The Elephant Vanishes is Haruki Murakami's first American short story collection. It consists of 15 short stories showing his work at his best, magical lands with dancing dwarfs, giant elephants, and a man looking for his cat. Every thing is unique Murakami however, and each of these stories is worthy of your time to read, and some of them to read the novel to which they are attached. Here are some notes I've noticed while reading the collection and some thoughts on his work as a whole.
– Murakami uses a singular feeling or human emotion for each of his stories, then he expands, contracts, contracts and develops emotion to his pleasure. The use of loneliness, hunger and fatigue comes to mind.
– His concepts about reality are very interesting. He constantly lets the characters recreate it as they want. The presence of dual reality is coherent, in which lies a layer below the reality with which the character must compose
– He uses the newspaper and memory as a common device. The narrator's memory and the way it is used are constantly evoked and analyzed. His use of a newspaper is repeating itself as a means of organization and structure in the dynamic and chaotic life of its protagonists, lending a much more structured way to their lives
The Wind-up Bird and Tuesday & Women
really weird. Mainly because it's not really a story, but the first chapter of his most famous book, The Wind-Up Bird Chronicle. After being unable to find the cat, he goes to the alley blocked to watch and finds himself in the back yard of a girl sunbathing, where he falls asleep in a chair of garden. A series of inappropriate phone conversations with a stranger, and the weird girl in the alley set up one of her biggest stories in this novel, but here are a little out of place because all you get is the first chapter. In Murakami's typical fashion however, any chapter of any of his books could be read alone and make sense, as very little things tend to happen in the physical reality of his characters. Instead, something more than you feel more than observing happens here. He cordially sets the tone for the rest of the book, and sets up the reader for the upcoming quirks.
The Second Bakery Attack
The second story was also strange, in its execution. The curse of hunger interests me in that it seems to be the result of a more psychological problem. His wife is an inherently violent person here and that does not seem to make much sense. What is the purpose of his violence? Why is she also struck by the curse and why has she not felt this hunger since the bakery era? I think it may be that he needs a companion to feel this hunger. His best friend was there last time, and he left. Without a conspirator, no matter what he feels. The hunger appears however, only 2 weeks after her marriage, and she takes the case quite effectively. His apparent knowledge on the subject is however interesting. This awakens suspicion in the narrator. Something that Murakami also does in the first story. A kind of underlying suspicion of this man towards his wife
The Kangaroo Communiqué
The third story was very cool for me. The way he starts, completely off topic, explaining his 36 steps – which we never hear – and then, the different tangents in his conversation are brilliant. The man works a horribly boring and depressing job and when he finds a gem in his pile of coal, he grabs it without giving it up. He wants to talk to this girl. He wants to get to know her. He continues his desire to be alive in double condition. He wants to exist in two places at once. A desire to overcome the monotony of his life without giving up at the same time. He is afraid of change and that is his way of managing it, by not changing. So, he records this letter to the girl and tells her things that are probably not appropriate. But they are his other self-acting. The reclusive self, department store is set aside and this second self, the self who wants to sleep with her and write to her this letter is highlighted without fear of consequence.
On Seeing The Girl 100% Perfect A beautiful April morning  This is another brilliant story that I could not overcome. It was short and accurate, offering no intrigue, or development. Just a series of very cool thoughts and a seed of doubt left in the reader about what really happened. The Murakami narrator sees a girl in the street that he knows is perfect for him. Do not know how or why, she is right. Love at first sight. He does not do anything though. Conjecture develops the ultimately tragic or ultimately romantic story that exists beneath the surface. When he had told her his story and that they were meeting, the reader was telling himself that he was terribly romantic. However, since he does not speak to her, I wonder if this story could be true. How horribly sad. It's a story about the odds. About taking risks in life and making the most of them. Do not let fate kick you ass. Twice the narrator leaves his daughter 100% perfect. Once in his story and once in real life. She will never come back to him
It's a very interesting story. He approaches a lot of different little things about his life. She seems to be lost in a world of her own creation. Lost by the arrogance of her husband's family, she lost everything in her life that made her her. When she stops sleeping, she denies reality to find that part of her. She goes against her destiny that was built and creates a new reality for herself. In doing so, she has to face death and, ultimately, meet her. His perceptions of reality are completely skewed. In this, she creates a new one. One where she maintains her own identity. Not the one that her husband gave her. She has a midlife crisis and her dealings with her are as such.
The fall of the Roman Empire, the Indian insurrection of 1881, the Hitlerite invasion of Poland and the kingdom of the wild winds
This coin uses key events to mark the l & # 39; Personal story of the narrator. He follows a simple day of events for him and marks small, normal events as big events with a historical metaphor. It's like he said that his whole life can be marked and remembered by key points and words without all the details. There is a certain linearity in our lives that makes life easier to remember.
The lederhosen act as a catalyst for her to step back and see the world and her life for what she was. At that time, she had built an illusory world in which she lived. She was unable to get out and see how much she did not want to. She had to lock herself in to do it. When she finds the guy who looks like her husband but is not, she is able to see what she has from an outdoor POV. This worries her and because of that she is able to work through her emotions and forget about her husband
It's a pretty horrible little story. The African man is either a murderer or a really horrible person who scared him. I lean towards the first of the way he describes how the barn calls to be burned. The closeness of the narrator with the girl is important here because it contradicts the assertion of the barn man who needs to be burned. Her idea is that the barn is old and useless and that it will not hurt anyone, but this last barn is such that the narrator is the one who suffers. So, he was not harmless. He is however unaware of the correlation and continues to search the barn and the girl. Which leads to the double existence of the case again in which he seeks to search for the literal object that has not been burned and inside his mind is looking for it. figurative object, the girl who misses him, who has been removed from his life. Very Poe and quite disturbing
Little Green Monster
She blames the love. In doing so, his slightest gestures, bad thoughts, and hurtful ways hurt the creature. It looks like a metaphor for rejection. She rejects the unrequited love of creatures and, in doing so, destroys it. She only sees him for what he is, a horribly ugly creature, unaware of his love and calmness. She, instead of understanding what he means or how to get him home, destroys him, without mercy. Her passion lures her into her unwanted home, and because of this her wickedness is unleashed, almost reflexively. The author seems to make a statement about women here and how they can be ruthless for the sake of a man. Also a statement about the blindness of love and how the male will react without thinking and not weigh the choices involved.
This story even seemed pretty laced with secondary intrigues and hidden meanings. All this was done in a very subtle way, true to Murakami's style, and he really hit home, especially in the end, with his blunt and simple way of telling stories. First, the narrator and his sister are exactly what he says, "partners." Partners in the life of a useless life style. She grew up from that though. During the 5 years they lived together, she has grown and developed a sense of responsibility and place in the world. However, he is still trapped in his own little world, his separate reality. This is often shown by the way he says that things that do not affect him do not concern him, for example who wins the baseball game. This does not matter. "I do not play, they are." The differences in the narrator and Noburo Watanabe are extensive. One important thing to report at the beginning is the fact that Watanabe has a name at all. Very few, if any, characters are named in Murakami's stories. This name is important because it symbolizes a place in reality. His place in reality is marked by his name and he conforms by that name. Her sister will become part of this reality when she takes that name of manes. Thus, as a representative of reality, Watanabe begins to destroy the imaginary world of the narrator. At the end of the story, after talking to this man and hearing how pathetic his life is, he first feels the uselessness of his life. His night with the girl at the bar is miserable and it is the first mark of the destruction of his fantasy, attractive in the reality of Watanabe.
There is not much here that I can discern right now. So, I'm just going to quote the last paragraph.
"Should I sleep with her?"
This is the central question of this piece
The answer is beyond me, even now, I have no idea.There are many of
Things we never understand, no matter how many years we put, no matter how
a lot of experience that we accumulate. All I can do is look up from the windows in the buildings that could be his. Each of them could be his window, it seems to me sometimes, and at other times I think that none of them could be his. There is just too much. "
Life has many possibilities: the mere location of its window is such that it could be anywhere, or maybe even nowhere.