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August 28, 2002 |
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everything2.com |
Murakami Haruki's Dance, Dance, Dance is significant for
one reason: it is a systematic literary exploration on the
concepts of modern advanced capitalism, unparalleled in modern
literature. Comparing it to Das Kapital would be unfair, because
Dance, Dance, Dance supersedes Karl Marx's seminal text in
two respects. First, Murakami is speaking about a new, wholly
different system from what Marx theorized in the late nineteenth
century. Second, Murakami does it with a literary style that
imparts his concepts just as effectively as Marx's stereotypically-Germanic
logical agglutinations--perhaps even more effectively when
posed to a modern cosmopolitan audience in the "advanced
capitalist society" that Murakami so deftly critiques.
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Murakami's own life story plays a major role in understanding
the purpose of his writing. His first novel, Hear the Song
of the Wind, was published in 1979, when he was only twenty-nine
years old: it won the Gunzo Prize. In 1985, his novel Hard
Boiled Wonderland and the End of the World won the Tanizaki
Prize. His true rise to stardom came in 1987 with the multi-million-best-seller
Norwegian Wood, which generated such overwhelming popularity
that Murakami was forced to flee the Japanese media spotlight
for several years.
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Clearly, the spectacle surrounding Norwegian Wood had a strong
influence on Murakami's views of Japanese capitalism. The
country he was writing from differed greatly from the wartime
industrial nation of Mishima Yukio, or the fragmented postwar
circus of Oe Kenzaburo. In fact, the world in general was
moving along the same lines, and making the transition from
a "modern" state to an ambiguous "post-modern"
one.
While the connotations of "post-modernism" vary
from discipline to discipline, the defining factor in the
economic definition of "post-modern" is the abandonment
of the gold standard in the regulation of national currencies,
which occurred on a global scale during the 1970's. The more
commonly accepted explanation of Japan's economic rise during
the ensuing decades, at least in the realm of secondary education,
is that Japanese companies burst forward with fuel-efficient
cars during the oil shortages at the same time that they were
developing the most advanced semiconductors in the world to
run robotic factories and super-fast computers. However, as
Doug Henwood argues in Wall Street: How It Works And For Whom,
the abandonment of the gold standard played a far more important
role in the economic juggernaut of the 1980's, and Murakami's
own writing corroborates this idea in spades.
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The gold standard, in effect, placed a cap on the amount
of capital that could circulate in the world economy by tying
the entire concept of capital down to the representation of
a fixed commodity--specifically, gold. Marx notes that capital,
if continuously reinvested at good returns to accumulate upon
itself, has an almost unlimited potential for growth, and
most investment planners would agree with him. However, the
gold standard kept money--the physical representation of capital--relatively
scarce.
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Once the gold standard was abandoned, it became possible
for money to exist without being in a tactile form, and therefore
the modern notion of credit came into existence. Credit, as
Henwood puts it, is money of the mind, and its existence today
allows 90% of the world's money to exist in a virtual form--as
ones and zeroes in financial computers (p. 224-9).
While America was undoubtedly revolutionized by this change,
especially in the years between 1982 and 1989, the change
in Japan was even more extraordinary. The Japanese embrace
of technology, in league with many other factors, allowed
its GDP per capita to surpass that of the United States by
the mid-1980's, while Tokyo's land value equaled that of the
state of California. Many American analysts, after the fall
of the Soviet Union, were speaking in frightened tones about
Japan's unparalleled economic power: at the close of the Gulf
War, Dr. Chalmers Johnson of the University of California
said that "the Cold War is over, and Japan won."
(PBS Frontline, 19 Nov. 1991)
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node=Dance%20Dance%20Dance |
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