Bird Chronicle Individualism

Haruki Murakami, a contemporary Japanese writer, confronts the contradictions of modern Japanese identity in his novel, The Wind-Up Bird Chronicle, to depict the desolate mood of Japan after World War II. Identity loss and solitude surfaced due to the drastic decrease in population following the atomic bombings in Japan. As argued by Historian Rielly (2010) in Kamikaze Attacks of World War II, this loss of identity has resulted in countless suicides across various regions of Japan, such as the Okigahara forest (9). The recurring theme of war in the novel asserts the importance of individualism as a key component within Japan’s conformed society. Haruki Murakami utilizes symbolism, motif, and allegories throughout The Wind-up Bird Chronicle
Serving as a reminder for individuals to continue to survive regardless of how chaotic their lives may be, the bird cries at various points throughout the novel to prophesize both fortunate and unfortunate events to come, such as the death of Cinnamon’s father. Based on Japanese traditions, Hō-ō birds descended from the heavens to perform good deeds (Schumacher, 2011) and therefore appear as symbols of peace and harmony, similar to the wind-up bird’s cries whenever “the world descended more deeply into chaos” (75). In contrast, when death occurs, a Torii bird represents the entrance to the grounds of a Shinto shrine, serving as a “gateway between life and death” (Otto + Holbrook, 1902, 33). The wind-up bird is depicted in the novel to be a combination of both birds, prophesizing a milestone in a character's life. For instance, shortly after Cinnamon hears the bird’s cry, he witnesses mysterious men burying a beating heart. The heart is inferred to belong to his deceased father, who dies when Cinnamon was eleven and was discovered with various organs missing. As the heart was being buried, Cinnamon “intuitively [felt] that something very important was about to happen” (214) and loses the ability to speak following the event foreseen by the wind-up bird.
The guitar man appears twice in Toru's life: when Kumiko had an abortion and when she left him. When the guitar man first appeared, he was on stage doing a magic trick that “looked like he was really burning himself” (143). Although not apparent at the time, the burning mentioned foreshadows Kumiko’s abortion and the beginning of the deterioration in their relationship. Furthermore, the guitar man is physical embodiment of suffering that exists in Toru’s life since he did not undergo physical pain, but conveyed mental pain. After Toru attempts to assault him as if he were confronting his past regrets; the man laughs because Toru cannot change what has already been done. By portraying Toru with hardships in his life, Murakami demonstrates a concept often shown in an individual’s path to achieving enlightenment; happiness and suffering cannot exist without one another because true happiness cannot be achieved without experiencing suffering first. Murakami prompts readers that while suffering cannot eliminated, it can be avoided through guidance and experience from friends and family members, further highlighting the necessity of facing and understanding struggles because only then will individuals gain more experience to combat future