I finished reading The Wind-up Bird Chronicle by Haruki Murakami last Friday evening, but had not reviewed it in the hope that some digestion time would enable me to glean some deeper meaning from the novel, some meaning that surely must be there but which I cannot seem to grasp. I empathize with the main character, Toru Okada, who spends time sitting at the bottom of a dried-up well, waiting to enter a state of consciousness that takes him to an alternative reality. Once in that reality, he is constantly on the edge of discovering why this alternative exists, but he is unable to move through the wavering fuziness to grasp the meaning, or why exactly he is there, until the very end of the novel.
As you can tell by the above brief description of some of the action, the novel has a surreal feel to it. The bounds of reality are sometimes stretched, but not completely severed. Toru Okada begins the novel as a recently unemployed individual (he is unemployed by choice; he decided to quit his job because he found no meaning in it) who has lost his cat. His wife, Kumiko, urges him to talk to a strange woman with some sort of psychic powers (we do not actually discover what these powers are) in order to find the cat. Toru interacts with this woman psychic, Malta Kano, and her sister, Creta Kano, and also spends some time with his teenaged neighbor, May, trying to find the cat. At some point, Kumiko leaves Toru, under what Toru feels are mysterious circumstances that involve Kumiko’s brother, Noboru Wataya. Even though they have little physical interaction, Toru considers Noboru Wataya the personification of evil, and, as a result, his enemy. Along the way, Toru is introduced to an aging Japanese war veteran and the mother/son pair of Nutmeg and Cinnamon, who take him under their wings.
The book is interestingly written. There are far too many characters, and I cannot fathom why all of them need to be in the novel. And these aren’t just characters mentioned in passing, but fully developed characters who interact with Toru, but who do not progess the story in any foreseeable way (for example, the psychic and her sister, Malta and Creta Kano). I went on-line in an attempt to find some commentary about the novel that could aid my understanding. I found the following by Kevin Salfen on Amazon.com that helped provide a context for the characters in the novel:
Is evil sin? Maybe in monotheistic cultures, but I think in Murakami’s novelistic universe–and this is a recurring feature of many discussions of Japanese religion, culture, and art–a more insightful way of comprehending evil is as “defilement,” and this is the term Jay Rubin uses in his translation time and again. Defilement is what ties every character together: some inner filth that each character is trying to purge in some way. May Kasahara’s idea of the physical manifestation of death as an oozy gray thing is the clearest picture we have of that unrelenting ghost that haunts everyone intersecting with Toru Okada’s life. It is not regret or guilt. It is not emotional scarring. It is a sickening tangible object poisoning a person’s life and threatening to overwhelm it. It must be washed off, or it will destroy whatever it comes in contact with.
Because defilement is such a defining feature of the work, it functions to create two broad sets of characters: the defilers and the defiled, where Kumiko’s brother (Noboru Wataya) is the archetype of the defiler and Kumiko herself the archetype of the defiled. Confusion arises and the border between the two sets becomes blurred because the nature of defilement is to spread, and once Kumiko herself becomes defiled, she spreads that to those around her, principally to the central character, her husband Toru.
The third character type is found in Toru, whose beautiful quality is to absorb all the defilement, find a way to stop the spread of it, and then to wash it away, to expunge it in the final defeat of Noboru Wataya. Toru’s beautiful quality is not easily won, though. The whole of “Wind-up Bird” tells of the immensely difficult quest for it, an encountering of many different faces of defiler and defiled, a repeated tasting of others’ defilements, in order to learn the method of purification.
I think this is a good analysis and does provide a comprehensive theme to the book and the characters, although I still do not think it justifies the inclusion of so many characters. Could not the same point have been made with a smaller cast? Would not the point have been clearer without all these superfluous characters? But perhaps we are meant to feel like Toru, jumbled and a bit confused by all these strange people suddenly intersecting with what was a simple existence. Clear out the chaff to get to the wheat.
From a “reading as pleasure” perspective, the book began strongly – I was very interested in the characters and the surreal nature of the action. I felt that I was on the urge of accompaning Toru on discovering something profound. Somewhere in the middle, I lost some interest (this was mostly during the time when Toru felt lost, too – Kumiko had left him, he didn’t know why, and he didn’t know what to do with himself – so perhaps I was supposed to feel lost). I did enjoy the stories of the Japanese war veteran (mostly because I know so little about Japanese history), although I’m still not sure they were needed in the novel. The ending section, when Nutmeg and Cinnamon play roles, and when Toru “saves” Kumiko, became interesting again. It is a long book, so be prepared to invest a bit of time in the reading of it. Overall, I give this one 4 out of 5 stars.