Abstract
Conspicuous in the work of author Haruki Murakami are his use of the hard-boiled detective, in whom Murakami recognizes himself as a professional writer, and the problematizing of the boundaries that separate one genre from another and circumscribe genre discourse in general. By means of noir pastiche, Murakami carries these tropes into A Wild Sheep's Chase and Dance Dance Dance where they function within a larger critique of the postmodern. Hard-boiled Wonderland and the End of the World takes this deployment of noir even further. In a skillful montage of alternating discursive modes, Murakami deconstructs noir itself, divesting it of its power to define a postmodern Japan that only exists in a politically conservative Japanese imagination, or in a peculiarly postmodern type of Orientalism within the Western imagination.
Published Version
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call