Haruki Murakami is a fool of vanishes

The Elephant Vanishes is Haruki Murakami, the first American publisher of history. It consists of 15 short stories that showcase their works at best, from magical countries with dance animals, giant elephants and a man looking for his cat. Every thing is certainly Murakami though, and each of these stories is your worthy time to read and some of them to read the novel they follow. Here are some comments I jotted down when I read the museum and thoughts about his work as a whole.

– Murakami uses a singular human sense or sense of each story, expends and distorts him, contracts and expands his sense of pleasure. The use of loneliness, hunger and fatigue comes to mind.

– His ideas about reality are very interesting. He is constantly making the characters reproduce separately, as they wish. The existence of dual reality is consistent, as it is true to the reality that character must come with.

– He uses the magazine and memory as a common device. The narrator's memory and how it is used is constantly purchased and analyzed. His use of the paper repeats as a way of organizing and building in the powerful and unscathed life of his historians, the lender much more organized in his life

The Winding Bird and Women's Tuesday

The first story was very strange. Mostly because it's not really a story, but the first chapter of his most famous book, The Wind-Up Bird Chronicle. After finding the cat, he travels into the closed alley to look and end in the back yard of young girls sunbathing as he falls asleep in the chair. A series of relevant calls to a stranger and a strange girl in the pool put up one of his biggest stories in that novel, but here's a little bit out of place because all you get is the first chapter. In typical Murakami fashion, though, any chapter from some of his books could be read alone and sensible, as a very small auction occurs in the physical reality of his character. Instead, something more you will find more than observing here. She puts the other tone for the rest of the book and puts up the reader for the wishes that come.

The Second Bakery Attack

The second story was strange in its implementation. The hunger cure is interesting to me that it seems to be the result of more psychological problems. His wife is really a violent person here and it does not seem to be much sense. What purpose is her violence? Why is she also stuck with the curse and why has he not found this hunger elsewhere from the bakery? I think it may be that he needs a partner to find this hunger. His best friend was about the last thing that happened, and then he left. Without conspiracy it does not matter how he feels. The hunger, however, appears only 2 weeks after their marriage, and it takes the case quite efficiently. Her assessment of content is interesting though. It rouses speculation in the narrator. Something that Murakami does in the first story as well. Someone is suspected of this man against his wife.

The Kangaroo Communique

The third story was very cool for me. The way he starts it, quite out of material, explains his 36 steps – which we should never hear – and then continues, the various touches in his conversation are brilliant. The man works terribly boring and depressing, and when he finds a gem in his heels, he grabs it without leaving him. He wants to talk to this girl. He wants to meet her. He continues to wish that he is living in double state. He wants to exist in two places at a time. Desire to overcome the monotony of their lives and still not leave it at the same time. He is afraid of change and this is his way of dealing with it, by not changing. Because he signs this letter to the girl and tells her things that are probably not appropriate. But they are others automated. Refund, the store itself is set aside and this other self, the self who wants to sleep with her and write her this letter is exported without fear of consequence.

To see 100% Perfect Girl One Beautiful April morning

This is another brilliant story I could not get over. It was short and to the point of not offering plot or development. Just a very cool series of thought and seed of doubt left in the reader about what really happened. Murakami narrator sees a girl on the street he knows is perfect for him. Do not know how or why she's just. Love at first sight. He does not do anything though. Conjecture develops a very tragic or completely romantic story that is underneath the surface. If he had told her her story and they got together then the reader left to think how terrible romantic it is. But since he does not talk to her, I wondered if this story might be true. How terribly sad it was. This is a story of opportunity. To take a chance in life and make the most of them. Do not let fate kick your butt. Twice, the narrator understands 100% of her perfect girl. Once in his story and once in real life. She will never come back to him


This is a very interesting story. She covers a lot of different little things about her life. She seemed to be lost in the world of her own creation. Look at her man's arrogance, she has lost everything in her life that made her. When she stops sleeping, she condemns the reality to recover that part. She is going against her fate that has been built and is creating new reality for herself. In doing so, she has to deal with death and ends up meeting her. Her ideas about reality are completely skewed. In this she creates a new one. One where she maintains her own character. Not the one her husband brave her. She has a middle life crisis and her way of dealing with it is as such.

Roman Empire, Indian Revolt 1881, Polar Invasion Poles and State Raging Winds

This piece uses key elements to mark the story of the storyteller. It follows simple events for him and marks a small normal event as big events with historical imagery. It's like saying that his whole life can be labeled and remembered with key words and words without all the details. Certainly, the line in our lives makes life easier to remember.


The lederhosen acts as an impetus for her to go back and see the world and her life for what it was. At that time she had built an illusory world in which she lived. She could not step out of it and see how much she would not. She was ensconced in it to do it. When she finds the man who looks like her husband but is not, she is able to see what she has from outside POV. This interferes with her and because of that she is able to work with her feelings and forget about her husband.

Barn Burning

This is a rather terrible little story. The man from Africa is either a murderer or a truly awful person who afraid of her. I lean in the way he described how the barn was calling to burn. A spokeswoman for the girl is important here because the piles that humanity describes on the barn needs to be burned. His entire idea is that the barn is old and useless and it will not hurt anyone, but this last barn is the one who is influenced by the narrator. Thus, it was not harmless. He is not aware of correlation though and continues to look out of the barn and the girl. This leads to the dual existence of the case again as he tries to find out literally the unpublished object, and in his mind he sees the graphic part, the missing girl who has been removed from his life. Very Poe as quite disturbing.

Little Green Monster

She challenges love. In that regard, each of her movements, every bad thought and evil creates a creature. Seems like a metaphor for rejection. She rejects creatures unacceptable love and by destroying him. She only sees him for what he is, a terribly ugly creature, ignoring his love and quietly. She, instead of figuring out what he wants to say or how to get him to return to his home, destroys him ruthlessly. His passion draws him into his homes, unwanted and because her wickedness is unleashed, almost with a reaction. The author seems to be making a statement about women here and how unconscious they can be for the love of man. Also a statement about the blindness of love and how the male will respond without thinking and heavier not being involved.

Family Status

This story fixed me to be somewhat laced with subplots and hidden meanings. All this was done in a very humble way, true to Murakamis style and it fits very well, especially at the end, with a genuine, real way of stories. First, the narrator and his sister are just what he says, "affiliates." Partners in living meaningless lifestyle. She has grown out of it though. In 5 years, they have grown and developed a sense of responsibility and place in the world. However, he is still trapped in his own little world, distinguishing his reality. This is often demonstrated by how he says things that do not affect him do not touch him, such as who does the baseball game. It does not matter. "I'm not playing, they are." The difference between the narrator and Noburo Watanabe is extensive. Important to point out at first is the fact that Watanabe has a name at all. Very few, if any characters even get names in Murakami stories. This name is important because it really represents a place. His place in reality is labeled with his name and is consistent with that name. His sister becomes part of the reality when she takes the name of these men. Thus, as a representative of reality, Watanabe begins to destroy the storyteller's fantasy story. At the end of the story, after talking to this man and hearing what his sad life really is, he first sees his pointless life. His night out with the girl at the bar is miserable and it's the first sign of destroying his fantasy and drawing him into Watanabe reality.


There's not much here I could see that the author does not say straight out. So I'll just quote the last paragraph.

"Should I fall asleep with her?

That's the main question about this piece.

The answer is beyond me. Even now I do not know. There are plenty of
] what we never understand no matter how many years we take, no matter how much we accumulate. All I can do is look up the train at the windows of buildings that could be her. They could have her window, it seems to me sometimes and at other times, I think none of them could be her. There are simply too many of them. "

Life has many possibilities. The simple window of the window is that it may be anywhere, or sometimes even nowhere.

Source by Anthony Chatfield

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