{"id":36524,"date":"2016-04-20T10:30:12","date_gmt":"2016-04-20T09:30:12","guid":{"rendered":"https:\/\/blogs.bmj.com\/bmj\/?p=36524"},"modified":"2017-08-22T20:18:40","modified_gmt":"2017-08-22T19:18:40","slug":"claire-mcdaniel-and-daniel-marchalik-haruki-murakamis-the-colorless-tsuluru-tazaki-and-the-complexity-of-grief","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/bmj\/2016\/04\/20\/claire-mcdaniel-and-daniel-marchalik-haruki-murakamis-the-colorless-tsuluru-tazaki-and-the-complexity-of-grief\/","title":{"rendered":"Claire McDaniel and Daniel Marchalik: Haruki Murakami’s The Colorless Tsuluru Tazaki and the Complexity of Grief"},"content":{"rendered":"

The Doctors\u2019 Book Club<\/strong><\/a>
\nHaruki Murakami’s\u00a0The Colorless Tsukuru Tazaki and His Years of Pilgrimage<\/em><\/u><\/strong><\/p>\n

Invoking the ubiquity of sadness, Emily Dickinson writes: \u201cI measure every Grief I meet With narrow, probing, eyes \u2013 I wonder if It weighs like Mine \u2013 Or has an Easier size.<\/em>\u201d Universal and elusive, everyone\u2019s grief is both familiar and fundamentally inaccessible to those on the outside. Grief, Dickinson explains, is personal and unique.<\/p>\n

In his latest novel, The Colorless Tsukuru Tazaki and His Years of Pilgrimage<\/em>, Haruki Murakami explores this complex nature of sadness. The story centers on a middle-aged metro station engineer in Tokyo. His life, like the Colorless Tsukuru\u2019s name, is devoid of color, uniqueness, relateability. We learn of Tsukuru\u2019s six-month period of suicidal ideations while studying in the university but neither we, nor Tsukuru, can decipher what pushes him to that level of desperation or what keeps him from taking the plunge.<\/p>\n

As the book opens, Tsukuru contemplates that period in his life: \u201cPerhaps he didn\u2019t commit suicide then because he couldn\u2019t conceive of a method that fit the pure and intense feeling he had toward death. But method was beside the point. If there had been a door within reach that led straight to death, he wouldn\u2019t have hesitated to push it open.\u201d We accompany Tsukuru on the quest to understand his own sadness but are never granted access to his mind. After all, how does one relate to the protagonist\u2019s fascination with non-existence: \u201cThis world, the one in the here and now, wouldn\u2019t exist. It was a captivating, bewitching thought.<\/em>\u201d Yet as Murakami traces his journey from adolescence into adulthood, exploring both the degrees of sadness and the way that grief can alienate others, we grow more and more distant from Tsukuru and his world.<\/p>\n

Like the speaker in Dickinson\u2019s poem, preoccupied with comparing her own grief to the grief of others\u2014some grieve over death, others over unmet wants\u2014Tsukuru reveals his sadness to be both unique and somehow universal. After all, several other characters\u2019 deaths in the novel can be attributed to suicide, even if Murakami elects to leave those details unnamed (Tsukuru\u2019s best friend Haida, who disappears without a trace after summer holiday, tells Tsukuru the mystical story of embracing death just prior to his disappearance). However, we are never told what Haida\u2019s source of sadness is or if his death is truly a suicide. With Haida, as with Tsukuru, the walls of sadness are simply impenetrable.<\/p>\n

Murakami, we conclude, is interested in exploring the complexity of sadness and the various sources that inspire it. In many ways, sadness defines the human condition and is the emotion that we, as healthcare providers, must be comfortable exploring. At the same time, there is an undeniable complexity to despair: sometimes the source of melancholy eludes not only the doctors but the patients\u2019 themselves.<\/p>\n

We invite your personal reflections on dealing with sadness in the healthcare setting. How do you approach patients struggling to crystalize the source of their sadness? Does Tsukuru\u2019s pilgrimage seem like a reasonable approach? Would you, as a healthcare provider, ever advise Tsukuru to undertake this journey? Post your thoughts in the comments section below!<\/p>\n

Next Month:<\/strong><\/span>
\nWe will discuss Anthony Johnson The Orphan Master\u2019s Son<\/em>.
\nQuestion to consider:
\n-What is the function of using three separate narrators: the loudspeaker, the interrogator, and Jun Do? Are any of the narrators reliable?
\n-Does the reliability of the narrator change the \u201ctruth\u201d of the story?
\n-What is the role of \u201creliability\u201d in the clinical context? Is there a difference between \u201ctruth\u201d and \u201cfact\u201d in clinical settings?
\n-Cervantes famously writes that \u201cfacts are the enemies of truth.\u201d How does that observation play out in Johnson\u2019s narrative and in clinical practice?
\n-What do we learn about the nature of suffering from Johnson\u2019s portrayal of Korea? Of the human ability to adapt?<\/p>\n

More articles in this series<\/a><\/p>\n

\"daniel_marchalik3\"<\/a>Daniel Marchalik<\/strong> is completing his urologic surgery residency in Washington, D.C. He writes a monthly column for <\/em>The Lancet and directs the Literature and Medicine Track<\/a> at the Georgetown University School of Medicine.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

\"claire_McDaniel\"<\/a><\/p>\n

Claire McDaniel<\/strong> is a second year medical student at Georgetown University School of Medicine in Washington, DC, participating in the school’s Literature and Medicine Track. Additionally, she is an MBA candidate at Georgetown University McDonough School of Business.<\/em><\/p>\n

Competing interests:<\/strong> None declared.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The Doctors\u2019 Book Club Haruki Murakami’s\u00a0The Colorless Tsukuru Tazaki and His Years of Pilgrimage Invoking the ubiquity of sadness, Emily Dickinson writes: \u201cI measure every Grief I meet With narrow, […]<\/p>\n

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