Dictionary and Thesaurus. Merriam-Webster, n.d. Web. 02 Oct. 2013.
<http://www.merriam-webster.com/>.






















The Silence































Summary

While waiting for a plane, Ozawathe narrators friendrecounts his teenage-years
conflict with a popular boy, Aoki. Ozawa recounts the suicide of Matsumoto, a gangly kid at his
school. He also describes how, after hitting Aoki, his name gained a bully connotation, to the
point of being linked with the Matsumoto suicide, which caused people at his school to stop
talking to him permanently. This caused much pain, as he recounts to his friend.


Themes

Assimilation and Destruction:
Murakami invests in two of the characters in this story, Aoki and Matsumoto, two of the
three elements of alienating and looking for meaningaccording to Existentialist thought. Aoki
is the assimilation part of looking for meaning. He is truly Mr. Popular (299), as Ozawa calls
him. Hes loved by the people at Ozawas school, even though he seems to be very much like a
bully. Matsumotothe kid who committed suicideis, on the other hand, alienation gone
wrong: being destroyed by society. As Ozawa describes him, Kind of gangly, poor complexion
(300), he doesnt seem the kid people esteem and hold high at school. Rather, he seems the
bullied kid at class. This is further stepped on when he commits suicide.

Society vs. the Individual:
Ozawa is seen towards the end of his story completely banished from society. No one
said a word to me (304), as he recounts it. This clearly represents the struggle an alienated
personlooking for meaning, according to Existentialist thoughtshas to face against a society
that isnt comfortable with strangers to its rules and regulations. This struggle, however, made
Ozawa realize he was better than what society proposes he is, thus striving through this struggle.




Literary Devices

Imagery
Descriptive language in this story is mainly used with the purposes of a) setting a
particular mood [He broke off and looked at the window to the clouds. Theyd barely moved. A
heavy lid, bearing down from heavens. Absorbing all color from the control tower and airplanes
and ground-transport vehicles and tarmac and men in uniform. (305)], or b) proving certain
points, like how physical description is relevant to Matsumotos suicide [Kind of gangly, poor
complexionthats about all I could say about him. (300)].

Symbols
As explained in Themes, Murakami invests symbolic meaning in each of his names
characters in the story. Ozawa represents the breaking off society and creating meaning of ones
life [Them. Theyre the real monsters. Theyre the ones I have nightmares about. In those
dreams, theres only the silence. And these faceless people. Their silence seeps into everything
like ice water. And then it all goes murky. And Im dissolving and Im screaming, but no one
hears. (306)]. Aoki represents assimilation into society [People like Aoki dont scare me.
Theyre all over the place, but I dont trouble myself with them anymore. (306)]. Finally,
Matsumoto represents being destroyed by society for breaking from it [If you dont like school,
then dont go to school. It was only half a year before you wouldnt have to go to that miserable
school, anyway. The guy was probably neurotic, I figured, driven to the brink by all this
cramming for entrance exams day and night. (300)].

Narration
This story is particularly different from the rest. While on most stories, the main conflict
is narrated by the main character (who is usually nameless), this story is first presented by a
nameless character who is at the airport with Ozawa, but the main storyone that takes place
many years agois narrated by Ozawa himself, in the form of dialogue. Ozawa himself is a big
part of the conflict of the story, thus not excluding the audience from it, but giving a first-hand
view into the conflict. Ozawa just shook his head. | I waited for him to continue, but he was
quiet. (306)
Diction
Since this story is actually being told from one person to another, the diction and register
are conversational, colloquial, very laid back. At first I thought it was nerves, since everyone
was on edge, right? I didnt think too much about it. But then five days later, out of nowhere, I
was asked to report to the headmaster. (300)

Structure
As mentioned before, this story is actually narrated in the form of dialogue, with sporadic
interruptions of the narrator whenever Ozawa pauses or just asks something irrelevant to the
story [The he asked if I wanted another cup of coffee. No thanks, I said, Id already had three.
(305)]. Murakami also manages to differentiate Ozawas dialogue/narration from the narrators
dialogue by placing Ozawas dialogue/narration in quotations, while the narrators dialogue is
merely described, not seen [see quote above].

Characterization

Ozawa:
Murakami characterizes Ozawa as being the victim of sorts in this story. His alienation
from society makes his classmates not want to talk to him anymore. One could even argue it is
society that excludes him, not himself. Word got around school that the police had questioned
me. And the atmosphere in class grew even colder (302). As stated before, Ozawa is used by
Murakami to represent one of the outcomes of alienating from society to create meaning. Ozawa,
as such, represents the positive, ideal outcome of this alienation.

Aoki:
Aoki is seen as the stereotypical bully in this story. He is popular, well received in
society, despite his terrible personality. He is also seen as the main antagonist, as Ozawa seems
to hate Aoki irrevocably. Aoki is the receiver of the narratorsOzawashatred and contempt.
Furthermore, Aoki represents everythings that wrong in society: a lack of care for other people,
and the fact they get away with it. As Ozawa puts it, [The Aokis in this world are] the real
monster. Theyre the ones I have nightmares about. (306)
Matsumoto:
Matsumoto represents, as stated before, destruction by society. Moreover, he represents
what happens when the alienation to create meaning goes wrong (totally the opposite of Ozawa).
Matsumotos death is the trigger to Ozawas problems. Naturally, this suicide had the whole
school administration scrambling (301). This could symbolize how, due to examples like
Matsumoto, aliens looking for meaning are depicted as doomed to fail in society. Matsumoto is
the underlying victim in the story.

Understanding the Learning Outcomes

Learning Outcome #1: Consider the changing historical, cultural, and social context in which
particular texts are written and received. Focus on:
a. the role of the individual and family in society
b. the impact of the prevailing values and beliefs.

This is perhaps Murakamis most straightforward critique to societys shunning of unique
individuals. The authors points of view are clearly plastered all over the narrative and thematic
of this short story. Knowledge on Existentialism is key to understanding the story, since it
mainly speaks about alienating in order to create meaning, its pros and cons. The point of this
short story is clear: society destroys individuals when they alienate and lack the strength to carry
on.

Learning Outcome #2: Demonstrate how the formal elements of the text, genre and structure can
not only be seen to influence meaning but can also be influenced by context.

(Already assessed in Themes, Literary Devices, Structure, and Characterization.)

Learning Outcome #3: Understand the attitudes and values expressed by literary texts and their
impact on readers.

(Already assessed in Critical Reception and Personal Reception.)
Critical Reception

Existentialism:
Clear existentialist aspects can be seen in this story. We see characters that represent
different aspects of existentialist theories. Ozawa represents the breaking from society and
creating meaning for oneself. Aoki represents assimilation into society. Finally, the tragic
Matsumoto represents the destruction by society of the alienated.

New Historicism:
This story is imbued with the authors context because it clearly reflects aspects of
Japanese culture. Japanese society is mainly concerned with the collectiveness of the individual.
That is to say, an individual defined by his part in society. As such, belonging into society is an
elemental part in Japanese life. This can be seen in Aoki, who appears to be the model of
assimilation into society. However, Murakami makes a critique towards this careless society and
presents a tragic byproduct of this longing for assimilation: the death of Matsumoto.


Personal Response

I was bullied when I was in 7th grade. It was a kid just like Aoki: stupidly gorilla-like and
loved by everyone. I felt like a combination of Matsumoto and Ozawa: on one hand, I used to be
bullying material; not athletic, a bit clumsy, bookworm, well you get the point. On the other,
I looked at my classmates and wondered, How can you venerate this kid when all he does is
mock you, your friends, and other innocent people? How can you hold him so high when he is
clearly lower than all of us? Obviously, I felt most identified with this story, and particularly
enjoyed it a lot.





Vocabulary

headstrong: not willing to do what other people want.
stuck-up: acting unfriendly towards other people because you think you are better than they are.
hauled off: to get ready.
conk: to hit especially on the head.
iota: a very small amount.
gangly: tall, thin, and awkward.
scorcher: one that causes intense heat or mental anguish.
slime: very bad, unpleasant, or dishonest person.
murky: very dark or foggy.

Works Cited
Merriam-Webster Dictionary and Thesaurus. Merriam-Webster, n.d. Web. 18 Sept. 2013.
<http://www.merriam-webster.com/>.





















The
Elephant
Vanishes































Summary

A man recounts the events surrounding the disappearance of his towns elephant. He then
moves to investigate the disappearance, and becomes conflicted with the lack of care of the
people in the town towards the disappearance. The man then believes he saw the elephant shrink,
and deducts the elephant shrunk and vanished altogether.


Themes

Alienation:
The narrator in this story feels conflicted when he fails to understand society for not
caring much about the disappeared elephant. All through the story, up to the very end, the
narrator feels concerned about the disappearance of the elephant. Amid the endless surge and
ebb of everyday life, interest in the missing elephant could not last forever (318). As so, he feels
he lies outside of this complete carelessness, thus feeling alienated. When he sees the shrinking
elephant and understands what happened, this feeling of alienation intensifies.

Imbalance:
The narrator constantly feels there is a lack of balance in the world that surrounds him.
From imbalance in the design of kitchens [The most important point is unity, I explained.
Even the most beautifully designed item dies if it is out of balance with its surroundings. Unity
of design, unity of color, unity of function: (319)] to imbalance between the keeper and the
elephant [In size. Of their bodies. The elephants and the keepers. The balance seemed to have
changed somewhat (325)], the narrator seems to deduct that it is balance in things that is
important. As he later suggests, I sellprobably because people are looking for a kind of unity
in this kit-chin we know as the world. Unity of design. Unity of color. Unity of function. (327)




Literary Devices

Imagery
Throughout the short story, we see description of two kinds: first, we see procedural
description, in the descriptive detail of the argument between the Mayor and the zoo for the
elephant. This very detailed account of the events further clarifies on the events, and also add to
this little obsession the narrator develops with respect to the disappearance.
Second, we see description when trying to set down a specific mood, as is the case of the
use of water to settle down a romantic or hopeful mood:
It had been raining that day from morning to nightthe kind of soft,
monotonous, misty rain that often falls at that time of year, washing away bit by
bit memories of summer burned into the earth. (318)

Symbols
Elephant and keeper symbolize the traditional values of Japanese culture. They become a
symbol of everything the narrator sees society is losing in modern Japanese society, with the rise
of technological empires and the westernization of the East. But there was no way to mistake
the special warmth, the sense of trust, between them. (324)
The kit-chins are also a symbol of the westernization of the East, something very
recurrent in Murakamis work. However, this is the very first time we see the author address this
directly, and not through vague yet persistent allusions to the west. We say kit-chin, I advised
her. No big deal, but the company wants us to use the English. (320)

Motifs
A few short months without its elephant had given the place an air of doom and
desolation that hung there like a huge, oppressive rain cloud. (318)
Water is a very recurring motif throughout the story. Be it an ocean, a misty rain,
or a rain cloud, water is present across the story. Usually, it is used as a tool for setting up
a theme or state of mind, as seen in the quote above. Another possible take on water as a
motif could be the liquidity of it, how it tends to escape from our hands, just like the
values the narrator sees society is losing (a.k.a. the elephant).
Narration
Narration, as is usual in Murakami, is from a first person point of view, as well as from
the main characters. As said before, this gives a very introspective narrative that allows the
public to assimilate better to and connect with. As such, we are imbued with the narrators own
personal responses, thoughts, and values as the events in the story progress. At times, the
narrator addresses the audience directly.
(sorry for all these lists, but I use them to make things easier to understand)
(311)

Diction
As such, the language used is colloquial, yet not conversational. The register is simple
and concise, and it goes straight to the point, without using elevated or technical language.
Combined with the inside-the-action narrative, this makes the reader feel more welcomed into
the story.
Brushing away my toast crumbs, I studied every line of the article. (309)



Structure
Structurally, this particular story is more complicated than any of the other short stories
written by Murakami thatd been read. The plotline isnt lineal, starting first with a
contextualization of the events that happen in the story, then continuing with a recollection of the
events surrounding the narrator as he investigated the elephants disappearance, and finally
finishing with a flashback of the last time the narrator saw the elephant. Changes in font and
spacing are used to queue this shifts in time and/or space. At the beginning of the story, we see
three bullet-point lists, which are used by the narrator to explain things so that theyre easier to
understand (311).




Characterization

Narrator:
The narrator, as in many stories written by Murakami, is seen as the alien in society. This
narrator is feeling outside of the careless limits of his towns society. He is characterized by
having a slight obsession on the elephants disappearance. Thus, the narrator is presented as a
conflicted man; conflicted with both the elephants disappearance and societys carelessness. The
narrator suffers a change in the end, completely alienating himself from society and succeeding
at seeing things from a different perspective. Some kind of balance inside me has broken down
since the elephant affair, and maybe that causes external phenomena to strike my eye in a strange
way. (327)

The keeper Noboru Watanabe:
The keeper-elephant relationship is something Murakami elaborates on a lot. The
elephant keeper Noboru Watanabein coalition with the elephantrepresent the values the
narrator fears are being lost in his society. This character in particular is given a name because he
represents this very warm and personal society that is disappearing to a more consumerist and
cold one. Their affection was evident in every gesture. (323) The keeper is seen as the
elephants environment, further exploring the importance of balance between a creature and its
environment. The keeper is also used by the author to give a more human element to the
elephants disappearance.










Understanding the Learning Outcomes

Learning Outcome #1: Consider the changing historical, cultural, and social context in which
particular texts are written and received. Focus on:
a. the role of the individual and family in society
b. the impact of the prevailing values and beliefs.

This story touches on a problematic that is being seen today, especially with the
proliferation of portable electronic devices and the separation of audiences. This problematic is
the loss of affection between individuals in society. Murakami manages to assess this problem
through the view of a narrator that himself feels conflicted with the disappearance of something
that was once so big and beautifulin the story, the elephant. Contextualizing the work, we can
see how this conflict is seen in Japans traditionalism conflicting with the modernist society is is
striving to become today.

Learning Outcome #2: Demonstrate how the formal elements of the text, genre and structure can
not only be seen to influence meaning but can also be influenced by context.

(Already assessed in Themes, Literary Devices, Structure, and Characterization.)

Learning Outcome #3: Understand the attitudes and values expressed by literary texts and their
impact on readers.

(Already assessed in Critical Reception and Personal Reception.)







Critical Reception

New Historicism:
This story reflects Murakamis Japanese society, showing aspects such as the carelessness
of the collective society. As said before, Japanese society is mainly concerned with how an
individual fits in the collectiveness of Japan. As such, individuality starts losing its meaning, and
so are close and personal interactions between individuals. This is seen in the story as the
vanishing of the only warm relationship in it: the elephant and its keeper. Through this,
Murakami exemplifies a real problematic in his contextual environment.

Marxism:
Marxist literary criticism can extract aspects on capitalist economies in the story. First,
we see how globalization is starting to deform language and economics in the whole kit-chin
element of the story. We also see how this business is mainly oriented to shallow principles, such
as novelty and style. We see how the business is better made with a cold and pragmatic state of
mind, thus killing warm interactions between people. This, as said before, is seen in the
vanishing of the elephant and its keeper.


Personal Response

I believe this is one of the most touching and thoughtful stories of Murakamis writing
Ive read. Its sentimental and critique values are simply stunning, working so seamlessly
together. The affection between the elephant and its keeper not only made me remember how
lovely it is to have a pet, but also made me reflect on the fact that, despite being two very
different creatures, there is a mutual love and understanding; love and understanding that we
most of the time cannot have between us human beings! I mean, if there can be such a lovely
relationship of care and respect between an animal and a human, why cant there be one between
humans?


Vocabulary

plowed: to move through, over, or across (something) in a forceful and steady way.
innards: the internal parts especially of a structure or mechanism.
wagging: to move to and fro or up and down especially with quick jerky motions.
reticent: not willing to tell people about things.
circumlocutions: the use of an unnecessarily large number of words to express an idea.
kit-chin: trans-linguistic word that came from the Japanese pronunciation of the English word
kitchen.

Works Cited
Merriam-Webster Dictionary and Thesaurus. Merriam-Webster, n.d. Web. 18 Sept. 2013.
<http://www.merriam-webster.com/>.