Kafka on the Shore

418ybjvpcpl-_sy344_bo1204203200_

6a850bc01f8214542232154816d4fde6-cover-books-kafka-on-the-shore

kafka_on_the_shore

Kafka on the Shore by Haruki Murakami


Summary

On the eve of his fifteenth birthday Kafka Tamura prepares to run away from his home in Nakano, Tokyo. Plagued by the absence of his mother and older sister as well as a cursed prophecy, Kafka dreams of running away in order to escape both his destiny and a form of himself. With every bit of courage he has, Kafka gathers all the money he can manage, packs his things, and jumps aboard a night bus headed for Shikoku.

Meanwhile, Nakata is an elderly man living in Nakano Ward on a meager subsidy from the government. Permanently disabled by a strange accident that occurred during his schooldays around the middle of the second World War, Nakata is unable to communicate clearly with other people. However, he finds solace in looking for family cats that have gone missing from around his neighborhood. What no one knows is Nakata spends most of his days talking (yes, talking) to the these cats in order to discover the whereabouts of the families’ missing pets. But when one day a certain cat goes missing from its beloved family, Nakata finds himself wrapped up in a dark situation that forces him to leave Nakano for good.

Through fleets of destiny too great to be simple coincidence or chance, Kafka and Nakata’s paths wind together to create a brilliant story full of mystery, misplaced time, magic, love, loss, and self-discovery.


Memorable Quotes

“Sometimes fate is like a small sandstorm that keeps changing direction. You change direction, but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn’t something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn’t get in, and walk through it, step by step, There’s no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That’s the kind of sandstorm you need to imagine,” (page 3).

“All the students dress neatly, have nice straight teeth, and are boring as hell. Naturally, I have zero friends. I’ve built a wall around me, never letting anybody inside and trying not to venture outside myself. Who could like somebody like that?” (page 7).

“Your heart is like a great river after a long spell of rain, spilling over its banks. All signposts that once stood on the ground are gone, inundated and carried away by that rush of water. And still the rain beats down on the surface of the river. Every time you see a flood like that on the news you tell yourself: That’s it. That’s my heart,” (page 9).

“Some time in the middle of the night a hard rain begins to fall. I wake up every once in a while, part the chintzy curtain at the window and gaze out at the highway rushing by. Raindrops beat against the glass, blurring street lights alongside the road that stretch off into the distance at identical intervals as if they’d been set down to measure the earth,” (page 10).

“‘Gosh, what a long trip,’ she says tiredly. ‘I thought my lower back was going to give out. And my neck’s killing me. You aren’t going to catch me on an all-night bus again. I’m taking the plane now on, even if it’s more expensive. Turbulence, hijackings—I don’t care. Give me a plane any day,'” (page 32).

“When I open them, most of the books have the smell of an earlier time leaking out from between their pages—a special odour of the knowledge and emotions that for ages have been calmly resting between the covers,” (page 39).

“‘Your father sounds like an alien from outer space or something,’ Sakura says. ‘Like he came from some far-off planet, took on human form, kidnapped an earth woman and then had you. Just so he could have more descendants. Your mother found out, got frightened and ran away. Like in some film-noir science-fiction flick.’

I have no idea what to say,” (page 95).

“Most things are forgotten over time. Even the war itself, the life-and-death struggle people went through, is now like something from the distant past. We’re so caught up in our everyday lives that events of the past, like ancient stars that have burned out, are no longer in orbit about our minds. There are just too many things we have to think about every day, too many new things we have to learn. New styles, new information, new technology, new terminology… But still, no matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away. They remain with us for ever, like a touchstone. And for me, what happened in the woods that day is one of those,” (page 104).

“Silence, I discover, is something you can actually hear,” (page 148).

“‘Speaking of contradictions,’ Oshima suddenly says, ‘when I first met you I felt a kind of contradiction in you. You’re seeking something, but at the same time you’re running away from all you’re worth,'” (page 164).

“The fish struck people, cars and roofs, but not apparently, from such a great height, so no serious injuries resulted. It was more shocking than anything else. A huge number of fish falling like hail from the sky—it was just positively apocalyptic,” (page 181).

“‘Narrow minds devoid of imagination. Intolerance, theories cut off from reality, empty terminology, usurped ideals, inflexible systems. Those are the things that really frighten me. What I absolutely fear and loathe. Of course it’s important to know what’s right and what’s wrong. Individual errors  in judgement can be corrected. As long as you have the courage to admit mistakes, things can be turned around. But intolerant narrow minds with no imagination are like parasites that transform the host, change form and continue to thrive. They’re a lost cause, and I don’t want anyone like that coming in here,” (page 196).

“I look for the 15-year-old girl in her and find her straight away. She’s hidden, asleep, like a 3-D painting in the forest of her heart. If you look carefully though, you can spot her. My chest starts pounding again, like somebody’s hammering a long nail into the walls surrounding it,” (page 267).

“My second day on the mountain passes leisurely, seamlessly. The only thing that distinguishes one day from the next is the weather. If the weather were the same I couldn’t tell one day from another. Yesterday, today, tomorrow—they’d all blur into one. Like an anchorless ship, time floats aimlessly across the broad sea,” (page 393).

“Even so, as I walk I get the feeling that something, somewhere, is watching me, listening to me, holding its breath, blending into the background, watching my every move. Somewhere far off, something’s listening to all the sounds I make, trying to guess where I’m going and why. I try not to think about it. The more you think about illusions, the more they’ll swell up and take on form. And no longer be an illusion,” (page 413).

“‘It all really happened, so you can’t undo it,’ Crow tells me. ‘She shouldn’t have abandoned you then, and you shouldn’t have been abandoned. But things in the past are like a plate that’s shattered to pieces. You can never put it back as it was, right?’

I nod. ‘You can never put it back as it was.’ He’s hit the nail on the head,” (page 430).


Thoughts

**First note: I’d like to address the quotes I chose to include in my “Memorable Quotes” section. If you read through every quote I included, (which I understand is a lot so no judgement from me if you didn’t) you may end up with the impression that this book is extremely long-winded and too caught up in itself to be enjoyable; maybe even cheesy in a sudo hyper-intellectual way. And while there are brief bits of overwhelming themes present in this specific book, that would be a misplaced impression overall. I want to stress that I chose those specific quotes because they stood out and were some of the most meaningful lines of text to me as a reader. But overall, the book is about five hundred pages so those quotes aren’t exactly representative of the writing style of the entire book. In fact, Kafka on the Shore is incredibly easy to read as it’s engaging and written beautifully.

This is my third Murakami book I’ve read and it certainly won’t be my last. Thinking back on my experience reading Kafka on the Shore I can confidently say its strongest point is the atmosphere it creates. When I think about Murakami’s books in general I mentally correspond them with colors. This may sound a little weird, but in my mind color and atmosphere are very much linked. And to give a better example of what I mean, I thought it would be fun to include some pictures of the places the characters visit in Kafka on the Shore. 

So to start, below I’ve pasted a general map of Japan I found online so you can see the distance between Tokyo and Shikoku.

stock-vector-japan-political-map-with-capital-tokyo-national-borders-and-important-cities-english-labeling-and-313422854
Map of Japan (credit: shutterstock)

Next is a picture of some buildings in Nakano Ward where both Kafka and Nakata begin their journeys.

 

takeshi-yamagata-architects-chojyabashi-building-designboom-021
Buildings in Nakano Ward (credit: all photos by koji fujii  / nacasa & partners inc.
images courtesy of takeshi yamagata architects) Link: http://www.designboom.com/architecture/takeshi-yamagata-architects-chojyabashi-building/

The next set of pictures capture the beauty of the Great Seto Bridge leading into Shikoku. When Nakata and Hoshino drive to Shikoku, Nakata describes a breath-taking bridge and I believe this is the one he is referencing.

044-01
View of the Great Seto Bridge (credit: https://www.ana-cooljapan.com/destinations/kagawa/greatsetobridge)
045-01
View from the top of the Great Seto Bridge (credit: https://www.ana-cooljapan.com/destinations/kagawa/greatsetobridge)

 

Lastly, here is a picture I found of Takamatsu City on Shikoku Island. This is one of the main destinations for both Kafka and Nakata.

3635829_orig
Takamatsu City (credit: http://americanruruoni.weebly.com/kanonji.html )

One thing that delights and frustrates me is the simple fact that I can’t explain to you what this specific book means. I have ideas about certain allusions or themes, but it would take too long to explain and I highly doubt I could. Whenever I try everything just becomes a jumbled mess in my mind. As with After Dark, there are many things left unsaid and circumstances which ripple in the wake of the main plot. This used to bother me, but I think I’m slowly getting used to it. To me, this is the magic of Murakami and Kafka on the Shore. I love Haruki Murakami’s writing, although at times I think he overuses metaphors a little too much. (But hey, he writes them elegantly af so I think I can forgive him.) There is a mystical feeling I get whenever I read something he’s written even if it’s just a scene describing someone hitchhiking.

The characters all have distinct personalities which makes you fall in love with them and cry for them when the time comes. Kafka is interesting, but I think my favorite character is Nakata. In a way, I want to think Murakami meant for his readers to fall in love with Nakata. I love him not just because he talks to cats, (although that in itself is strangely endearing) but because he is able to let go of time and live in the moment in the most simple and heartwarming of ways.

Kafka on the otherhand, is complicated. He’s broken inside, and haunted by a dark prophecy. Although he does manage to somewhat find his way, he becomes even more lost and confused as he begins to work at a library and fall in love with the older woman who runs it. I won’t spoil too much, but the identity of the woman also plays into part of Kafka’s confusion.

I’m not sure what else I can say about Kafka on the Shore without spoiling it. The story seems simple at first; a runaway and an old man whose life turns upside down, but it becomes much more than that. Fish fall from the sky, cats lead humans to new discoveries, people face sexual awakenings, and a young boy runs through a forest that represents the complexities of his inner psyche. All I can say is you’ll have to read this book to discover what I’m talking about.


Extra Resources

http://modernist-magazines.org/?q=node/808 (A cool page I found that basically maps out the locations described in Kafka on the Shore.)

http://www.harukimurakami.com/q_and_a/questions-for-haruki-murakami-about-kafka-on-the-shore (A link to Murakami’s website where he answers some questions about Kafka on the Shore and his writing.)

Advertisements

Into the Water

61oleghqzvl-_sx329_bo1204203200_

Into the Water by Paula Hawkins


Summary

Like any small town, Beckford has its share of strange residents and even stranger secrets. When Nel Abbott is found dead in the river that intersects the town, her estranged sister Julia returns to look after her teenage daughter and pick up the pieces following her tragic death. However, while some residents claim Nel’s death must have been a suicide given her obsession with the historic part of the river known as the “Drowning Pool,” Jules is not convinced.

Why would Nel throw away everything; her daughter, her forthcoming book about the river, her life, just to become a part of the town’s gory history of drownings? Into the Water jumps between various perspectives of Beckford’s diverse occupants to paint a picture of a town haunted by misconstrued memories and monsters hidden in plain sight.


Memorable Quotes

“To the untrained eye, it might seem you were a fan of bridges: the Golden Gate, the Nanjing Yangtze River Bridge, the Prince Edward Viaduct. But look again. It’s not about the bridges, it’s not some love of these masterworks of engineering. Look again and you see it’s not just bridges, it’s Beachy Head, Aokigahara Forest, Preikestolen. The places where hopeless people go to end it all, cathedrals of despair,” (page 15).

“Opposite the entrance, images of the Drowning Pool. Over and over and over, from every conceivable angle, every vantage point: pale and icy in winter, the cliff black and stark or sparkling in the summer, an oasis, lush and green, or dull flinty grey with storm clouds overhead, over and over and over. The images blurred into one, a dizzying assault on the eye. I felt as though I were there, in that place, as though I were standing at the top of the cliff, looking down into the water, feeling that terrible thrill, the temptation of oblivion,” (page 15).

“But appearances are deceptive, for this is a deathly place. The water, dark and glassy, hides what lies beneath: weeds to entangle you, to drag you down; jagged rocks to slice through flesh. Above looms the grey slate cliff: a dare, a provocation,” (page 41).

“She insisted there was nothing wrong, that it hadn’t been an argument at all, that it was none of my business anyway. A bravado performance, but her face was streaked with tears. I offered to see her home, but she told me to fuck off,” (47).

“‘So, two women have died in that river this year?’ I said. ‘Two women who knew each other, who were connected…’ The DI said nothing, he didn’t look at me, I wasn’t even sure he was listening.

‘How many have died there? I mean, in total?’

‘Since when?’ he asked, shaking his head again. ‘How far back would you like to go?’

Like I said, fucking weird,” (page 50).

“I wanted to touch you again, to feel your skin. I felt sure I could wake you up, I whispered your name and waited for you to quiver, for your eyes to flick open and follow me around the room,” (page 53).

“Julia stood very still, turning her head towards the window as though she were listening for something. ‘What?’ she asked, but she wasn’t looking at me. It was like she was looking at someone else or at her reflection. ‘What did you say?'” ( page 57).

“Something about that image jarred, made me feel something I hadn’t felt in a while. Shame. The dirty, secret shame of the voyeur, tinged with something else, something I couldn’t quite put my finger on and didn’t want to,” (page 65).

“I could feel it [the river] pushing against the walls, seeping into the cracks of the brickwork, rising. I could taste it, muddy and dirty in my mouth, and my skin felt damp. Somewhere in the house, I could hear someone laughing, and it sounded just like you,” (page 66).

“Something got missed though, didn’t it? Like one of those con tricks, when you take your eye off the ball for a second and the whole game changes,” (page 97).

“Seriously, how is anyone supposed to keep track of all of those bodies around here? It’s like Midsomer Murders, only with accidents and suicides and grotesque historical misogynistic drownings instead of people falling into the slurry or bashing each other over the head,” (page 129).

A/N** I have a few more quotes I could include, but I didn’t want to risk including any spoilers as this book is still fairly hot off the press.


Thoughts

I’m not exactly sure where to start, but I will say I did have high expectations for this book and I think this alone really contributed to the way I read it. If you saw my post from earlier this year, you know I reviewed Paula Hawkins previous novel The Girl on the Train and loved the psychology that went into the consideration of the characters’ thoughts and motivations. I know in a lot of ways it’s unfair to judge a book by its previously adored sibling, but I ultimately couldn’t help wistfully thinking about Hawkins’ The Girl on the Train as I read Into the Water. 

From the first batch of reactions I saw online I expected this book to be different from TGOTT, but excellent in its own way. I read reviews claiming ITW was similar in style to TGOTT but further developed in both plot and character development. After reading I can say I strongly disagree with this sentiment.

Now let me quickly say (or rather, type) I am not writing this review to bash ITW. There were a lot of things I loved about this book and will mention later, but I can’t honestly tell you that it was my favorite book to read and if nothing else, my reviews are honest. When I started reading I was still in school preparing for finals, so I didn’t have much time to spend on anything other than studying and writing essays. However, there would be brief periods of time, whether on the bus or waiting in line at the cafeteria, I would crack open this book in hopes of being sucked away to the quaint little town of Beckford. The beginning was promising. A small town, a shady cast of characters, a history of mysterious deaths. What’s not to love? But for some reason, the more I read the more disenchanted I became. After some time I pushed ITW aside to finish If We Were Villains. When I had finished IWWV, I begrudgingly turned my attention back to ITW.

My lack of interest in Into the Water was disappointing because I really wanted to love it just as much, or more than The Girl on the Train. (Not to mention I payed $30 for a hardcover copy.) But alas, I guess some things in life are meant to be. So to make what I liked and disliked about this book a bit clearer, I’ve decided to ditch my usual format and compose my thoughts into a bulleted list.

What I Disliked

  • The constant switching between narrators—Although this complaint seems a bit silly given I usually love switching into the headspace of different characters, this book has over fourteen different narrators which can be somewhat disorienting. I got used to it by the end, but in the beginning I would have much preferred learning the plot through one narrator instead of five.
  • The simplicity of the plot— There were a lot of twists scattered throughout the book, but both the writing and the plot felt rushed. I didn’t feel the book was as carefully thought out as it’s predecessor.
  •  The overall resolution— Again, felt a bit rushed and awkward.

What I Liked

  • The use of the river as a character—The imagery of the river was absolutely gorgeous. As I read I could picture myself looking down into the dark water or watching the kids swim in the summertime. Overall, the river was the most interesting character as it’s an omnipresent force that propels the story forward.
  • The plot twists— This somewhat contradicts to what I said about the plot in the dislikes section, but even thought the plot was simple there were still some good plot twists. (I think the simplicity comes from the fact I was able to guess most of them early on.)
  • The cover— Yep, I’m really going there. Judge me as the aesthetic trash I am.
  • Family histories and complexities— I think this is a strong point of the book as the plot focuses on Beckford’s dark history which influences many of the families in the story.
  • Experimentation— Despite disliking the array of narrators, I admired Hawkins’ bravery in experimenting with something a lot of readers may not like, and I hope to follow suit as I embark on my own writing process.

If you made it this far, thanks for reading! Did any of you read Into the Water? If so, I would love to hear your thoughts. Did you love it? Hate it? Feel neutral? Are you reading anything else this summer? Let me know in the comments!

-L

If We Were Villains

tumblr_ohkx01wvyw1us9ea5o1_500

If We Were Villains by M.L. Rio

“If We Were Villains is written with the intention of paying homage to William Shakespeare—who has had more than enough defamers, detractors, and deniers. (Lord, what fools these mortals be.)”


Summary

Oliver Marks is finally getting out of prison. For what, we don’t know. What we do know is that in the September of 1997 Oliver roamed the halls of Dellecher Classical Conservatory with six other thespians, friends, and fellow lovers of Shakespeare for the fourth and final year. Through intensive classes, grueling rehearsals, and long study sessions, the seven spent nearly every waking moment together. But as they prepare for their upcoming performance of Julius Caesar, something in the group’s dynamic begins to slowly shift.

Through Oliver’s captivating narration the reader follows the lives of Dellecher’s top theatre students as they navigate their roles on and offstage. But when the drama begins to follow its way offstage, the curtain call is only the beginning.


Memorable Quotes

“The number of auditions under my belt didn’t matter; the anxiety never left me,” (page 14).

“I, on the other hand, was average in every imaginable way: not especially handsome, not especially talented, not especially good at anything but just good enough at everything that I could pick up whatever slack the others left,” (page 16).

After a slightly awkward pause in which I exchanged quick baffled glances with Filippa and Alexander, Meredith said, ‘Did that just happen? For God’s sake, it’s just a play.’

‘Well.’ Frederick sighted, removed his glasses, and began to polish them on the hem of his shirt. ‘Duels have been fought over less,'” (page 52).

“There had always been small rivalries between us, but never such an open display of hostility. With a sip of tea I persuaded myself that we were all simply overreacting. Actors are by nature volatile—alchemic creatures composed of incendiary elements, emotion and ego and envy. Heat them up, stir them together, and sometimes you get gold. Sometimes disaster,” (page 53).

“Silence settled, and I was struck by the senseless idea that we and everything around us were made of glass. I was afraid to breathe, afraid to move, afraid something might break,” (page 77).

“The lake, the broad black water, lurked in the background of every scene we played after that—like a set from a play we did once shuffled to the back of the scene shop where it would have been quickly forgotten if we didn’t have to walk past it every day. Something changed irrevocably, in those few dark minutes James was submerged, as if the lack of oxygen had caused all our molecules to rearrange,” (page 79).

“Though the timeline is clear in my head, explaining it to someone else is a curious task, simple in theory but painstaking in practice, like assembling a long line of dominoes. One event inevitably leads to the next,” (page 145).

“I gaze across the lake at the top of the Tower. A large bird—a hawk, maybe—soars in long lazy circles over the trees, an elegant black boomerang against the silvery sky,” (page 147).

“She folded her arms and said, ‘I’m going to bed unless you’ve got something to say.’

I didn’t. I desperately wanted to, but my mind was blank. For someone who loved words as much as I did, it was amazing how often they failed me,” (page 211).

“‘Anything can feel like punishment if it’s taught poorly,'” (page 267).

“I shifted and my shoes squeaked on the mirror, James turned and caught my eye. But I stayed where I was, afraid to move toward him, afraid I might lose my footing on solid ground, detach from what had anchored me before and drift out into the void of space—a vagabond, wandering moon,” (page 305).


Thoughts

My boyfriend bought me this book for my anniversary and I don’t think he could have done a better job. Usually he’ll buy a book I’ve talked about, but this time he decided to find something new and I was pretty impressed by his choice. I’ve read quite a few Shakespeare plays, although I’m no expert by any means, so he figured I’d enjoy the way Rio integrates lines from various plays into the text. He was very right.

From the very beginning, I was hooked. From the way the characters use Shakespeare’s words in their everyday conversations to the fast-paced plot, I couldn’t stop reading. The characters are witty and fun to follow, but also extremely intelligent and cunning. In addition, their use of conversational Shakespeare not only helped characterize them, but it was incredibly fun to read. And again, the book overall is M.L. Rio’s tribute to Shakespeare, so expect to see lots of lines, quotes, and small easter eggs throughout the story. However, if you’re not a Shakespeare buff, don’t worry. I think as long as you’re willing to step into the minds the young actors you can catch on fairly quickly.

I appreciated the extent Rio characterizes her leading characters. There were a few I thought remained somewhat underdeveloped, but the majority of the characters are distinctly illustrated from their physicality to their innermost thoughts. The book is narrated by Oliver which only gives us a narrow perspective, but there are many ways in which we are able to get a deeper look at the other characters’ fears and motivations. Oliver himself is at times mysterious in his intentions, but overall he’s an insightful narrator as he’s the most removed from the group of friends.

This last semester I took my first fiction writing course as I’m an English major (and in the Dual-Degree Teaching Program at my university) with an emphasis on Creative Writing. The reason I mention my class is because I noticed myself reading this book through the lens of someone who wants to be a writer. My professor consistently advised us that when we read books we should search for what appeals to us and what doesn’t because it can be extremely useful when we begin writing. While I was reading If We Were Villains I couldn’t help but notice all of the beautiful metaphors. I included a couple of ones I loved in the memorable quotes section, but there were so many gorgeous lines scattered throughout the book. M.L. Rio’s writing is not only very meticulous and engaging to read, but her way of describing landscapes and characters is very three-dimensional. I could see the lake at the school and the characters seemed to jump off the page.

To sum it up, this book was a joy to read. When I thought I knew where the plot was going it twisted and kept me reading. I became invested in the characters, and I grew to love theatre even more with each page. The book hits so many marks because it’s hard to write a great plot with quality writing, but Rio checked off every box.


Extra Resources

If you’re interested in learning more about the author, I’ve included a link to her website and Goodreads page below.

https://mlrio.com/

http://www.goodreads.com/author/show/14954351.M_L_Rio

The Circle

the-circle-101013-780

The Circle by Dave Eggers

(Title image credit goes to The Daily Beast.)


Summary

Mae, as many twenty-somethings do, finds herself stuck in the mechanical ebb and flow of everyday life. With each passing day, she becomes increasingly troubled by her mundane office job and the overall lot she’s been given in life. One day, an old college friend named Annie contacts Mae and advises her to apply for a job at an up-and-coming tech company known as “The Circle”.  Mae is immediately taken with the idea of fully realizing her potential and quickly applies.

The Circle is a utopia in every way Mae could have ever hoped for. With dozens of passionate employees (known as “Circlers”) and a combined drive for world peace, Mae discovers a sense of solace in this new hub of progression. The Circle represents the best technology and an even more promising and innovative future with each new program it implements. However, the longer Mae works, the more unsettling the company’s ethos becomes. With eerie mantras promoting complete transparency over personal privacy, the Circle slowly transforms from a company of promises to one filled with secrets.


Memorable Quotes

“She couldn’t stand it. Every day of that job, the eighteen months she worked there, she wondered if she could really ask Annie for a favor. She’d never been one to ask for something like that, to be rescued, to be lifted,” (page 11).

“‘I like your voice,’ he said. ‘Was it always that way?’

‘Low and scratchy?’

‘I would call it seasoned. I would call it soulful. You know Tatum O’Neal?'” (page 35).

“‘You like bowl cuts.’

‘No. Your voice. So far it’s the best thing about you.’

Mae said nothing. She felt like she’d been slapped.

‘Shit,’ he said. ‘Did that sound weird? I was trying to give you a compliment,'” (page 35).

“‘Folks, we’re at the dawn of the Second Enlightenment. And I’m not talking about a new building on campus. I’m talking about an era where we don’t allow the majority of human thought and action and achievement and learning to escape as if from a leaky bucket. We did that once before. It was called the Middle Ages, the Dark Ages. If not for the monks, everything the world had ever learned would be lost. Well, we live in a similar time, when we’re losing the vast majority of what we do and see and learn. But it doesn’t have to be that way. Not with these cameras, and not with the mission of the Circle,'” (page 68).

“‘Mae, we would finally be compelled to be our best selves. And I think that people would be relieved. There would be this global sigh of relief. Finally, finally, finally we can be good. In a world where bad choices are no longer an option, we have no choice but to be good. Can you imagine?'” (page 292)


Thoughts

Truthfully I hadn’t heard of this book until I happened to see one of the first movie trailers for its film adaptation. I figured that I hadn’t read any dystopian-leaning fiction in awhile and the plot looked fascinating, so I was immediately drawn to the book and purchased it as soon as I could. This being said, before I even picked up the book I had a sense of the material I would be working with. I figured the layout would look a little something like this: Tech company looks great at first glance, a hopelessly naïve girl applies for her dream job, aforementioned girl is lured into the jungles of the company’s promises, and then everything suddenly turns sour in a matter of chapters until the girl realizes her first mistake working for the company. The magic of this genre, primarily paved by noteworthy novels such as 1984 and Brave New World, is that the plot’s ever-present anxiety and tension is built into the very foundation of the book just as much as it is in its text. This tension is a definite strength in The Circle. Dave Eggers does a wonderful job of suspending the reader in an atmosphere feels both hostile and warmly inviting. In my mind, this juxtaposition creates a thrilling electric tension.

In addition, one of the greatest characteristics about this book is how mysterious it is about revealing the company’s true intentions. As I was reading, I felt like I was running through page after page hoping to arrive at an obvious climax, but each time I became more ensnarled in the Circle’s web. The beauty and the insanity of this book is that you’re constantly presented with unfulfilled questions despite the spiking tension. In time, this either becomes enticing or frustrating depending on the reader.

Without spoiling anything I’ll give you a quick example. Mae’s job includes many components which seem ridiculous, but no one (not even Mae herself) ever confirms how ridiculous they are or questions why she’s being put up to all of this work. She starts off with two computer screens which seems somewhat normal, but then her manager begins adding one monitor after another. After that she’s answering surveys, conducting more tests, coaching newbies, and still completing her regular workload. The company also continually harasses Mae into staying late for events and clubs and interrogates her if she doesn’t comply. But again, this is left for the reader to gauge as the Circle is only as horrifying as the reader makes it.

In totality, I think the book’s biggest weakness lies in the fact that it somewhat trivializes the social commentary it hopes to invoke with over-simplified and reused technological cliches and criticisms. The message of The Circle is one the general public has already heard time and time again, so it’s really nothing new. (I like to think of it as more of a call to action rather than a direct claim about the way technology is integrated into society for better or for worse.) Furthermore, sometimes it felt like Eggers was trying too hard to write the next 1984 so that turned me off a bit. However, on the flip side I think there is something to be said for the pacing of the plot and the overall character development (**or lack thereof). The Circle is similar to many other dystopian movies and books in content and structure, but different as its conclusion leaves multiple questions hanging and challenges the genre in an interesting way. I wouldn’t go as far as to say this book is revolutionary, but it is an interesting read nonetheless.

Lastly, I haven’t seen the movie but if my sources are correct, there are many differences between movie and book so I think it’s definitely worth reading.

South of the Border, West of the Sun

South of the Border, West of the Sun by Haruki Murakami

haruki-murakami-south-border-west-1


Summary

Hajime, currently a thirty-seven-year-old man, has an ideal life. Blessed with a beautiful wife, two young daughters, and no financial concerns, he is happier than most.

However, something is missing; something in Hajime is empty. The only caveat is… He doesn’t know what, why, or how to fill the void inside of him. Through Murakami’s achingly beautiful and alarmingly haunting writing, Hajime takes us back through the most meaningful relationships in his life in the hopes of discovering what he has lost in the process.


Memorable Quotes

“In the world I lived in, it was an accepted idea that only children were spoiled by their parents, weak, and self-centered. This was a given-like the fact that the barometer goes down the higher up you go and the fact that cows give milk. That’s why I hated it whenever someone asked me how many brothers and sisters I had. Just let them hear I didn’t have any and instinctively they thought: An only child, eh? Spoiled, weak, and self-centered, I betcha. That kind of knee-jerk reaction depressed me, and hurt. But what really depressed and hurt me was something else; the fact that everything they thought about me was true. I really was spoiled, weak, and self-centered,” (page 5).

“Second, no one around me-with the exception of Shimamoto, of course- ever listened to Liszt’s piano concertos. The very idea excited me. I’d found a world that no one around me knew-a secret garden only I was allowed to enter. I felt elevated, lifted to another plane of existence,” (page 11).

“‘There are some things in this world that can be done over, and some that can’t. And time passing is one thing that can’t be redone. Come this far, and you can’t go back. Don’t you think so?'” (Shimamoto; page 14).

“‘Now you’re able to think of a few things other than what’s under a girl’s skirt, right?’

‘A few,’ I said. ‘But if that’s got you worried, maybe next time you’d better wear pants!'” (page 146).

“‘You’re here,’ I continued. ‘At least you look as if you’re here. But maybe you aren’t. Maybe it’s just your shadow. The real you may be someplace else. Or maybe you already disappeared, a long, long time ago. I reach out my hand to see, but you’ve hidden yourself behind a cloud of probablys. Do you think we can go on like this forever?'” (page 170).

“‘ I told you I love you. What’s wrong with thinking about the body of the man you love? Haven’t you thought about my body?'” (page 182).

Probably is a word you may find south of the border. But never, west of the sun,” (page 196).


Thoughts

Funny enough, after telling my dad about the magical world of, After Dark, he purchased Haruki Murakami’s, South of the Border, West of the Sun, for me as a Christmas gift. And wow, I am so glad he chose this book in particular! If I had been choosing for myself, I may have chosen, Kafka on the Shore, or even, A Wild Sheep Chase.  However, after the first few pages (I say this a lot, don’t I?) I was hooked. Reading this book feels like looking through stained glass. The writing is irresistibly  impeccable, re calling the most minute details from the sounds in a crowded bar to a small fold in a woman’s skirt.

The plot of the book is fairly simple. With no science fiction or magical realism at hand, South of the Border, West of the Sun, presents itself as mundane. In fact, most of the book is about facing the mundane and mechanical realities of everyday life. Hajime is an only-child, (something that seems to plague him deeply) and spends most of the book ruminating about his life and closest relationships.

Hajime begins (which is ironic because Hajime also means, “beginning,” in Japanese) the story by describing his relationship with his childhood neighbor and close friend, Shimamoto. Shimamoto is introspective, shy, and also an only-child. Although she never mentions it herself, she is quite self-conscious due to a permanent limp she has in her left leg from polio. At the tender age of twelve, the two form what seems to be the very beginnings of a lifelong love story. However, everything goes awry when Hajime’s family moves.After being separated from his closest friend, Hajime is forced to begin his life anew. But despite the distance, for years after, Hajime constantly recalls on Shimamoto with fondness.

During his high school years, Hajime falls in love with the lovely Izumi. Timid yet curious, Izumi etches a fixed place in Hajime’s mind. Although he spends most of his time lusting after her, Hajime proves time and time again that he deeply cares about Izumi. However, like most things in Hajime’s life, everything about the relationship appears perfect, except there is a piece missing from each encounter they have.

This pattern continues on until Hajime is in his thirties and he happens to meet his wife, Yukiko. Then comes the house, the dream job, his two daughters, the happy life. But the images of what could have been… and what still could be, disrupt everything.

This novel features topic matter which should be mildly depressing to a sensitive reader such as myself. I tend to shy away from sad books due to the fact that when I read, I simply don’t want to be depressed. Sure, I love to think, but I don’t believe all intellectual musings need to be depressing. (This is why I disliked most of the readings I was assigned in high school. Can we please have some comedies once in awhile?) However, something about Murakami’s writing in, South of the Border, West of the Sun, comes off as distant. When Hajime describes events in his life, he seems to hold his feelings at arm’s length. I am not sure if this was intentional, but somehow, any emotion in the book is dulled down to the point where you may feel something, but it may not be as painful as you imagined it would be. And this is neither to criticize the book, nor Murakami’s writing; in fact, it is quite the opposite.

While reading, I felt as if I was in a trance. Time was passing by, yet reading about Hajime’s life is the equivalent of looking at colorful blur of light from a fast-moving car. This makes sense because a major theme in the book is the flow of time. The idea that you can only move forward, is prevalent throughout the entire book and expressed by each character. This theme definitely reminded of, The Great Gatsby, (one high school read I did enjoy) due to certain characters’ obsessions with nostalgia and reliving forgotten moments.

Overall, I truly enjoyed reading this book. I adore Murakami’s writing because it can make any situation feel extraordinary and magical. To me, Murakami’s writing is the equivalent of the Midas Touch; anything he writes turns to gold. The characters, the imagery, the themes, etc. However, another special feature of his writing is that is makes me think more deeply about the world around me. Not in a depressing way, but in a hopeful way. His style is calmly and patiently observant. Murakami writes as if he has seen the world, lived it, observed it, and discovered its secrets. The only thing left to do is for him to leave the clues for everyone else to discover its meanings on his or her own.

 

The Girl on the Train

The Girl on the Train by Paula Hawkins

the_girl_on_the_train_us_cover_2015


Summary

Rachel’s life is the epitome of mundane. Each day her biggest excursion  is commuting to and from work on the London train. But unlike the other passengers , what thrills Rachel the most about her commute is gazing at the stretch of cozy Victorian homes  mingling along the tracks. Her favorite house, number 23,  is home to a beautiful couple who Rachel nicknames, Jess and Jason. During the few minutes the train stops for construction on the tracks, Rachel watches the couple as they relax out on their terrace and live out the promises of domestic bliss.

Jess and Jason represent everything Rachel has lost; her husband, her home, and most importantly, her sanity. However, watching Jess and Jason also gives Rachel solace that happiness still exists in outside of her own shattered world. That is, until she sees something strange happening on Jess and Jason’s terrace the following day.

Without a warning, Rachel finds herself mixed into a world where her own fantasies blend into hard, cold reality. She becomes a witness, but an unreliable one at that. Struggling against a streak of heavy drinking and violence on her record, Rachel desperately attempts to warn the police of everything she believes she has seen from her small window on the train.

Constantly shifting narration between three of the novel’s main female characters, the reader is provided a glimpse into the web of lies we tell ourselves and the tainted realities we live. Each woman uses her own unique, yet eerily similar experience to illustrate the boundaries the human mind. More than anything, The Girl on the Train, begs one main question:

How far we are willing to go in order to grasp at our own corrupt fantasies?


Memorable Quotes

“There’s something comforting about the sight of strangers safe at home.” (Rachel POV)

“And I’ve just got to let myself feel the pain, because if I don’t, if I keep numbing it, it’ll never really go away.” (Rachel POV)

“I am not the girl I used to be. I am no longer desirable, I’m off-putting in some way. It’s not just that I’ve put on weight, or that my face is puffy from the drinking and the lack of sleep; it’s as if people can see the damage written all over me, can see it in my face, the way I hold myself, the way I move.” (Rachel POV)

“Beautiful sunshine, cloudless skies, no one to play with, nothing to do. Living like this, the way I’m living at the moment, is harder in the summer when there is so much daylight, so little cover of darkness, when everyone is out and about, being flagrantly, aggressively happy. It’s exhausting, and it makes you feel bad if you’re not joining in.” (Rachel POV)

“It’s ridiculous, when I think about it. How did I find myself here? I wonder where it started, my decline; I wonder at what point I could have halted it. Where did I take the wrong turn?”  (Rachel POV)

“Who’s to say that once I run, I’ll find that isn’t enough? Who’s to say I won’t end up feeling exactly the way I do right now-not safe, but stifled? Maybe I’ll want to run again, and again, and eventually I’ll end up back on those old tracks, because there’s nowhere left to go. Maybe. Maybe not. You have to take the risk, don’t you?” (Megan POV)


Thoughts

First of all, I appreciate how engaging this book was right from the very first page. Even though I love reading, (I am an English major after all) sometimes I have a difficult time picking up a book and sticking with it. But with The Girl on the Train, I never encountered this problem. In fact, I began reading it while lounging around SFO at 3 in the morning! Despite being sleep-deprived and anxious for my trip, I was drawn into the crazy world of seemingly innocent train rides and man-made mayhem.

What I loved most about reading this thriller was experiencing the perspectives of the three very different narrators. Each woman is complicated in her own way; facing different, yet eerily similar, demons. Themes throughout the book range from abuse to motherhood, sexual power/politics to mental illness, and everything in-between. It is not a cheery novel for the slight of heart. In fact, it is a novel where the reader must be willing to get his or her hands dirty and, dare I say it, “take a ride on the wild side.”

Rachel is the main character and particularly unique one at that. She acts as both a passive and active force within the progression of the storyline as she transforms from watcher, into actor. When the reader is first introduced to Rachel, she seems somewhat normal. However, as  the reader becomes more and more acquainted with her stream of consciousness, it becomes very clear that Rachel has a conundrum of deep-rooted, complicated issues.

Rachel’s most notable characteristics are her alcoholism and  her fascination with watching people. So basically, Rachel is a voyeur and an alcoholic. Now, the only issue with describing Rachel as a “voyeur,” is that at first many of her watchful habits seem more innocent than the word suggests. In the beginning of the book, Rachel talks about simply watching the couple from the train because she wants their life. In that train of thought, what she is exhibiting is not voyeurism, but sonderism. However, as the story goes on, it is clear Rachel consistently straddles the line between being a voyeur and experiencing true sonder for the first time.

It begs the questions, what happens when we discover the tangled lives of others? Do we belong in their webs, or does each of us too stuck on our own paths to join another? Or we capable of fighting for the greater good, or are we too selfish to care? From cheating to murder and mayhem, The Girl on the Train, tugs at the very strings of humanity.

 

The Glass Menagerie

92517

The Glass Menagerie by Tennessee Williams


Summary

“The Glass Menagerie” takes place in St. Louis in the year of 1937. The play follows the  Wingfield family and explores themes such as memory, the past, The American Dream, guilt, and denial. The narrator, Tom Wingfield, lives with his mother, Amanda, and his sister, Laura. The play opens with Tom explaining the crucial role his memory has in the way the events of the play are presented. He clarifies that what is shown may not be acute reenactments of the past, but rather hazy scenes dulled and warped by time and personal attachments. Throughout the play Tom frequently breaks the fourth wall in order to justify his actions or explain the situations at hand.

Amanda is a concerned and over-bearing mother who is worried about her children. Despite the fact that both Tom and Laura are adults, Amanda feels compelled to micromanage her children’s lives. Tom is employed at a factory and works to support his mother and unmarried sister. Due to the dull work, Tom lacks excitement in his life and instead lives out his fantasies through adventure movies at the cinema. He dreams of mirroring his father’s actions and leaving his family, however, an ever-present guilt ties him to the lonely St. Louis apartment. Tom knows that if he leaves his mother and sister he will permanently scar them and they will be forced to grapple with life on their own. But Tom simultaneously realizes that if he doesn’t leave he will be chained to a life of obligation, misery, and boredom.

Meanwhile, Laura is a severely introverted and self-deprecating young women. Even with the loud presence of her well-meaning, but exceedingly controlling mother, Laura manages to continually evade life. She is painfully self-conscious because she suffers from Pleurosis, however, later events in the play suggest that perhaps her limp is not as noticeable as she believes and thus, she is self-conscious for no reason at all. This toxic tendency causes Laura to drop out of school only to hide and waste away at home. Laura’s escapism and naive denial is presented in the form of her glass collection, which Amanda refers to as the “glass menagerie.”

While her children struggle with issues of their own, Amanda lives in a world of the past. She spends the majority of her time dancing in youthful memories and recalling the times when her life seemed most promising. She dreams of finding a suitor for Laura and living a successful and happy life. She believes that if she pushes her children hard enough, success is bound to show itself. Unfortunately, her strong ties to past fantasies and unrealistic visions for the future often cloud any chances of success. In many ways, Amanda’s denial is just as strong, or stronger, than Laura’s.

The play deals with individual demons and the ways in which people turn to each other for solace when life becomes unmanageable. The biggest conflict in the play occurs when Amanda forces Tom to find a gentleman caller for Laura. What suddenly appears as a shot at well-deserved happiness suddenly becomes a spinning nightmare that crashes into, and obliterates the Wingfield family.


Memorable Quotes

(NOTE**: The edition I used to read this play does not include line numbers, so I will be using page numbers to cite quotes. This edition was published by New Directions Publishing Company and includes an introduction by Robert Bray.)

Tom: “But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion,” (page 4).

Tom: “The play is memory. Being a memory play, it is dimly lighted, it is sentimental, it is not realistic,” (page 5).

Tom: “But since I have a poet’s weakness for symbols, I am using this character [Jim] also as a symbol; he is the long-delayed but always expected something that we live for,” (page 5).

Amanda: “So what are we going to do the rest of our lives? Stay home and watch the parades go by? Amuse ourselves with the glass menagerie, darling? Eternally play those worn-out phonograph records your father left as a painful reminder of him? We won’t have a business career- we’ve given that up because it gave us nervous indigestion!” (page 16).

Tom: “After the fiasco at Rubicam’s Business College, the idea of getting a gentleman caller for Laura began to play a more and more important part in Mother’s calculations. It became an obsession. Like some archetype of the universal unconscious, the image of the gentleman caller haunted our small apartment…” (page 19).

Tom: “Every time you come in yelling that Goddamn ‘Rise and Shine!’  ‘Rise and Shine!’  I say to myself, ‘How lucky dead people are!’ But I get up. I go!'” (page 21).

Tom: “But here there was only hot swing music and liquor, dance halls, bars, and movies, and sex that hung in the gloom like a chandelier and flooded the world with brief, deceptive rainbows… All the world was waiting for bombardments!” (page 39).

Laura: “I was out of school a little while with pleurosis. When I came back you asked me what was the matter. I said I had pleurosis- you thought I said Blue Roses. That’s what you always called me after that!” (page 75).

Jim: “People are not so dreadful when you know them. That’s what you have to remember! And everybody has problems, not just you, but practically everybody has got some problems. You think of yourself as having the only problems, as being the only one who is disappointed. But just look around you and you will see lots of people as disappointed as you are,” (page 76).

Amanda: “That’s right, now that you’ve had us make such fools of ourselves. The effort, the preparations, all the expense! The new floor lamp, the rug, the clothes for Laura! All for what? To entertain some other girl’s fiancé! Go to the movies, go! Don’t think about us, a mother deserted, an unmarried sister who’s crippled and has no job! Don’t let anything interfere with your selfish pleasure! Just go, go, go-to the movies!” (page 96).


Thoughts

“The Glass Menagerie” is vastly different from Tennessee Williams’ other well-known piece, “A Streetcar Named Desire” for a couple of reasons. First of all, it’s quite a bit shorter than Streetcar. Secondly, Menagerie has a lot more concrete symbolism. From Laura’s glass menagerie to the setup of the stage to emulate the presence of memories, “The Glass Menagerie” blatantly reveals the main symbols to the audience. In “A Streetcar Named Desire,” the streetcar makes its appearance a couple of times, but the play itself holds a lot more cards in its hands when compared to Menagerie. In Streetcar, Blanche’s age is a recurring theme, but it is not exactly something that is tangible. Lastly, Tom’s consistent narration provides clear insight into the meaning of “The Glass Menagerie,” whereas the themes in “A Streetcar Named Desire”are not as apparent and the key to understanding the play is much more dialogue based. 

I would love to see this play live because the way the stage is arranged plays a huge part in visually demonstrating the powers of memory and the past. I think that watching Tom step out of the scenes to narrate is something that would add to my understanding of the play. Reading “The Glass Menagerie” was an extremely powerful experience by itself, so I can only imagine how powerful it would be to see it live.

My favorite character in the play is Amanda because she is the hardest character to relate to. Perhaps it is because I have never been a mother, but I think it is something more than that. In my edition of the play, Robert Bray writes that the audience will either ” demonize Amanda or regard her as a misguided saint.” However, what Bray fails to note is that instead of simply feeling strongly one way, the audience’s opinion of Amanda may switch back and forth throughout the play.

While reading the play, my feelings for Amanda constantly shifted. At times I was irritated with her because of her overbearing nature. I tired quickly of her fiery attitude and her immediate distaste in her children’s choices. Yet in some scenes I sympathized with Amanda and pictured myself struggling along with her. How disappointing would it be to obsessively dream about a life oversaturated with love only to live the reality of one without? The day Amanda’s husband abandoned her was the day her life stalled and refused to move forward. Amanda sees herself in her children and yearns for Laura to find a companion so to avoid further abandonment. How frustrated would I be if my children refused to take life by the horns and truly live? I figure very. Despite her sweet nature, Laura is terribly frustrating and consistently her own worst enemy. This causes Amanda to spend all of her time spinning fairytale fantasies for Laura’s future, urging her that if she just takes a moment to step outside of herself, the world will shine for them both. Sadly, by the time the play ends and Laura actually does try to live, life has other plans.

Amanda claims to live in the present, but ever since the day of her family’s abandonment, she has been stuck in the past. Ironically, while Amanda is one of the most realistic characters in the play, she is also the most unrealistic. She tells her children to wake up and stop living in memories while she does exactly that. In the tiny apartment the family shares, all that is left are precious memories and pieces of broken glass. The future Amanda sees is one similar to Gatsby’s; a whirlwind of déjà vu moments that are devoid of originality and eerily reflect facets of past events. 

Laura is probably the most pitiful character only because Jim’s observations about her are so spot-on. Her inferiority complex completely stagnates her life. She is at the young age of twenty-four, yet she lives as if she is eighty-four. Like a child, she plays with glass animals and skips school because she is too afraid of judgement. The saddest part is that this is a reality many people face. People miss out on life because they are afraid of judgement and the possibility of failure. We tell ourselves that we are not, but like Laura, something as silly as indigestion can become a hinderance when it comes to living life to the fullest.

Tom is the most relatable character because like many people, he spends his life stuck in a job that he despises. He goes as far as to tell his mother that he envies dead people for God’s sake! If that’s not pitiful, I don’t know what is. But alas, Tom is a man who is unsatisfied. He dreams of scaling the highest mountains and breathing in the salty ocean air. The reality of his life is that he is chained to his dependent mother and sister. And although he works hard each and every day, nothing he does is truly enough for his mother. Despite his efforts, she still manages to guilt him into staying and home and thereby slugging through his soul-sucking life.

Each character in “The Glass Menagerie” paints a picture of the modern-day human condition as a result of societal pressures and industrialization. The family gets by, yet each member of it is trapped in a unique kind of hell. And worst of all, this quiet, never-ending torture is the most realistic kind of pain that people experience.

Another intriguing (and depressing) feature about this play is that apparently it somewhat mirrored Williams’ own life. According to Robert Bray, Williams had a mother and sister he felt entirely responsible for. This responsibility created a saddening weight for Williams along with a bitter taste of dry obligation. In the end, Williams ended up leaving his family in order to pursue his dreams of becoming a writer.

Overall, this play is extremely thought-provoking. It is a short read, but surprisingly it is a dense piece filled with tangible, yet heavy themes. The honest pain that is illustrated in the play shows that getting by does not mean actually living to the fullest. If anything, this play has inspired me to do one thing; and that is to live.