First, the back story.
When I married Matt, I inherited three brothers-in-law and two sisters-in-law and while I knew some things about each of them, I didn’t really know anything substantial. I knew a bunch of little facts: dietary preferences (one hates onions, one hates cheese, one’s a vegetarian), pet preferences (dogs), television show preferences (an entire family of LOST fans), college majors (a bunch of science involved), favorite movies (Dodge Ball, Harry Potter). All of a sudden, I had all these in-laws but I felt I didn’t know them very well (nor did they know me very well). It didn’t help that we moved across the Atlantic within months of our marriage.
So, in an effort to be more intentional about getting to know them, I did something pretty risky back in August: I proposed forming a book club. While I was sure we didn’t share many common interests and I was unsure of how much everyone enjoyed reading, I went ahead and invited my relatively new extended family to join me for a year of reading and discussion. The idea was for each of us to pick a book that was significant and pass it in alphabetical order every two months. As there are 7 of us, that’d mean we’d all read 6 new books, and hopefully discuss them, in a year’s time (and have 2 months to read each one). Everyone agreed, the books were passed on Christmas, and that is how I came to read Haruki Murakami’s The Elephant Vanishes.
Now, the book review; brace yourself, it’s a long one (but anyone who knows me would expect nothing less).
I suppose I should begin with a few positives and quotes I liked:
- An interesting point: Noboru Watanabe is a reoccurring character – sometimes man, sometimes cat. If I’m correct, he appeared in three separate stories, though I don’t think he’s meant to be the same person. He’s the cat in the first story (which is the first chapter of a The Wind Up Bird Chronicles – named so after the narrator’s brother-in-law), the fiancé of the narrator’s sister in “Family Affair,” and the elephant keeper in “The Elephant Vanishes.”
- If birds in flight go unburdened by names, let my memories be free of dates. (p 219)
- Memory is like fiction, or else it’s fiction that’s like memory…no matter how hard you try to put everything neatly into shape, the context wanders this way and that, until finally the context isn’t even there anymore. (p 269)
- What a wonderful thing it is to find and be found by your 100% perfect other. It’s a miracle. (p. 71)
- I can scratch Murakami off my list of authors to read (a bit over rated!).
Oh, my. It was a difficult 327 pages to get through and I took a break half way through to read Conversations With Flannery O’Connor and part of Flannery O’Connor’s Mystery & Manners. It was actually this extra reading on/by Flannery O’Connor (one of my favorites) that has helped me formulate my opinions and thoughts of Murakami’s collection of short stories. Much like how I expected my students to explain why they didn’t like a piece they had to read for class (It’s boring, It’s weird, and It’s not what I usually read would never fly), I really wrestled with why I did not like this book.
In an essay entitled “Total Effect and the Eighth Grade,” O’Connor mentions how there always seems to be news of parents complaining about what their children are reading in school based on their objections to profanity or erotic details. She argues that the literature in question must fall within the limits of “’total effect,’ that principle followed in legal cases by which a book is judged not for isolated parts but by the final effect of the whole book upon the general reader.” Does the work attempt to convey an earnest message? I struggled with this while reading The Elephant Vanishes. Many of the stories have erotic details that I find offensive: sex is directly mentioned or implied in several stories and even in the story “Family Affair” about a brother and sister, masturbation is mentioned several times.
Here’s where the issue of total effect comes in to play – and I am using it to refer to the total effect a piece of writing has on me, the reader, and not just isolated bits. Over the summer, I read The Time Traveler’s Wife. While TTW is not an amazing piece of literature, I truly enjoyed the book – the story was engaging, I liked the characters, the book relied upon the reader’s suspension of reality, and there were a few sex scenes and the tossing around of the f-word. I hated those parts of the book – I thought they were unnecessary (except for the final sex scene before Henry dies) and I thought they added absolutely nothing to the book. However, the total effect of The Time Traveler’s Wife was more than the sum of the f-word and sex scenes. Likewise, when I read Wicked, any inappropriateness I found in the book was easily overlooked (though I wouldn’t want my teenage child reading it) because it was obvious that the work was trying to convey a greater, earnest message. I didn’t get that with The Elephant Vanishes. The preoccupation with sex aside, I did not find one character who I cared about. The total effect of the stories left me feeling a little perverse – even if the erotic detail was just suggested; it ruined the story for me. For instance, in a story I mostly liked, “A Window,” the narrator muses at the very end, “Should I have slept with her? That’s the central question of this piece.” Why should this be the central question of the piece?
I am reminded of a verse in Philippians, “Finally, brothers, whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable – if anything is excellent or praiseworthy – think about such things” (4:8). The music that I listen to, the art that I look at, the books that I read, the movies and television that I watch – all of this art I want to be true, noble, right, pure, lovely, admirable, excellent, and praiseworthy. And I am certainly not suggesting that the only art worth enjoying is that which is labeled Christian – nothing could be further from the truth. So much of what the church labels as Christian art falls short of being pure and lovely (for instance, Thomas Kincaid). I am suggesting though, that I want the art (be it music or writing) that I admire to be lovely and noble and right and admirable – something of lasting beauty, that tries to convey an earnest message – and I just didn’t get that feeling while reading The Elephant Vanishes. And, I’m not left with that now several days after finishing the book.
O’Connor writes in another essay of hers entitled “Novelist and Believer” that a fiction writer “always has to create a world and a believable one.” I couldn’t agree more! I realize that not everyone might agree with this view and O’Connor even acknowledges that for one writer to talk about writing is like inviting one animal, such as a giraffe, to talk about the zoo. Obviously, the giraffe’s view of and experience in a zoo will be much different from that of a baboon. But, I need to believe the world I’m reading about – I am not saying that I need for it to be plausible. Two other books I mentioned earlier, Wicked and The Time Traveler’s Wife, cannot be described as plausible and definitely required the suspension of belief. However, I believed both of the worlds created for me by their authors. Murakami’s writing was just plain unbelievable. It was obvious that Murakami both admires and has been influenced by Kafka and García Marquez (alluding to the former in one of his novel’s titles and mentioning the latter in a couple of the short stories), but he fails in doing what the other two do so beautifully: creating a world, and a believable one. When I read Kafka, I don’t question that Gregor is a “monstrous vermin” or that there really is such a thing as a Hunger Artist who fasts because he’s good at it. When I read García Marquez, I don’t question that the handsomest drowned man in the world washed up on the shore or that a very old man with enormous wings fell from the sky. But, I do question, and cannot enjoy, Murakami’s stories – with the exception of “On Seeing the 100% Perfect Girl One Beautiful April Morning” and “The Elephant Vanishes.” (To be fair, “Slow Boat to China” and “Silence” aren’t bad, but they’re just not good.)
What, then, about the argument that his stories are supposed to be unbelievable – that they’ve been written in such a way to suggest a greater, metaphorical meaning? I have an issue here as well. Take for example his story “Sleep” – about a woman who has not slept in 17 days and who has grown bored with her life as wife and mother. Is it just another story about a woman’s flight from (or desire to flee) domesticity? What about the story “The Second Bakery Attack”? Surely the reader is to assume the young husband’s and wife’s hunger is for something other than food or Big Macs, right? Or, maybe not. Overall, I found the collection of short stories tedious, lacking, and pointless. I guess it comes down to my preference to read others who have written better, more lovely, things. If I want magical realism, I can read García Marquez (who has written some very beautiful, “strange” stories):
On the third day of rain they had killed so many crabs inside the house that Pelayo had to cross his drenched courtyard and throw them into the sea, because the newborn child had a temperature all night and they thought it was due to the stench. The world had been sad since Tuesday. Sea and sky were a single ash-gray thing and the sands of the beach, which on March nights glimmered like powdered light, had become a stew of mud and rotten shellfish. The light was so weak at noon that when Pelayo was coming back to the house after throwing away the crabs, it was hard for him to see what it was that was moving and groaning in the rear of the courtyard. He had to go very close to see that it was an old man, a very old man, lying face down in the mud, who, in spite of his tremendous efforts, couldn’t get up, impeded by his enormous wings. (from “A Very Old Man With Enormous Wings” by Gabriel Garcia Marquez)
So, I didn’t like the first book I had to read for the Salois Sibling & Spouse Book Club. I’ve lamented over not liking it and have dragged my feet in composing my thoughts into this post because I’ve felt a bit like a failure, and I haven’t wanted to hurt anyone’s feelings. I wanted to like everyone’s book. I’ve wanted this little thing to be a big success and because I didn’t like the first book, I’ve felt like it’s failed. But, my sweet husband reminded me, “The point was not to aspire to like the same seven books. The point was to get to know each other a bit more, to gain a bit of understanding about each other’s tastes and opinions, and to start a conversation.” He summed it up beautifully. Hopefully, I have shared a bit of myself – helping my in-laws to know a bit more about me. I, in turn, look forward to hearing their thoughts about The Elephant Vanishes.