This is quite central to the story I'm sure, so I felt it needed its own chapter. I previously described Kafka Tamura as acting like clockwork for survival, but deviating to find the beauty in what he loves. In Kafka's own words, it's a "purely mechaical explanation of that complex machine in the story, as sort of a substitute for explaining the situation we're in." Kafka relates himself particularly to that machine in his description of his genes as being an inescapable truth. In this metaphor, his genes are the clockwork that determine his actions.
This description relates to the reader how powerless Kafka must feel against his fate. I've read enough so far to understand the prophesy that his father has told him. Machines are designed to be unfaltering, uniform, powerless without a driving force. In understanding these principles, we understand why being physically free from his family, he feels he can never outrun his fate.
I would be very keen on reading Franz Kafka's 'In the Penal Colony' to gain more insight into Kafka's character. I find this would be most surprising as he ran away from home to outrun his fate somehow; it seems strange that he would choose a name that reminds him then that he cannot outrun his fate. Franz Kafka's style is also quite similar to Haruki Murakami in its use of magical realism. As in metamorphosis, they don't focus on how a strange event such as turning into a cockroach or mackerel raining ffrom the skies comes to pass. They focus instead on the reactions of the people around the events. The tone is somewhat different, in that Kafka's style is far darker with a sombre tone. It's beautiful, however again, I wonder why Kafka Tamura would feel such strong connection to the writer that he would take on his name.
Tuesday, 8 April 2014
Saturday, 5 April 2014
Commentary on Pages 54-101
"I find this book absolutely fascinating, particulaly the character development and description of surroundings.
Kafka's character is incredibly intricate, since he seems to run like clockwork in his descriptions of his activities. The reader geths the impression that he functions somewhat automatically at times, without much volition. He states the time specifically, then gives a brief description of the event or action such as when he talks about finding food. Kafka's constant reference to needing to survive almost seems to be what is restraining him from finding the freedom. His stream of thought when discussing matters of beauty, such as he find with books as he describes books, have a completely different tone. For example: 'Slowly, like a film fade-out, the real world evaporates. I'm alone, inside the world of a story. My favourite feeling in the world.' It seems like Kafka in conflicted between being limited to day-to-day function and finding freedom in his mind, free from obligation.
It surprised me how little I've heard from Crow in these last chapters. Perhaps closer Kafka comes to finding freedom, the less he has Crow picking away at his insecurities? However, I believe Crow is also to blame for Kafka finding the blood on his shirt. It's a theory, although I feel like Crow somehow took over Kafka's consciousness - Maybe a link to the other meaning of 'karase' - to kill.
I only just realised that there seems to be a range of omniscience of the speaker: Kafka has so much more details in thought process because he is limited to being a first person speaker, whereas Nakata speaks from first person omnicient as while the his plot line revolves around him, it is not told by himself. This seems to be a very deliberate choice, as it reflects the worldview of each character based on their perceptions of reality.
Oshima is a particularly interesting character, and I feel like his purpose in the story is to show someone who is somehow perfect in composure - perhaps the same as Seiko. The pencil is repeated enough to make me wonder if it has some sort of symbollic significance to the character, although I can't think what it could be. Oshima represents what Kafka wants to be: free by great knowledge, surrounded by the books he loves, and free from insecurities and the pressures of society. I feel like something has to shatter this image. In a book where a central theme is that of freedom, there can be no perfect character. I'm sure he's gay, that would at least limit his freedom by social expectations.
I wonder whether the novel in translation does much justice for Nakata's character. In Japanese, it's not too uncommon to refer to a person you are speaking to by their name directly, as he does. While it seems unnatural in the English language, it may be less unnatural if read in it's original Japanese. I may be wrong about this, but I believe refering to oneself in the first person from time to in conversation is also not entirely gramatically incorrect. As I said, I'm unsure of that particular rule, however it makes me wonder how Nakata's mental disabilities would differ in seriousness between Japanese and English. Nakata hasn't progressed all too much recently, although I found it confusing how he interacted with the mentally challenged cat, Kawamura. I would have thought he would have some more empathy when Mimi slaps Kawamura to make him make sense, however he seemed to agree with it. It seems Nakata doesn't make the connection between his own mental state and Kawamura's, despite him already acknowledging that 'Nakata's not very bright'. I should also mention what I forgot in the past chapter just before page 54 - Nakata has a 'weak shadow' according to Otsuka the cat. This almost ties in to Oshima stating that people are desitned to search for their other half. Perhaps Nakata's half he must find isn't in another person, but the part he lost when he fell asleep. While the other plot lines within the story seem as if they could be going in any direction, it seems more like Nakata is the only character with a defined goal: however I'm unsure of whether or not he will pursue it.
The Rice Bowl Incident is still quite unusual to me; its omnicient in that it has no single author, but also the most limited view point as it is more ofa report and gives no real insight into the events. Nakata is most definitely the boy who didn't wake up; but is that the only significance to the rest of the story? It seems unlikely, but I can't think what else it could be there for.
Final thought - on sexuality as portrayed in the book so far. I'm finding that sex and the themes surrounding it such as Kafka's intimacy with Sakura in the context of the novel are more shocking than the man who is having lengthy discussion with cats. Mention of sex always comes in the more unlikely of contexts, such as when Kafka contemplates the possibility of seeing his sister again, who may or may not be fondling his penis through those thoughts. The novel seems to be protraying sexuality as an awkward, uncomfortable truth, which again could tie in with the concept of freedom being limited by instinct."
Kafka's character is incredibly intricate, since he seems to run like clockwork in his descriptions of his activities. The reader geths the impression that he functions somewhat automatically at times, without much volition. He states the time specifically, then gives a brief description of the event or action such as when he talks about finding food. Kafka's constant reference to needing to survive almost seems to be what is restraining him from finding the freedom. His stream of thought when discussing matters of beauty, such as he find with books as he describes books, have a completely different tone. For example: 'Slowly, like a film fade-out, the real world evaporates. I'm alone, inside the world of a story. My favourite feeling in the world.' It seems like Kafka in conflicted between being limited to day-to-day function and finding freedom in his mind, free from obligation.
It surprised me how little I've heard from Crow in these last chapters. Perhaps closer Kafka comes to finding freedom, the less he has Crow picking away at his insecurities? However, I believe Crow is also to blame for Kafka finding the blood on his shirt. It's a theory, although I feel like Crow somehow took over Kafka's consciousness - Maybe a link to the other meaning of 'karase' - to kill.
I only just realised that there seems to be a range of omniscience of the speaker: Kafka has so much more details in thought process because he is limited to being a first person speaker, whereas Nakata speaks from first person omnicient as while the his plot line revolves around him, it is not told by himself. This seems to be a very deliberate choice, as it reflects the worldview of each character based on their perceptions of reality.
Oshima is a particularly interesting character, and I feel like his purpose in the story is to show someone who is somehow perfect in composure - perhaps the same as Seiko. The pencil is repeated enough to make me wonder if it has some sort of symbollic significance to the character, although I can't think what it could be. Oshima represents what Kafka wants to be: free by great knowledge, surrounded by the books he loves, and free from insecurities and the pressures of society. I feel like something has to shatter this image. In a book where a central theme is that of freedom, there can be no perfect character. I'm sure he's gay, that would at least limit his freedom by social expectations.
I wonder whether the novel in translation does much justice for Nakata's character. In Japanese, it's not too uncommon to refer to a person you are speaking to by their name directly, as he does. While it seems unnatural in the English language, it may be less unnatural if read in it's original Japanese. I may be wrong about this, but I believe refering to oneself in the first person from time to in conversation is also not entirely gramatically incorrect. As I said, I'm unsure of that particular rule, however it makes me wonder how Nakata's mental disabilities would differ in seriousness between Japanese and English. Nakata hasn't progressed all too much recently, although I found it confusing how he interacted with the mentally challenged cat, Kawamura. I would have thought he would have some more empathy when Mimi slaps Kawamura to make him make sense, however he seemed to agree with it. It seems Nakata doesn't make the connection between his own mental state and Kawamura's, despite him already acknowledging that 'Nakata's not very bright'. I should also mention what I forgot in the past chapter just before page 54 - Nakata has a 'weak shadow' according to Otsuka the cat. This almost ties in to Oshima stating that people are desitned to search for their other half. Perhaps Nakata's half he must find isn't in another person, but the part he lost when he fell asleep. While the other plot lines within the story seem as if they could be going in any direction, it seems more like Nakata is the only character with a defined goal: however I'm unsure of whether or not he will pursue it.
The Rice Bowl Incident is still quite unusual to me; its omnicient in that it has no single author, but also the most limited view point as it is more ofa report and gives no real insight into the events. Nakata is most definitely the boy who didn't wake up; but is that the only significance to the rest of the story? It seems unlikely, but I can't think what else it could be there for.
Final thought - on sexuality as portrayed in the book so far. I'm finding that sex and the themes surrounding it such as Kafka's intimacy with Sakura in the context of the novel are more shocking than the man who is having lengthy discussion with cats. Mention of sex always comes in the more unlikely of contexts, such as when Kafka contemplates the possibility of seeing his sister again, who may or may not be fondling his penis through those thoughts. The novel seems to be protraying sexuality as an awkward, uncomfortable truth, which again could tie in with the concept of freedom being limited by instinct."
First Impressions
I've been away on holiday and brought Kafka on the Shore along for a bit of reading material. At that stage, I'd hoped to get up to the first 50 pages at least to write out some comments when I regained internet access.
It didn't really work that.
I became so absorbed in the book I knocked down around 220 pages instead. Thinking that it would be a pity to stop reading just to hold on to my initial impressions, I wrote out by hand some short notes on the first 50 pages, then then after 100, then streaked on past there.
Anyhoo, I'll be transcribing my notes onto different posts, ending up with where I am now. Here is my first set of notes up until the 55th page:
"So far, the book has been divided into 3 main stories: that of Kafka Tamura the runaway, the Rice Bowl Hill incident during the second World War, and Nakata the mentally challenged cat-finder. At this stage, it's harder to find the connection between the stories and discern exactly where they are headed, however this is the forst of many books which use multiple points of view that I find agreeable. Often I find that there's one point of view I find tedious to read which puts me off the whole book, or I lose the momentum of the story because the plots are so fragmented. I don't feel this at all so far; each storyline has its own hook that I'm interested enough to see where it will lead. Generally speaking, the novel so far is very engaging both in terms of plot and language; even if a bit of a heavy read. The description is so dense that you feel as if you're doing a disservice to the novel by not giving every line your full attention.
Kafka Tamura's story line involves a decent amount of interation with a boy named Crow. Kafka initially stated that he had no friends, so we make the assumption that Crow is a physical manifestation of a part of Kafka's psyche. Crow seems to be giving voice to Kafka's doubts in an agressive way almost, making him almost dominant over Kafka. Perhaps this is why he was given the name Crow, as it connotes negativity, scavenging off the weak and dead, and generally ill-will. It's also worth noting that the original Japanese word for crow is 'karasu,' meaning to kill or parch. Crow tells Kafka about a sandstorm and about drowning: It's interesting how both of these link to the name through this meaning. Crow seems to have remarkable god-like freedom in his ability to conjure images like that for Kafka, despite his name representing a scavenger. Perhaps this internal struggle with Kafka for freedom is not something he can find be physically running away like he is, but more through self-awareness. This battle with the concept of freedom might become more of a theme in his story.
I'm quite drawn to his character because he seems intelligent far byond his years. I suppose that stems from his interest in literature, but it sees unnatural for someone to think with so many metaphors rather than simple description of more mundane observations. I felt this particularly in the passage in describing the countryside from the bus: "The sky is a blanket of grey, merging with the grey sea off on the horizon. It's hard to tell the difference between sea and sky. Between voyager and sea. Between reality and the workings of the heart." Not every 15 year old thinks like this, although there seems to be no 'normal' in this novel so far.
There isn't too much to write about just yet on the Rice Bowl Hill story line, as I understand I'll need more than just the 2 reports on it to make sense of it. I understand the story line, however the absence of a reasonable explanation for the event makes this storyline more science fiction than I thought the novel would be, given Kafka's story seems reasonably grounded in reality. I can't quite decide on why the report is meant to be from a US Army report rather than a Japanese one.
Finally, Nakata's story. This has only just begun, however the back of the novel tells me I'm not through with him just yet. He has the same name as the child from the Rice Bowl Hill incident who didn't wake up, so perhaps that could explain his mental disability. Nakata seems to be quite a polar opposite to Kafka, as Nakata is old and weak of mind despite having a strong sense of self. The phrase 'ignorance is bliss' springs to mind, as Nakata seems to have a great deal of freedom as his boundaries for reality are distorted: enough that he can even hold decent conversation with a quite charming cat. I don't quite understand how the cat can have seemingly superior intellect, as if this was going on in Nakata's head, shouldn't the an imagines conversation be limited to his own ability? In considering the magical realism the book employs to some extent, I suppose I mustn't assume that talking to cats is unheard of.
I also notice a bit of a theme of sexuality here; through both Nakata and Kafka's stories. The reference to such a carnal desire could also serve to show how much freedom living beings have. The freedom of choice is limited, as to some extent we are powerless to resist carnal instint. That could also be the purpose of including conversations with animals; to show how humans ignore the awareness that we are animals by believing themselves to be superior, however this difference is the illusion contructed by a language barrier.
A final note, just about the title. I'm assuming that Kafka Tamura is the main characte above the others, as he seems most talked about and was the fist to appear. I know little of Franz Kafka's works, but Kafka Tamura must identify with them enough to have chosen this name purposefully. Perhaps it is in reference to Kafka's 'Metamorphosis,' which could explain something of his attempt to find himself and isolation we feel from his loneliness. In any case, I love the book so far and I'm looking forward to the rest of it."
It didn't really work that.
I became so absorbed in the book I knocked down around 220 pages instead. Thinking that it would be a pity to stop reading just to hold on to my initial impressions, I wrote out by hand some short notes on the first 50 pages, then then after 100, then streaked on past there.
Anyhoo, I'll be transcribing my notes onto different posts, ending up with where I am now. Here is my first set of notes up until the 55th page:
"So far, the book has been divided into 3 main stories: that of Kafka Tamura the runaway, the Rice Bowl Hill incident during the second World War, and Nakata the mentally challenged cat-finder. At this stage, it's harder to find the connection between the stories and discern exactly where they are headed, however this is the forst of many books which use multiple points of view that I find agreeable. Often I find that there's one point of view I find tedious to read which puts me off the whole book, or I lose the momentum of the story because the plots are so fragmented. I don't feel this at all so far; each storyline has its own hook that I'm interested enough to see where it will lead. Generally speaking, the novel so far is very engaging both in terms of plot and language; even if a bit of a heavy read. The description is so dense that you feel as if you're doing a disservice to the novel by not giving every line your full attention.
Kafka Tamura's story line involves a decent amount of interation with a boy named Crow. Kafka initially stated that he had no friends, so we make the assumption that Crow is a physical manifestation of a part of Kafka's psyche. Crow seems to be giving voice to Kafka's doubts in an agressive way almost, making him almost dominant over Kafka. Perhaps this is why he was given the name Crow, as it connotes negativity, scavenging off the weak and dead, and generally ill-will. It's also worth noting that the original Japanese word for crow is 'karasu,' meaning to kill or parch. Crow tells Kafka about a sandstorm and about drowning: It's interesting how both of these link to the name through this meaning. Crow seems to have remarkable god-like freedom in his ability to conjure images like that for Kafka, despite his name representing a scavenger. Perhaps this internal struggle with Kafka for freedom is not something he can find be physically running away like he is, but more through self-awareness. This battle with the concept of freedom might become more of a theme in his story.
I'm quite drawn to his character because he seems intelligent far byond his years. I suppose that stems from his interest in literature, but it sees unnatural for someone to think with so many metaphors rather than simple description of more mundane observations. I felt this particularly in the passage in describing the countryside from the bus: "The sky is a blanket of grey, merging with the grey sea off on the horizon. It's hard to tell the difference between sea and sky. Between voyager and sea. Between reality and the workings of the heart." Not every 15 year old thinks like this, although there seems to be no 'normal' in this novel so far.
There isn't too much to write about just yet on the Rice Bowl Hill story line, as I understand I'll need more than just the 2 reports on it to make sense of it. I understand the story line, however the absence of a reasonable explanation for the event makes this storyline more science fiction than I thought the novel would be, given Kafka's story seems reasonably grounded in reality. I can't quite decide on why the report is meant to be from a US Army report rather than a Japanese one.
Finally, Nakata's story. This has only just begun, however the back of the novel tells me I'm not through with him just yet. He has the same name as the child from the Rice Bowl Hill incident who didn't wake up, so perhaps that could explain his mental disability. Nakata seems to be quite a polar opposite to Kafka, as Nakata is old and weak of mind despite having a strong sense of self. The phrase 'ignorance is bliss' springs to mind, as Nakata seems to have a great deal of freedom as his boundaries for reality are distorted: enough that he can even hold decent conversation with a quite charming cat. I don't quite understand how the cat can have seemingly superior intellect, as if this was going on in Nakata's head, shouldn't the an imagines conversation be limited to his own ability? In considering the magical realism the book employs to some extent, I suppose I mustn't assume that talking to cats is unheard of.
I also notice a bit of a theme of sexuality here; through both Nakata and Kafka's stories. The reference to such a carnal desire could also serve to show how much freedom living beings have. The freedom of choice is limited, as to some extent we are powerless to resist carnal instint. That could also be the purpose of including conversations with animals; to show how humans ignore the awareness that we are animals by believing themselves to be superior, however this difference is the illusion contructed by a language barrier.
A final note, just about the title. I'm assuming that Kafka Tamura is the main characte above the others, as he seems most talked about and was the fist to appear. I know little of Franz Kafka's works, but Kafka Tamura must identify with them enough to have chosen this name purposefully. Perhaps it is in reference to Kafka's 'Metamorphosis,' which could explain something of his attempt to find himself and isolation we feel from his loneliness. In any case, I love the book so far and I'm looking forward to the rest of it."
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