Dear all,
Please pick any chapter from this week's reading and post one entry. Remember to contextualise your entry (page number, paragraph and close context).
Thank you.
Mrs Gougeon
Please pick any chapter from this week's reading and post one entry. Remember to contextualise your entry (page number, paragraph and close context).
Thank you.
Mrs Gougeon
“’It’s not just that I’m dumb. Nakata’s empty inside. I finally understand that. Nakata’s like a library without a single book. It wasn’t always like that. I used to have books inside me. For a long time I couldn’t remember, but now I can. I used to be normal, just like everybody else. But something happened and I ended up like a container with nothing inside.’” -Chapter 32, pg. 329, paragraph 7
ReplyDeleteThis passage explores the characterisation of Nakata. In this passage, Nakata seems to finally realise his true self. Usually the reader views Nakata as childish but happy and as determined but all over the place. His train of though is difficult to follow which is why the chapters in which Nakata’s storyline is being told are in the third person. The use of the word “empty” to describe Nakata does not seem to fit. He could speak to cats which is unusual and has, for an unknown reason, been sent on a quest to find the entrance stone and open and close it. This would be not be done by someone who was “empty”. However, Nakata seems to feel this way. This is unusual as his thought process does not usually go so far which suggests he might be changing or getting better. The reference to the library is a theme throughout the novel. Kafka is only content and comfortable in a library and ends up living in the Komura library. Nakata and Hoshino also end up in a library to search for the entrance stone. Therefore, Nakata’s comparison of himself with the library creates an association between himself and Kafka as Kafka seems to feel like a part of the library. Nakata’s realisation is saddening to the reader but also creates an easy description of Nakata’s character: “empty”.
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ReplyDeleteChapter 29, Page 301, line 22
ReplyDelete“Reality and dreams are all mixed up, like sea water and river water flowing together” – Kafka
The two stories seem to be starting to connect with signs such as magic realism and lightning coming into Kafka’s story that are already present in Nakata’s. This quote creates dramatic irony for the readers, as we know more than the characters in the book. This effect of dramatic irony really compels the readers to find the end solution to these chapters and find what in the novel is magic realism and what is real. “Reality and dreams” are all mixed up for Nakata and even Ms Saeki and the fact that it’s like “sea water and river water flowing together” which in reality would be a bad as certain animals would die in this process. Some animals can only survive in seawater and not river water and vice versa. This could foreshadow the death for later chapters to come and progression the theme of death throughout the novel.
Chapter 32, Pg. 324, Paragraph 3
ReplyDelete"He carefully washed his face, taking his time, carefully brushed his teeth, taking his time, carefully shaved, taking his time. He trimmed his nose hairs with a pair of scissors, straightened up his eyebrows, cleaned out his ears. He was the type who took his time no matter what he did, but this morning he took everything at an even slower pace than usual."
This passage highlights Nakata's slow pace as he goes to the communal sinks to clean up. The use of commas makes the sentences longer and continuous which represents Nakata's draggy movement. Moreover, it tells us that Nakata always has something lined up to do, because of how slow he does each task. The repetition of "carefully" and "taking his time" emphasises the way Nakata not only does things at his own pace but also with care, this is shown in the way he carries out each task precisely. Furthermore, this shows us how Nakata isn't bothered or affected by his surroundings, or the chaotic world, despite his situation of murdering Johnnie Walker and not knowing what to do with the entrance stone, he still remains calm and neutral about everything. This may be explained by the description of Nakata's emptiness later on in this chapter. Nakata's carefree behaviour may be due to his lack of purpose in living, without any family around and not being able to communicate with cats anymore.
Chapter 32, page 330, paragraph 14
ReplyDelete“… the thunder was deafening. Lightning zigzagged across the sky, followed, a moment later, by a great clap of thunder. The air shook, and the loose window panes rattled nervously. Dark clouds capped the whole sky, and it got so dark inside…”
In the following passage, Nakata is contemplating his existence and expresses a desire to become normal again. Nakata has just finished suggesting how he could possibly become whole again when the setting intensifies. This is achieved by the author through the use of different kinds of imagery. Initially the author uses aural imagery such as ‘deafening’ and ‘clap’ which is accompanied by visual imagery ‘zigzagged’. In addition to this the author also uses tactile imagery ‘rattled’. These words create an overwhelming environment for the reader as the atmosphere becomes very tense and dark. As a result we can see that the focus of the passage here is setting development. This passage greatly contrasts the monotony and confusion in the previous passage whereby Hoshino attempts to understand Nakata’s perspective on the outcome of his life. This foreshadows colonel sander’s phone call to Hoshino informing him to escape in the midst of Nakata’s nap. The purpose of the following passage I believe is to prepare for the intensity of Hoshino’s attempt to flip the entrance stone and to create a mental image of the environment for the reader.
(Chapter 29, Page 299, line 20)
ReplyDelete"I don't know how to put it exactly...This may sound strange, but you're living in the real world, breathing real air, speaking real words.Talking to you makes me feel, for the time being, connected to reality. And that's really important to me now."
This passage is from the beginning pages of Chapter 29, where Kafka calls Sakura for the first time after he spent the night at her place and left without a proper Goodbye. He opens up to her, and confides in her, which is sort of odd considering they have only met up a few times (probably around twice). But this passage shows how much he trusts her, enough to reveal and confess his worries and how much she actually means to him even though it "may sound strange" to her. It also informs the reader of his confusion and uncertainty about the events that had happened - such as 15-year-old Miss Saeki's ghost appearing. He says that she connects him to "reality" suggesting that the things happening to him aren't what he's used to, and that a part of him wants things to go back to normal, before all these magical and surreal things happened. Also, the fact that she is the one who connects him to reality - suggesting that she is his anchor. Their relationship has progressed a lot throughout this novel, and right now she (along with Oshima) seems to be one of the only people he can trust enough to confide in.
“My father was in love with you, but couldn’t get you back. Or maybe from the very beginning he couldn't really make you his. He knew that, and that’s why he wanted to die. And that’s also why he wanted his son - your son, to murder him. Me, in other words. He wanted me to sleep with you and my older sister, too. That was his prophecy, his curse.” (chapter 31, page 314, first paragraph)
ReplyDelete“Well you immediately said you’d never interviewed anybody called Tamura without giving it any thought…I don’t think you’d be able to recall so quickly whether one of them was or wasn’t named Tamura” (chapter 33 page 342 line 15)
The first passage is when Kafka is confessing a theory to Ms. Saeki of her being his mother. He even confesses that he is in love with her and they make love at the end of the chapter. As confusing as it is, the theory of how Miss Saeki is Kafka’s mother becomes clearer. Moreover, as they talk about people who had been struck by lightning the theory that Miss Saeki might be Kafka’s mother makes sense but then she says that things are chanign around her and that she does not know what they did that night was right or wrong however they make love again so in general, I believe that Ms. Saeki is lost or confused. Later on in the chapter Kafka even assures himself that he is Kafka on the Shore and that he is her lover and her son, which leads to the question of how he can be both at the same time. This therefore foreshadows an explanation or another theory that would give the reader a better understanding of Kafka and how his relation with Ms. Saeki. Furthermore, it is noticeable how Kafka is gradually fulfilling the prophecy or curse by his father for instance the murder of Johnnie Walker and having sex with Ms Saeki who might actually be his mother. The only curse that is left is to sleep with his own sister, which I think is an event that foreshadows since he has already completed the other prophecies by his father.
(Chapter 31/Page 320/Paragraph 8)
ReplyDelete“Wind blows through the pine forest… I do this over and over”
In this passage, Kafka and Miss Saeki sit together on the spot of the beach where the painting in Kafka’s room has been pained. The focus of this passage is the theme of time and the reoccurring idea of the existence of different worlds and different concepts of time. The quote “sounding like a crowd of people all sweeping the ground at the same time” possibly suggests how there may be several possible parallel timelines occurring at the same time. The quote “It falls to the beach and, like lost time, becomes part of what’s already there” also shows the different time periods and worlds represented by the “sand”, whereas the “beach” would represent the world as a whole – consisting of different worlds and timelines within it. This could suggest that, despite the possible different worlds and concepts of time existing in the two parallel stories of this novel, there is ultimately only one world. In addition, the use of diction of loss such as “lost”, “spill”, “blows” and “falls” also suggests that Kafka, or anyone for that matter, doesn’t have control over the world(s) despite their individual actions and efforts of their lives shown by the quote “I do this over and over”.
“You have to be strong to survive…..you know- crow”
ReplyDeletePage 340 line 12
In this section, Kafka is talking about him exercising at the gym earlier to Miss Saeki. He mentions that he needed to go to the gym to be strong in order to survive. I believe from earlier in the book, he started doing sports to get ready for him to leave home. Kafka states that he does this to make it on his own because he is all alone and has nobody to rely on. He says that he has to be stronger and he compares being strong like a stray crow. A stray crow may symbolize adaptation and it is what Kafka is trying to do now. He also mentions that he is Crow and as readers of the book, we are informed that Crow is Kafka’s “imaginary friend” who always reminds Kafka to be the “toughest fifteen year old in the world.” This links to the idea stated before that he compared himself to a stray crow and how he has to be strong. A stray crow however also might symbolize magic and mystery. This fact can be linked back to the use of magic realism through out the novel.
Page 350
ReplyDelete“He looked up to Beethoven. Archduke Rudolph didn’t make a name for himself as either a pianist or a composer, but sort of stood in the shadows lending a helping hand to Beethoven, who didn’t know much about getting ahead in the world. If it hadn’t been for him Beethoven would have had a much tougher time.”
In this section Hoshino is at a café in the evening drinking coffee and listening to music as he thinks about Nakata and about how he skipped work for him and ended up following up a lot longer than he intended to. He asks about the music he hears and the shop owner tells him about Archduke Rudolph. The description of the Archduke and his relationship with Beethoven is a metaphor for the relationship of Hoshino and Nakata. The use of this metaphor allows the reader to understand the development of Nakata and Hoshino’s relationship and its progression throughout the story. Hoshino is like the Archduke in that he does not try and stand in the way or ever take over the trip that Nakata has planned, nor does he ever use his mental advantage to change the direction of Nakata’s plans but instead like the Archduke stands in the shadows of Beethoven and helps him. This extract displays the impact Nakata and Hoshino have had on each other and great it is. Hoshino looks up to Nakata in that although he may not know much about getting ahead in the world and need a bit of help he admires his qualities that made him turn off this everyday life route so quickly. He admires that something Nakata has that made him give everything up for him at the drop of a hat. Without Hoshino Nakata would have had a much harder time and mostly likely would have never gotten to where they are, however without Nakata Hoshino would have never realized that there was more to his job and driving and he would have never found that ‘something’ that Nakata has.
Page 352 Paragraph 2
ReplyDelete"Listening to Fournier's flowing, dignified cello, Hoshino was drawn back to his childhood. He used to go to the river every day to catch fish. Nothing to worry about back then, he reminisced. Just live each day as it came. As long as I was alive, I was something. That was just how it was. But somewhere along the way it all changed. Living turned me into nothing. Weird... People are born in order to live, right? But the longer I've lived, the more I've lost what's inside me - and ended up empty. And I bet the longer I live, the emptier, the more worthless, I'll become. Something's wrong with this picture. Life isn't supposed to turn out like this! Isn't it possible to shift direction, to change where I'm headed?"
The passage is in the perspective of Hoshino in Nakata's chapters. For context, Hoshino is the only customer in a coffee shop, one he visited the night before and the owner remembers him. Similarly to Kafka and Oshima, Nakata needs a friend to help him on his adventures. Hoshino fills that role, helping Nakata with the logistics of everyday life. The passage starts with a little backstory on Hoshino, then transitions to a sort of crisis for Hoshino. I think this is significant because of Hoshino as a character, showing where he would have been had he not met Nakata. It’s interesting to see how little Nakata does to gently sway the world around him. Nakata isn't that controlling of his environment, which contrasts with Kafka who wants total control. The passage explains reasons why Hoshino stuck with Nakata for this long, even after all the magic realism. The use of rhetorical questions reveals Hoshino's thought process, as if we are in his head and also emphasizes Hoshino's dilemma. The last question “Isn’t it possible to shift direction, to change where I’m headed?” foreshadows and affirms Hoshino’s desire to change his life.
Page 305 line 26
ReplyDelete"I'm appearing here in human form, but I'm neither god nor Buddha. My heart works differently from humans' because I don't have any feelings. That's what it means."
Colonel Sanders brings Hoshino to the entrance stone and trying to find out what Colonel Sanders is. From the passage chosen we can see that he is not human but chooses to appear human. He can take any form he likes and that he has no heart thus not being able to feel. From my knowledge of the japans religion Shinto, I can say that Colonel Sanders is a spirit, the Japanese call them Kami's, and that he is there to guide them to the right path. In Shinto, all humans are good and that it is spirits that influence humans to do bad things. Examples like Johnny Walker. Colonel Sander's purpose may not be to just show Hoshino the way, but to influence him. He also foreshadows events that will happen later on, more spirits come to influence characters, spirits like Miss Saeki's ghost and the boy named Crow.
"yes," I say. "A lot of things were stolen from my childhood. Lots of important things. And now I have to get them back." (Page. 343)
ReplyDeleteIn this part, Miss Saeki and Kafka are talking to each other about their thoughts and reasons for their journeys. Kafka questions her after she exclaims how she's feeling and how her life has somewhat sparked again, he mentions how he is just the same and the reasons for his journey. This can be compared to Nakata and the journey he is taking. Nakata had lost a lot of opportunities in his life and questions himself when talking to Hoshino, after the incident as a child. In Kafka's perspective, he is trying to fulfill or avoid his father's prophecy, at the rate he's going with Miss Saeki, it confuses me as to what he wants. Nakata's journey can be seen to be like a walkabout, a spiritual journey, to find oneself. Like Miss Saeki says, "People need something like a place they can go back to. There's still time to make it..." for Nakata it is to find the entrance stone to understand and restore his past and his shadow.
You aren’t free. But is that what you really want? To be free? Page 338
ReplyDeleteThis is a quote by Crow that is said when Kafka wants to understand what position he is in. It made me really question the position I was in as well and increasingly understand what was the actual plot of this story. There didn’t feel as there was much in plot that needed to be explored in Kafka’s and all it had was just waiting, waiting for a moment where something will just click and we will understand the content. I didn’t like Kafka’s personality, and still don’t really like it, but feel that it really is just like every 15 year old boy.
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