Murakami analysis
Murakami mentions myriads of themes in 1Q84. Nevertheless,
Murakami is very talented story teller whose novel absorbed me, like a sponge, into his world. His language, especially a description, is very vivid; each character seems to be alive, solid and real.
Murakami’s Character development was very descriptive and direct. He characterized his characters with description and then, demonstration. Here is an example from the text where Tengo (a main character) met with Mr. Ebisuno.
“He was probably in his mid-sixties. He was no taller than five foot three, but his excellent posture prevented him from looking unimpressive. His back was as straight as if it had a steel rod in it, and he kept his chin pulled in smartly (Murakami 145).”
Murakami first introduced Ebisuno to me with vivid imagery of him. Then, in the next stanza, Murakami showed who Ebisuno was like.
“For a while, the man simply stared at Tengo, saying nothing. His gaze was not exactly penetrating, but his eyes seemed to take in everything, narrowing and widening like a camera’s diaphragm when the photographer adjusts the aperture (Murakami 145).”
This marvelous work of Murakami’s description demonstrated Ebisuno’s character and his behavior without ever using a word, examining or scrutinizing.
Not only did Murakami reveal his character throw actions and descriptions but also through an irony. In the book, there was another main character, Aomame, besides Tengo. She loved Tengo so much that, to her, he was the sole purpose of her life. Nevertheless, she slept around with other guys.
“But as much as you love him, you don’t mind having sex with other men (Murakami 239).”
Through this revelation, Aomame came to me as more vivid, real-life character. Her love for Tengo was something very peculiar, profound and sincere-beyond my understanding l-. The concept of love she was holding differs from mine and this consolidated her existence in my head.
Although I had to stop reading the book in the
Murakami is very talented story teller whose novel absorbed me, like a sponge, into his world. His language, especially a description, is very vivid; each character seems to be alive, solid and real.
Murakami’s Character development was very descriptive and direct. He characterized his characters with description and then, demonstration. Here is an example from the text where Tengo (a main character) met with Mr. Ebisuno.
“He was probably in his mid-sixties. He was no taller than five foot three, but his excellent posture prevented him from looking unimpressive. His back was as straight as if it had a steel rod in it, and he kept his chin pulled in smartly (Murakami 145).”
Murakami first introduced Ebisuno to me with vivid imagery of him. Then, in the next stanza, Murakami showed who Ebisuno was like.
“For a while, the man simply stared at Tengo, saying nothing. His gaze was not exactly penetrating, but his eyes seemed to take in everything, narrowing and widening like a camera’s diaphragm when the photographer adjusts the aperture (Murakami 145).”
This marvelous work of Murakami’s description demonstrated Ebisuno’s character and his behavior without ever using a word, examining or scrutinizing.
Not only did Murakami reveal his character throw actions and descriptions but also through an irony. In the book, there was another main character, Aomame, besides Tengo. She loved Tengo so much that, to her, he was the sole purpose of her life. Nevertheless, she slept around with other guys.
“But as much as you love him, you don’t mind having sex with other men (Murakami 239).”
Through this revelation, Aomame came to me as more vivid, real-life character. Her love for Tengo was something very peculiar, profound and sincere-beyond my understanding l-. The concept of love she was holding differs from mine and this consolidated her existence in my head.
Although I had to stop reading the book in the