Elephant Vanishes is the first American edition of Haruki Murakami. It consists of 15 short stories featuring the most beautiful masters, with dwarfs dancing with magical spaces, with huge elephants and cats. Everything is uniquely Murakami, and each of these stories is worthy of reading time and some of you read the novel to which they relate. Here are some comments I read during my work as I read the collection and thoughts.
– Murakami uses a strange human feeling or emotion for each of his stories, then extends and distorts, contracts, and extends his emotion to his pleasure. Loneliness, hunger, and fatigue come to mind.
– Concepts of reality are very interesting. Always let the characters re-create themselves as they want. The presence of dual reality is consistent where the layer under the actual reality lies, which the character has to meet.
– Use log and memory as a common tool. The narrator's memory and use are consistently raised and analyzed. The use of the journal as a tool of organizer and structure repeats itself in the dynamic and chaotic lives of its actors and gives them a more structured way of life.
The Running Bird and the Tuesday Women
The first story is really weird. Especially because it is not a story, but the most famous book, the first chapter of The Wind-Up Bird Chronicle. After he could not find the cat, he went to the alley alley to look into the back yard of a young girl, and finally he would end when he would fall asleep on a lawn. A telephone conversation with a stranger and a strange girl in the alley brought one of the most important stories in the novel, but here's a bit incorrect as all you get is the first chapter. In typical Murakami fashion, however, we read each chapter of any of its books in itself, and it makes sense because it has very few characters in the physical reality of its characters. Instead, there is something more you feel better than observing. It is desirable to determine the voice of the rest of the book and set the reader for the oddities to come.
Second Bakery Attack
The second story was strange in its implementation. The curse of starvation is interesting to me because it seems to be a psychological problem. His wife is always a violent man, and that does not seem to be in many ways. What is the purpose of violence? Why do you understand the curse and why did not you feel this hunger at other times since the bakery time? I think you might need a companion to feel this hunger. His best friend came the last time and left. Without a consultant, no matter how much you feel. However, hunger only appears two weeks after marriage, and takes up the matter very effectively. However, the obvious knowledge of the subject is interesting. The narrator is suspicious. Something that Murakami does in the first story. There is a kind of deep suspicion from this to the wife.
The Kengurus Communism
The third story was great to me. As you start it completely off the subject, explaining its 36 steps that we will never hear and then continue, the various touches of the conversation are brilliant. He does a terribly boring and depressing job, and when he finds a pearl in his coal mine, he seizes it without leaving. You want to talk to this little girl. You want to know him. You continue to have the desire to live in double state. You want to exist in two places at once. The desire to defeat the monotony of his life and never stop at the same time. It's half of change and that's his way to deal with it if it does not change. So he records this letter to her and tells her things that are probably not appropriate. But they bear the other themselves. The underdeveloped store is set aside and this is the second self, the one who wants to sleep with him and writes this letter without fear of the consequences.
With a 100% Perfect Girl Seeing A Beautiful April Morning  This is another brilliant story I could not get through. It was short and the point, it does not offer completeness or development. Only a very cool amount of thought and a doubt did not make the reader aware of what actually happened. Murakami's narrator sees a girl on the street that she knows is perfect for her. You do not know how or why, he just. Love at first sight. Do nothing. The conclusion is, ultimately, a tragic or ultimately romantic story that exists beneath the surface. If he told her story and came together, the reader would think about how terribly romantic this is. However, since he does not speak to him, I can not decide whether this story is true. How terribly sad it is. This is a story about chances. Buy the chances of life and make the most of it. Do not let fate kick your ass. The narrator twice leaves his 100% perfect daughter. Once in your history and once in real life. It will never return to it
This is a very interesting story. It deals with a lot of different things about your life. It seems to have been lost in the world of its own creation. Her husband's arrogance was lost, lost everything in her life that made her. When he pauses, he deny the reality to regain that part. He thinks of the fate he has created and creates a new reality for himself. In doing so he has to face death and meet him for this purpose. His sense of reality is completely distorted. It creates a new one here. One where he maintains his own identity. It's not what her husband gave him. He is struggling with a medium-term crisis, and so he handles his way.
The Fall of the Roman Empire, the Indian Revolt of 1881, the Polish Hitler Invasion, and the Empire of Fighting Edges
This piece uses key events to designate the narrator's own personal story. The event event is a simple event day and small normal events appear as major historical metaphor events. It is as if he were saying that life can be marked and remembered with key points and words without any detail. There is some linearity in our lives that makes life easier to mention.
Lederhosen works as a catalyst to step back and see the world and life that was. At that moment he built an illusory world in which he lived. He could not get out of it and see how much he did not want. He was admitted to do so. When you find the guy who looks like your husband, but no, he can see if there is an outsider POV. This is disconcerting to her, and therefore she can think of her emotions and forgive her husband.
This is a terrible little story. The African man is a murderer or indeed a terrible man who was afraid of him. I lie down as he wrote that the barn was burning. The importance of the proximity of the narrator to the girl is important here because he compensates for the test of the stool that needs to be burned. His whole idea is that the stables are old and useless and they will not hurt anyone, but this last stable is such that the narrator is concerned. So it was not harmless. She does not know the correlation and continues to look for the barn and the girl. This leads to the dual existence in which he attempts to find the subject he has not burned up and searches for the figurative object in the mind of the girl missing from his life. Very nice and quite distracting.
Small green monster
It glorifies love. In doing so, the creature is hurt by all its movements, all bad thoughts and illnesses. It seems like a metaphor for rejection. He rejects the creatures for the unfulfilled love and kills him. He only sees him, a terribly ugly creature, ignoring his love and calm way. He, instead of explaining what he wants to say or how to bring him back to his home, destroys him, cruelly. His passion to attract him to his home is undesirable, and as a result, malice is rid of, almost as a reflex. The author seems to make a statement about women here and how unforgivable they can be for the sake of man. It is also a statement about the blindness of love and the fact that the man responds without thinking and can not weight the choices.
This story felt as though it was pretty curious about the subplots and the hidden meaning. All this was done in a very subtle way, true to Murakami's style, and he did very well, especially in the end, with a blunt, factual story-telling. First, the narrator and sister are exactly what they say, "partners". The partners live in meaningless lifestyles. Yet he grew out of it. During the five years they lived together, grew and developed a sense of responsibility and space in the world. However, he was still trapped in his own small world, in a separate reality. This is often proven by saying that it does not affect things, it does not affect him, such as who wins the baseball match. Does not matter. – I'm not playing them, they are. The differences between the narrator and Nobu Watanabe were extended. It is important to note that Watanabe has a name at all. There are very few people when the characters are still laughing in Murakami's stories. This name is important because it symbolizes the place in reality. His place in reality is his name, and that name is right. Her sister becomes part of reality when she takes this mannequin. Thus, as a representative of reality, Watanabe begins to destroy the narration fantasy world. At the end of the story, after talking to this man and hearing how pathetic his life, he could feel the meaninglessness of his life for the first time. His night in the bar is a miserable one, and this is the first sign of destroying his imagination and attracting Watanabe's reality. [A világ] There is not much to recognize that the author can not tell you straight. So, I just quote the last paragraph.
"Would I have slept with him?
This is the central issue of the piece
The answer is beyond me, I still do not know.
things that we never understand, no matter how many years we take, no matter how
many experiences come together. All I can do is to look up the train between the windows of the buildings, which may be theirs. Each one may have a window, sometimes it seems to me and at other times I think none of them can be his. There are just too many. "
Life has many opportunities, the simple place of its window is that it can be anywhere or maybe not.
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