Wednesday, August 28, 2013

The well in the Norwegian Wood

 I've always enjoyed reading Murakami's works. The characters' thoughts and reflections always seemed to evoke some kind of sympathy in me and I oftentimes saw myself in them. However, what distinguishes this book from his other works is that there is no magical realism so typical of Murakami's novels. It's a pretty straightforward love story and bildungsroman in which teenagers come to terms with themselves, which makes it even more easier to relate to. Although I have never experienced a death of someone close to me, Murakami skillfully brings to light the confused emotions Toru Watanabe after the suicide of his best friend. I feel his confusion, his loss of direction after the death of Kizuki. The cinematic image of the woods and the scene in the well is an honest reflection of the emotions of Toru and Naoko, both of whom are haunted by the memories of Kizuki. 
          Naoko said in the cinematic memory beside the well, “It’s a terrible way to die…you couldn’t do a thing. You’d yell at the top of your lungs, but nobody’d hear you, and you couldn’t expect anybody to find you, and you’d have centipedes and spiders crawling all over you….You’d die there in this place, little by little, all by yourself.” This seems to be the case with Naoko and Toru. Toru struggles to go on in life as his past keeps holding him back. Ever since the sudden death of his best friend, Kizuki, he has been haunted by the incident, prompting him to move out of town and continue studying where no one really knows him or what happened. He never really points out why or how exactly it has affected him, and he never opens up to his new friends. He is clammed in his own past, trapped, failing to reach out, like being trapped in the well in the middle of the woods. However, when he meets Naoko, he and Naoko share this distinct connection, begin to see each other more often, but they never mention Kizuki. On Naoko’s 20th birthday, Naoko breaks down, her emotions seep out, but after that, Naoko runs away from Toru, and recluses deeper into the well.

           One of Murakami’s recurring themes in his works is his criticism of the inability of the Japanese to openly express their feelings and that deficiency affects people permanently, leading them to a life of alienation that prevents them from ever reaching happiness. I thought this was clearly expressed in the first three chapters of the book. Currently, the characters are trapped in the well in the woods and the next chapters will reveal whether they succeed in escaping a terrible death. 

1 comment:

  1. Good stuff, and I really like the comment on Japanese culture towards the end. You've already read the book, so we both know the dark well eventually gets closer. I would hesitate to say that there is no "magic realism" in this book. As we figured out last semester, nobody really knows exactly how to strictly define magic realism, but we can identify qualities of it. Surreal and dream-like, the narrative often flirts with magic - be it a firefly or a dark well or a meadow.

    I might also question to what extent Toru struggles. He has a firmer grip on things than Naoko, and it seems she is the true source of his struggle. Would he have been better off if he hadn't met her on the subway that day? Probably. And what about her? That's an even bigger question. If they made mistakes through reuniting, they are debatable which is the fun part of this book. Good work, and thanks again for giving me the library book. I'll go renew it.

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