An Analysis of Surrealism in Haruki Murakami's Novel 1Q84 a Thesis by M. Randy Utama Srg Reg. No. 130705089 Department of Engl

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AN ANALYSIS OF SURREALISM IN HARUKI MURAKAMI’S NOVEL 1Q84

A THESIS

M. RANDY UTAMA SRG

REG. NO. 130705089

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

MEDAN 2017

Universitas Sumatera Utara Universitas Sumatera Utara Universitas Sumatera Utara Universitas Sumatera Utara

AUTHOR’S DECLARATION

I, M. RANDY UTAMA SRG DECLARE THAT I AM THE SOLE AUTHOR

OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT

OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED

ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A

THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER

DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT

DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS.

THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF

ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed :

Date : October20th, 2017

Universitas Sumatera Utara

NAME : M. RANDY UTAMA SRG

TITLE OF THESIS : AN ANALYSIS SURREALISM IN HARUKI

MURAKAMI’S NOVEL 1Q84

QUALIFICATION : S-1/SARJANA SASTRA

DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR

REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF

DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES,

UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT

USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW

OF THE REPUBLIC OF INDONESIA.

Signed :

Date : October 20th, 2017

Universitas Sumatera Utara

ACKNOWLEDGEMENT

First and foremost, I would like to express my deepest gratitude to Allah

SWT, the Almighty God and Most Beneficial for His Blessing, Grace, Guidance, and

Mercy that have made this Thesis come to its completion.

I would like to express my gratitude and appreciation to the Rector of

University of Sumatera Utara, Prof. Dr. RuntungSitepu,S.H., M.Hum., Dean of

Faculty of Cultural Studies, Dr. Budi Agustono,M.S., the Head of English

Department Dr. Deliana,M.Hum., and the Secretary of English Department,

RahmadsyahRangkuti,M.A., Ph.D., who have given a great opportunity and fully supported to complete this thesis.

I give much of gratitude to my advisor, Dr. Siti Norma Nasution,M.Hum and my co-advisor Dra. DiahRahayuPratama, M.Pd. who have given brilliant supervision, generous guidance, advise, encouragement and patience to shape the ideas into the thesis and I give thanks to all lecturers of English Department who have already taught me previously.

I would also like to give much appreciation to BapakSukirno as the staff of

English Department for his contribution in accomplishing the administration matters.

Especially, I would like to give my power of love to my beloved parents,

Alm. Abdul Hayat Siregar, I know you cannot be by my side, but you are always in my heart. May Allah give you the best place in the heaven, and also UpiHajra who always cheers me up in every situation and supports both material and spiritual contribution, continuous prayer and patience that will never be forgotten.

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Universitas Sumatera Utara I would like to thank for togetherness of my friends in English Department, especially for your helping, support, and care for this four years.

Also I express much gratitude to my all-time favorite partner,

SitiHartinaHarahap,S.S. who always has her way to support me in completing this thesis.

Finally, I fully realize for everything the weakness of this thesis. Therefore, constructive criticism, advice, and suggestion aimed for this thesis will be warmly welcomed and most appreciated.

I hope this thesis be able to give some contribution as a good reference

Medan, October 20th, 2017

M. Randy UtamaSrg

130705089

viii

Universitas Sumatera Utara

ABSTRACT

This thesis analyses surrealism in Haruki Murakami’s novel 1Q84. This thesis identifies the characteristic that builds the idea of surrealism in the novel along with explaining how surrealism works to resolve the idea of reality and dream in the novel. The writer uses Surrealism theory, which focusing on Automatic Writing with Juxtaposition as its characteristic to build the surrealism idea and Surrealist Imageas a result of Automatic Writing itself to resolve the idea of reality and dream in the novel. The method of this study is qualitative. The data are words, phrases, sentences, actions, dialogue between characters, or some quotations that are related to surrealism in 1Q84 novel. In analyzing the data, the writer uses intrinsic approach to the novel. The result of the study shows that the juxtaposition as a characteristic that builds the surrealism idea is portrayed in the novel as the event of character’s dream or subconscious mind becomes in one line and also affects with reality which is normally and logically unrelated. Murakami creates the surrealist image such as two moons to build the idea of parallel world in the novel to resolve the idea of reality and dream. The two moons gives the idea of creating another world, 1Q84. Murakami uses the idea of another world to resolve the contradiction of reality and dream in the novel by giving a mindset the reader that in a parallel world of 1Q84, anything can happen.

Keyword: Surrealism, Automatic Writing, Juxtaposition, Surrealist Image.

Universitas Sumatera Utara ABSTRAK

Skripsiinimenganalisistentang surrealism pada novel Haruki Murakami, 1Q84.Skripsiinimengidentifikasikarakteristik yang membangun ide surealismepada novel bersamadenganmenjelaskanbagaimanacarasurealismebekerjauntukmenyatukan ide realitadanmimpi di dalam novel.PenulismenggunakanteoriSurealisme yang focus padaAutomatic Writing denganJukstaposisisebagaikarakteristik yang membangun ide surealismedanGambaranSurrealissebagaihasildariAutomatic Writingitusendiriuntukmenyatukan ide realitadanmimpi di dalam novel. Metodepenelitian yang digunakanadalahmetodekualitatif. Data yang digunakanberupa kata, frasa, kalimat, tindakan, dialog antarkarakterataukutipan- kutipan yang terkaitmengenai surrealism pada novel 1Q84. Dalammenganalisis data, penulismenggunakanpendekatan intrinsic terhadapnovel.HasilanalisismenunjukkanbahwaJukstaposisisebagaikarakteristik yang membangun ide surrealism tergambar di dalam novel sebagaiperistiwadimanamimpiataualambawahsadarkaraktermenjadisatudanmempeng aruhirealita yang padadasarnyatidakberhubungan.Murakami menciptakanGambaranSurrealisyaituduabulanuntukmembangun ide adanyaduniaparalel di dalam novel untukmenggabungkan ide realitadanmimpi.Duabulanmembawakan ide munculnyadunialain, 1Q84. Murakami menggunakan ide dunia lain untukmenggabungkan ide kontraakanrealitadanmimpi di dalam novel denganmemberikanpolapikirkepadapembacabahwa di dunia parallel 1Q84, apasajabisaterjadi.

Kata Kunci: Surrealisme,Automatic Writing, Jukstaposisi, GambaranSurrealis.

Universitas Sumatera Utara

TABLE OF CONTENTS

AUTHOR’S DECLARATION ...... v COPYRIGHT DECLARATION ...... vi ACKNOWLEDGEMENTS ...... vii ABSTRACT ...... ix ABSTRAK ...... x TABLE OF CONTENTS ...... xi

CHAPTER 1: INTRODUCTION ...... 1 1.1 Background of the Study ...... 1 1.2 Problems of the Study ...... 4 1.3 Objectives of the Study ...... 5 1.4 Scope of the Study ...... 5 1.5 Significance of the Study ...... 5

CHAPTER II: REVIEW OF LITERATURE ...... 6 2.1 Surrealism ...... 6 2.1.1Automatic Writing ...... 9 2.2 Juxtaposition ...... 10 2.3 Surrealist Images ...... 11 2.4 Novel ...... 13 2.5 Relevant Studies ...... 15

CHAPTER III: METHOD OF RESEARCH ...... 16 3.1 Research Design ...... 16 3.2 Data and Source of Data ...... 16 3.3 Data Collecting...... 17 3.4 Data Analysis ...... 17

Universitas Sumatera Utara CHAPTER IV: ANALYSIS AND FINDINGS ...... 18 4.1 Juxtapositions in 1Q84 ...... 18 4.2 Surrealist Image in 1Q84 ...... 25 4.3 Findings ...... 37

CHAPTER V: CONCLUSIONS AND SUGGESTIONS ...... 39 5.1 Conclusions ...... 39 5.2 Suggestions ...... 40

REFERENCES ...... 41 APPENDICES ......

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Universitas Sumatera Utara CHAPTER I

INTRODUCTION

1.1 Background of the Study

Novel is a literary work that narrates life experience. We may discover meaning in novel by looking at what the author writes or says, and how he or she says it. We may interpret and debate an author‘s message by examining the words he or she chooses in a given novel or work or observing which character or voice serves as the connection to the reader. We also have to consider about the developments in literature. Literature can develop over time because literature itself is a work creativity, imagination, and expression.―Writers have, of course, always been interested in the world around them, but the development of the novel reflects a move away from essentially religious view of life towards a new interest in the complexities of everyday experience. Most of novels are concerned with ordinary people and their problems in the societies in which they find themselves‖ (John Peck and Martin Coyle, 1987).

Novel is also a part of prose for the discussion of facts and topical reading as it is often articulated in free form writing style. A novel (lat.novella, new things) is an extended work of prose fiction, longer than a short story or medium-length fiction, called a novelette or novella (Whitla, 1934:155)

Novel is a literature work that can‘t be separated by movements that people brought over time. One of those movements is Surrealism.Surrealism in literature can be defined as an artistic attempt to bridge together reality and dream. Initiated by

Universitas Sumatera Utara Andre Breton (1896-1966), Surrealism began as an artistic movement in Paris in the

1920s and lasted until the 1940s. Surrealists seek to overcome the contradiction of the conscious and the unconscious mind by creating unreal or bizarre stories full of juxtapositions. Using surrealist imagery, ideas, or poetic techniques, writers attempt to stretch the boundaries, free the mind, and make the readers think. Surrealism is meant to be strange and shocking. It forces people out of their comfortable ideas.

―I believe in the future resolution of these two states—outwardly so contradictory— which are dream and reality, into a sort of absolute reality, a surreality.‖ (Breton,

1969:14)

According to The Oxford Dictionary of Arts and Artists(2009:611), the central idea of surrealism is to release the creative powers of the unconscious mind or as Breton put it ‗to resolve the contradictory conditions of dream and reality into an absolute reality, a super-reality‘.

The reason why the writer chooses this study is because most people still interpret surrealism as something weird, absurd, and difficult to understand. While the truth is, the Surrealists were influenced by psychoanalytic ideas, and they use automatic writing as their literary technique that allows them to write in a way that is more in tune with unconscious drives and impulses, we can say that surrealism is the free way to express ideas, in this case, through literature. The automatic technique that the Surrealists have allows them to automatically write what is on their mind without having any censorship. Automatic technique allows surrealists to write everything inside their mind, that way, surrealists create surrealist images in their work.

Universitas Sumatera Utara In this case, the writer focuses on Haruki Murakami‘s novel 1Q84 to be analyzed. Haruki Murakami is a Japanese writer. His books and stories have been bestsellers in Japan as well as internationally, with his work being translated into 50 languages and selling millions of copies outside his native country. The critical acclaim for his fiction and non-fiction has led to numerous awards, in Japan and internationally. He is also considered an important figure in postmodern literature.

Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his works and achievements.

1Q84 is a philosophical novel about the journey in a parallel world. The writer chooses this novel because in 1Q84, Haruki Murakami created a dystopia in a parallel world with many contradictories between reality and dream. In this novel, we can analyze enough examples of surrealism idea to get more understanding about surrealism and how it works in a literary work.

Haruki Murakami‘s 1Q84 revolves around the perspective of two characters that travel to the parallel world ―1Q84‖. The world appears identical except for the machinations of the Little People, a group of magical dwarves who speak through the leader of a religious cult, and the presence of an extra moon. The female protagonist is Aomame, a gym instructor by day who is an assassin of sexual abusers by night.

Her soul mate is Tengo, a cram-school teacher who aspires to be a novelist and has brought about the wrath of the Little People by ghostwriting a story by 17 year-old

FukaEri detailing their existence and manipulation. Despite only knowing each other for a few brief years in elementary school, Aomame and Tengo are pulled together

20 years later in 1Q84 by something only describable as ―destiny‖. However, the overarching theme is that Aomame and Tengo are meant to be together.

Universitas Sumatera Utara The writer would like to analyze the surrealism through surrealism its characteristic and how it works in the novel. The surrealists use automatic technique that allows them to write everything on their mind that creates surrealist images that might cause confusion to the readers because they do not understand what the author wants to tell in the novel. This confusion is based on the abnormalities that author put in the novel‘s reality. However, the author puts the abnormalities in the novel with an intention to convey something to the readers. The writer intends to analyze these abnormalities by understanding the surrealism idea of Haruki Murakami‘s novel 1Q84.

In this novel, it‘s so interested how the author chooses to create such a long plot to tell about a simple love story, yet, the long plot itself represents the surrealism atmosphere that brings the readers unconscious mind to the surface to pushes the readers to think out of the box to understand what the author wants to convey. This study helps the readers to understand about the surrealism itself by describing the characteristic that builds the idea of surrealism itself and how it works to resolve the idea of reality and dream in the novel of 1Q84. So there comes a study entitled An

Analysis of Surrealism in Haruki Murakami’s Novel 1Q84.

1.2 Problems of the Study

So in line with the background of the study, the writer will analyze the problems below:

1. How is the characteristic that builds the surrealism idea portrayed in Haruki

Murakami‘s novel 1Q84

Universitas Sumatera Utara 2. How surrealism resolves the idea of reality and dream in Haruki Murakami‘s

novel 1Q84.

1.3 Objectives of the Study

Related to the problem those the writer has mentioned before, the objectives of this study are:

1. To find out how the characteristic that builds the surrealism idea is portrayed

in Haruki Murakami‘s novel 1Q84

2. To find out how surrealism resolves the idea of reality and dream in Haruki

Murakami‘s novel 1Q84.

1.4 Scope of the Study

In order to avoid wider analysis, the writer of this study only focuses on surrealism idea in Haruki Murakami‘s novel 1Q84. In this study the writer would like to analyze the characteristic that builds the idea of surrealism along with the idea of how it works in the novel of 1Q84.

1.5 Significance of the Study

The analysis of this study is expected to be able to give significance for the reader, both theoretically and practically. Theoretically, the significance is to enrich the surrealism studies through literary work. Practically, it shows the realization of surrealism in Haruki Murakami‘s novel 1Q84.The writer hopes this analysis would be useful for the readers to enrich their knowledge, especially for future students who have interest in this kind of analysis.

Universitas Sumatera Utara CHAPTER II

REVIEW OF LITERATURE

2.1 Surrealism

Literary work can‘t be separated by the movements people brought over time.

Literary movements are marked by shared traits of style, subject, and literary genre.

Among the major movements in literature, the first one is Romanticism.

Romanticism is a literary movement that emphasizes emotion and imagination. The writers of this age were greatly inspired by nature. Never has there been more focus on the beauty of nature than in the Romantic age. The approximate period of this age was from 1800 to 1850. Later after Romanticism, there is Realism in the mid- nineteenth century. Realist writers sought to narrate their novels from an objective, unbiased perspective that simply and clearly represented the detail descriptions of everyday life, and dialogue that captures the idioms of natural speech. The next major movement is Modernism in the early of twentieth century. Modernism is a philosophical movement that along with cultural trends and changes. Modernism is a more varied movement, incorporating different styles, as well as reactions to growing science and technology.

Surrealism is a cultural movement that began in the early of 1920, and is best known for its visual artworks and writings. With the horrors of World War I still in

Europe‘s wake, art had become controlled by politics. It came to be used as a way of maintaining order and keeping the revolution at bay. However, surrealists wanted to break free from the constraints being posed on art and to do so in an extreme, yet

Universitas Sumatera Utara positive way. Writer and philosopher Andre Breton propelled this movement with his publication of The Manifesto of Surrealism, as a way of fighting against the way art was understood at the time. Though they fought against political control, the movement‘s goal was not political in nature. Surrealism sought to free people spiritually and psychologically. These artists and writers wanted to repair the damage done by World War I.

―Surrealism, n. Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral concern.‖

(Breton, 1929)

Surrealism in literature can be defined as an artistic attempt to bridge together reality and dream. Surrealists seek to overcome the contradiction of the conscious and the unconscious mind by creating unreal or bizarre stories full of juxtapositions.

Using surrealist imagery, ideas, or poetic techniques, writers attempt to stretch the boundaries, free the mind, and make the readers think.

During the war, Andre Breton, who had trained in medicine and psychiatry, served in a neurological hospital where he used psychoanalytic method with soldiers suffering from shell-shock. Andre Breton used the automatic writing, the writing method in which people spontaneously writing without censoring their thoughts as a therapy after the war broke. The purpose of automatic writing is to free the mind and bring the unconscious mind to the surface. Automatic writing is also the method that surrealist writers used and it also has the same function as it has as therapy purpose.

Universitas Sumatera Utara While the movement itself may have ended, surrealism still exists in much of today‘s literature. Surrealist literature will have contrasting images and or ideas. This technique is used to help readers to make new connections and expand the reader‘s reality, or rather the reader‘s idea of what reality is. They pull from Freudian ideas of free association as a way to steer readers away from societal influence and open up the individual‘s mind.

The central idea of surrealism is to release the creative powers of the unconscious mind, or as Andre Breton (1969) put it “to resolve the previously contradictory conditions of reality and dream into an absolute reality, super- reality”. The word ‗contradictory‘ here helps people to understand the difference between surrealism and fantasy-based literary work. In fantasy novel, such as J.K.

Rowling‘s Harry Potter, there is no contradictory of reality and fantasy. Even if we find things like magic world, mythical beasts, and any other fantasy elements in the novel, we cannot find any contradictory between the reality and the fantasy there because the readers already accept the magical world as part of the reality in the novel right in the beginning. In surrealism, the dream ideas are put in the novel and they contradict the novel‘s reality. So the readers still think about it as something weird. The readers still cannot accept the dream ideas as part of novel‘s reality, yet, the fact of the ideas itself are there within the plot. This way, surrealism forces the readers to bring their unconscious mind to the surface to expand the reader‘s idea of reality.

Surrealism is made using the style that Breton discovered and published it in the manifestoes. The surrealist atmosphere created by automatic writing, which I

Universitas Sumatera Utara have wanted to put within the reach of everyone, is especially conducive to the production of the most beautiful images.‖ (Breton, 1969)

2.1.1 Automatic Writing

In literature, automatism refers to creating literary work not just with conscious thought, but also unconscious thought as part of creative process.

―Automatisme (Automatism). This is the collective term for the processes whereby

Surrealist artists and writers sought to liberate the subconscious mind as they explored the nature of Inspiration.‖ (Aspley, 2010)

Automatism lets the writers to write everything on their mind without having concern about the conscious idea of reality. Surrealist writers use automatic writing to free their mind about the idea of reality. This free way of writing causes the readers to hardly understand about what the author wants to tell because with this writing style, author puts things that are basically not exist in an idea of reality.

Automatic writing is meant to be the extraction of free association psychoanalysis from oneself, wherein whatever comes to mind is what is written, with no conscious editing. (Turkel, 2009)

Aspley (2010) also mentioned that automatic writing in surrealism is the attempt to express the workings of the subconscious mind and is characterized by incongruous juxtapositions.

Automatic writing also produces an image that reconciled with dream as a result of automatic writing itself to resolve the idea of reality and dream in the novel.

Universitas Sumatera Utara The image that Breton mentioned in his manifestoes is also described in Historical

Dictionary of Surrealism:

―Breton‘s chance discovery of automatic writing provided him with what he saw as the key to the production of vast quantities of such images, images that he would quickly call as surrealist images.‖ (Aspley, 2010)

In this study, the writer would like to analyze the juxtaposition to find out how the characteristic that builds the surrealism idea itself is portrayed in the novel and how the surrealism in the novel resolves the idea of reality and dream using the surrealist image in the novel.

2.2. Juxtaposition

Gale (2008) mentioned that the surrealists relied heavily on the positioning of their words to create the effects they sought. In many cases, surrealists would place unrelated, often contradictory words or events next to each other in attempt to achieve an image that reconciled dreams with reality.

This writing style makes the surrealists free their mind in conveying ideas without having concerns about the boundary of the idea of reality itself. This way, surrealists prefer to tell things through imaginary ideas that the readers have to understand by expanding their ideas of what reality is. We can find one of the results of automatic writing from Kafka on the Shore novel by Murakami (2005) in its dialogue below;

―Nakata can‘t really remember. They don‘t know why, but I had a high fever for about three weeks. I was unconscious the whole time. I was asleep in a bed in a hospital, they told me, with an intra venus in me. And when I finally woke up, I couldn‘t remember a thing. I‘d

Universitas Sumatera Utara forgotten my father‘s face, my mother‘s face, how to read, how to add, what my house looked like inside. Even my own name.my head was completely empty, like a bathtub after you pull the plug. They tell me before the accident Nakata always got good grades. But once I collapsed and woke up I was dumb. My mother died a long time ago, but she used to cry about this a lot. Because I got stupid. My father never cried, but he was always angry.‖ ―Instead of being smart, though, you found yourself able to talk with cats.‖ ―That‘s correct.‖ ―Interesting. . . .‖

The dialogue above shows us how surrealist writer uses automatic writing as his based. The point of the dialogue above is how a character named Nakata who used to be a smart kid ‗got stupid‘ after he got collapsed from a high fever.

Moreover, he is able to talk with cats after the incident. These random things are the result of automatic writing. Normally, people who got collapsed after the high fever won‘t have any bizarre effect other than medical aftereffects. But that dialogue shows us the event in which Nakata got collapsed and he suddenly ‗got stupid‘, moreover could be able to talk with cats after that are incongruous juxtaposed. That gives the author of the novel a full authority to write anything he wants, anything inside his mind, even if it‘s random things such as a dialogue above because in automatic writing, there is no such thing as boundary that chains the idea of the surrealists to express their thoughts.

2.3 Surrealist Images

Surrealist images are the result of automatic writing that gives surrealist atmosphere within the surrealist works. Surrealist images are created through a free way of writing using automatic writing that takes shape in imagery through words in

Universitas Sumatera Utara literary works. The classification of surrealist images is also described in Historical

Dictionary of Surrealism:

―It may be helpful to remember the very provisional classification of Surrealist

Images that Breton drew up in his 1924 manifesto, that is ‗apparent contradiction‘, blends of the abstract and the concrete.‖ (Aspley, 2010)

The apparent contradiction in surrealist images, as Aspley said, blends the abstract and the concrete. The images that also described by Breton (1969) to be built by realistic images that are distorted, dream-like, and psychologically contrasting.

This way, surrealist images build the idea of surrealism as an attempt to bridge together reality and dream. It is as Andre Breton (1969) put it “to resolve the previously contradictory conditions of reality and dream into an absolute reality, super-reality”.

The contradictory of surrealist images force the readers to expand their idea of reality in order to accept the contradictory itself. In short, Surrealist images are imagery created by imagination of the author that blends in the idea of reality, so the contradictory is visible to classify one as surrealist image.

Surrealist writers, as Gale (2008) has described in Literary Movements for

Students, use language in their works to create different kinds of images, in a literal or figurative manner. An image can represent physical objects, emotions, metaphysical ideas, and virtually anything else.

Universitas Sumatera Utara 2.4 Novel

In literature, the most general genres is divided into three, they are drama, prose, and poetry. Prose is the ordinary form of written language that can be divided into two categories, they are fiction and nonfiction. Fiction refers to prose stories based in the imagination of author, and it is not considered as fact, though some of the fictions are based on a true experience of people or the author themselves.

Nonfiction stands for the writing that tells about real people, places and events.

According to Nurgiantoro (2009), ―The non-fiction works are autobiography, diary, essay, and history. On the other hand, the fiction works are tales, roman, short story, and novel.‖

Novel is one of literary work that portrays the ideas or the thoughts of the author. Novel is also the media of the author to express the feeling and the passion within because novel is a literary work that narrates life experience. This is also the way of the author to communicate with others by pouring their ideas into the literary work.

Novel is used to show and express an extra ordinary event that happened to someone. It means that novel is a way for the writer to find out extra ordinary happened in the story. By reading the novel, it is hard to get the event if the story is not read many times episode by episode. Because of that, making the important quotations will help the writer understand what event happened.

Hawthorn (2001:102) states that novel is fictions prose narrative or table of considerable length (now usually long enough to fill one or more volumes) in which characters and actions representative of the real life of past or present time are

Universitas Sumatera Utara portrayed in a plot more or less complexity. Wellek (1963) stated that there are two approaches in analyzing the literary work, which are intrinsic and extrinsic approach.

Those two approaches play an important role in a story to make it well arranged and satisfy the readers.

Roberts (1995) defines novel as a literary work that contains character, plot, theme, setting, point of view, and style. Those are related to each other and will construct a story in the novel.

The first is the character. Roberts and Jacobs (1995) say that ―Character is a reasonable facsimile of human being, with all the good and bad traits of human being‖. It shows that character is the reason of imitation of human being who has good and bad traits.

The second is plot. Plot is basically sequences of events in logical and chronological relations which are interrelated, caused or experienced by the characters. Roberts and Jacobs (1995) say that the plot is based on the interactions causes and effects as they develop sequentially or chronologically. It means that the plot is the main story has a relation between causes and effects that develop into well organized

The third is theme. Theme is the main idea in the story. Theme is the relation between idea and purpose of the fiction that written by the author. To find the theme, the reader must read the whole stories of the novel.

The fourth is setting. Setting contains time, place, and atmosphere. Stanford

(2003) says, ―Setting is the time and place of a literary work. Setting includes social, political, and economic background as well as geographic and physical locations.‖ It

Universitas Sumatera Utara means that setting related to atmosphere around makes the readers brought the situations in the novel.

The fifth is point of view. Point of view is the way of the author place himself in the story. The author expresses the emotional and mental feeling of character in the story to help the reader find the events.

2.5 Relevant Studies

 Drucker, Johanna. 1993. “Review: Dada Collage and Photomontage”, in Art

Journal, Vol. 52, No. 4, Interactions between Artists and Writers. Drucker in

her journal wrote about the dada movement which is the first step into

surrealism, the issues related to the movement, and the information about the

artists that are well-known in the beginning of surrealism.

 Aspley, Keith. 2010. Historical Dictionary of Surrealism. Plymouth: The

Scarecrow Press, Inc. The content of the book is about the information

toward surrealism in every aspect such as literature, theater, movie, art, and

others.

 Mahon, Alyce. 2011. “The Lost Secret Frida Kahlo and the Surrealist

Imaginary‖, in Journal of Surrealism and the American. In this Journal,

Mahon wrote about the two artists in the beginning of surrealism and their

existences in that era.

 Lestari, Thermalita. 2012. AnalisisTemadan Unsure SurealismeDalamCerpen

„Nalgae‟ Karya Yi Sang. Depok: Universitas Indonesia Press. This is the

study about theme in a short story Nalgae, described surrealism in it. The

result of this analysis is surrealism elements that affect characters and setting

to portray the condition of characters mental states that support the theme.

Universitas Sumatera Utara CHAPTER III

METHOD OF RESEARCH

3.1 Research Design

In writing an analysis, this study needs a research method or the researcher to understand completely and collect all the data in the process to complete a research.

In analyzing Haruki Murakami‘s 1Q84, the researcher will use descriptive and qualitative method. Qualitative research method is multi method in focus, involving an interpretive, naturalistic approach to its subject matter. As stated in Taylor

(2005:100) in his book Integrating Quantitative and Qualitative Methods in

Research:

―Qualitative research involves the studies use and experiences, introspective, life story, interview, observational, historical, interactional, and visual texts – that describes routine and problematic moments and meanings in individual‘s lives.‖ (Denzin & Lincoln, 1994; Patton, 2002)

The researcher will have the necessary steps to be used to achieve the most effective results of the study and the steps are consisted of research design, data sources, data collection, and data analysis.

3.2 Source of Data

Source of data is collected from the novel entitled 1Q84 by Haruki

Murakami. In the process of collecting data, the writer divides the data into two, primary and secondary data. The primary data is taken from words, phrase,

Universitas Sumatera Utara sentences, actions, and dialogue between characters or some quotations that related to surrealism in 1Q84 novel. The secondary data is taken from articles, thesis, or other sources that supported to the topic.

3.3 Data Collecting

In the step of data collecting procedure, the researcher needs both primary and secondary data sources. First of all, the writer starts with reading the novel 1Q84 more than twice to get further understanding and taking down any notes of surrealism elements found in the novel. The researcher also looks into secondary data such as collecting related data from books, articles, webs and other supporting material that is relevant to the topic of the study.

3.4 Data Analysis

After all the data and information that is related to the topic is collected, then the data will be selected only the significant data is used in the process of finishing this study. The data will be selected are related to the topic about surrealism. All the selected data then will be analyzed using surrealism theory to achieve the objective of this study. The writer will analyze the primary data with secondary data then finally can come to the conclusion of the study.

Universitas Sumatera Utara CHAPTER IV

ANALYSIS AND FINDINGS

4.1 Juxtapositions in 1Q84

In 1Q84 novel, Murakami creates juxtaposition by making unrelated and contradictory events as a characteristic that builds the surrealism idea. It is portrayed in Murakami‘s idea by creating bizarre events in the novel to make the readers think whether the characters are dreaming or not. Murakami combines the event of character‘s dreams and reality in one line, which is logically unrelated.

The first time of this case happens when Fuka-Eri is staying in Tengo‘s place.

It is the time when Aomame is about to kill the Leader of Sakigake. At that time,

Fuka-Eri asks for Tengo to sleep.

―. . .We have to sleep.‖ ―Do you think we can sleep with all this thunder going? And it‘s barely past nine,‖ Tengo said anxiously. (1Q84; Haruki Murakami: 596) ―We can sleep,‖ FukaEri said. And she is right. Even in the midst of the violent downpour, surrounded by thunder rattling the building and beset by his jangled nerves and his stubborn erection, Tengo drifted in to sleep before he knew it. He couldn‘t believe such a thing was possible,‖ (1Q84; Haruki Murakami: 597)

Fuka-Eri‘s asking for Tengo to sleep in the night where Aomame is about to kill the Leader of Sakigake creates confusion of the readers about something might

Universitas Sumatera Utara just related between the two events. Even when the night is filled with thunder storm,

Tengo successfully drifts into sleep.

He was naked when he awoke, and so was Fuka- Eri. Completely and totally naked. I was sleeping,Tengo realized. How long was I sleeping? ―I can‘t move my body,‖ he said. It was true. He was trying to raise himself, but he couldn‘t move a finger. He could feel his body – feel the weight of Fuka-Eri‘s body on top of his. ―You have no need to move it,‖ Fuka-Eri said. ―I do have a need to move it. it‘smy body,‖ Tengo said Fuka-Eri said nothing in response to that. (1Q84; Haruki Murakami: 597-598)

When Tengo suddenly wakes up, he and Fuka-Eri is naked, and Tengo can‘t move his body without any reason. This bizarre event happens after Tengo took a sleep, so there is possibility in readers mind that this might happen in Tengo‘s dream knowing that he can‘t move his body as if it was Fuka-Eri‘s doing.

―Don‘t worry,‖ Fuka-Eri said, moving her body lower down on his. The meaning of her movement was clear. Her eyes had taken on a certain gleam, the hue of which he had never seen before.‖ (1Q84; Haruki Murakami: 598)

At this point, they are having intercourse in a state where Tengo can‘t move his body. Rather than thinking about it sexually, the intercourse acts like a ritual that spiritually paralyzing Tengo‘s body.

Universitas Sumatera Utara ―Close your eyes.‖ Tengo did as he was told. Inside his closed eyes he found a deep, gloomy space – so deep that it appeared to extend to the center of the earth. The next thing he knew he was ten years old and in an elementary school classroom. This was real time and real place. Only he and the girl were in the room. There was no sign of other children. She was quick to seize the opportunity and she did so boldly. Or perhaps she had been waiting for this to happen. In any case, standing there, she stretched out her right hand and grasped Tengo‘s left hand, her eyes looking straight into his. (1Q84; Haruki Murakami: 600)

After Tengo closes his eyes, he is brought to his ten-years-old-self with a girl in his elementary school‘s classroom. This vision of Tengo happens at the time he has intercourse with Fuka-Eri. After that, Tengo ejaculates in his vision.

In the next second, Tengo realized that he was ejaculating. The violent spasm went on for several seconds, releasing a great deal of semen in a powerful surge. Where is my semen going? Tengo‘s garbled mind wondered. Ejaculating like thing after school in a grade school classroom was not an appropriate thing to do. He could be in trouble if someone saw him. But this was not a grade school classroom anymore. Now he realized that he was inside Fuka-Eri, ejaculating toward her uterus. This was not something that he wanted to be doing. But he could not stop himself. Everything was happening beyond his control. (1Q84; Haruki Murakami: 601-602)

The event is weirdly juxtaposed since the beginning. Tengo takes his sleep and he is awakened, naked with Fuka-Eri, without having any control of his body as if it is Fuka-Eri‘s doing, and they are having intercourse like it is some kind of ritual.

Universitas Sumatera Utara Once Tengo closes his eyes as he is told, he finds himself as a ten year old boy in an elementary classroom with a girl holding his hand, and he ejaculates as if it is a wet dream. The event runs like a dream would like to be that rises the surrealism atmosphere in the novel where reality and dream get contradicted.

I‟m sure I‟ll be able to understand the meaning and purpose of this incident in the future, Tengo thought. What I have to do now, in order to make that happen, is to record this moment in my mind as clearly and accurately as possible. (1Q84; Haruki Murakami: 601)

Tengo knows the dream he has must have something to do with him. The dream gives a message for Tengo about something to make him remember.

Aomame, Tengo thought. I have to see Aomame, Tengo thought.I have to find her. Why has it taken me so long to realize something so obvious? (1Q84; Haruki Murakami: 603)

Later on, Aomame gets pregnant without her knowing. Aomame is a careful person regarding sex to begin with. Yet, she gets pregnant even without having sex.

Aomame‘s pregnancy suddenly comes without causes beforehand.

What would my mother say if I told her I got pregnant without having had sex? She might see it as a terrible sacrilege against her faith. (1Q84; Haruki Murakami: 888)

Universitas Sumatera Utara The confusion about Aomame‘s pregnancy keeps getting more bizarre when

Aomame thinks that the child she has is Tengo‘s. It is weirdly juxtaposed since

Aomame haven‘t meet Tengo for twenty years, she gets pregnant without having any sex, yet she believes that the child is Tengo‘s.

Maybe this is Tengo‘s child inside my womb. Aomame frowned a bit and considered this. Why do I have to be pregnant with Tengo‟s child? How about looking at it like this? She thought. On that chaotic night, when so much took place, some process was at work in this world and Tengo sent his semen into my womb. (1Q84; Haruki Murakami: 889)

If I‘m pregnant without having had sex, who could the man possibly be other than Tengo? (1Q84; Haruki Murakami: 927)

This juxtaposition combines the event of Tengo‘s dream in reality which is logically unrelated. Tengo‘s intercourse with Fuka-Eri sends him to his vision or dream in meeting Aomame. In Tengo‘s dream, he ejaculates in a state where he is in his 10-year-old self with Aomame holding his hand. It can also be interpreted as

Tengo‘s wet dream with Aomame as it is portrayed that he is ejaculating in his dream. While in fact, he is having intercourse with Fuka-Eri in reality. Murakami combines the event of Tengo‘s dream in reality by making Aomame pregnant instead of Fuka-Eri without any logical explanation, and Aomame also believes that her pregnancy caused by Tengo.

Universitas Sumatera Utara At the later moment, the second case also happens to Tengo where he is with

Kumi Adachi, a nurse in a hospital where Tengo‘s father gets into. Kumi invites

Tengo to her house to try hashish she has.

―Tengo, have you ever tried hashish?‖ ―Hashish?‖ ―Cannabis Resin.‖ Tengo breathed in the night air and exhaled.‖ No, I never have.‖ ―How about trying some?‖ Kumi Adachi asked. ―Let‘s try it together. I have some at home.‖ (1Q84; Haruki Murakami: 854)

Hashish is a drug made from Cannabis. Cannabis Resin is consumed by smoking a few grains, typically in a pipe, bong, vaporizer or joint. They are trying the hashish in Kumi‘s house.

―Nothing‘s happening,‖ Tengo said. ―Maybe it doesn‘t work on me.‖ Kumi lightly tapped his knee twice. ―Don‘t worry. It takes time.‖ And she was right. Finally it hit him. He heard a click, like a secret switch being turned on, and then something inside his head sloshed thickly. It felt like tipping a bowl of rice porridge sideways. My brain is vibrating. Tengo thought. (1Q84; Haruki Murakami: 860)

When the effect of Hashish gets into Tengo‘s mind, the idea of reality and dream is switched again just like when Tengo got his sleep with Fuka-Eri. His losing

Universitas Sumatera Utara consciousness by the Hashish takes him once again to his classroom twenty years ago.

Tengo found himself in an elementary school classroom. The window was wide open and children‘s voices filtered in from the schoolyard. The wind blew, almost as an afterthought, and the white curtains waved in the breeze. Aomame was beside him, holding his hand tightly. It was the same scene as always – but something was different. (1Q84; Haruki Murakami: 861)

It is like the time he has with Fuka-Eri, it is when his consciousness is getting vague, whether it is from the sleep or the effect or the Hashish.

―I wanted to see you,‖ Tengo said to Aomame. His voice was far away and faltering, but it was definitely his voice. ―I wanted to see you, too,‖ the girl said. The voice sounded like Kumi Adachi‘s. He couldn‘t make out the boundary between reality and imagination. If he tried to pin it down, the bowl slipped sideways and his brains sloshed around. Tengo spoke. ―I should have started searching for you long ago. But I couldn‘t‖ ―It‘s not too late. You can still find me,‖ the girl said. ―But how can I find you?‖ No response. The answer was not put into words. ―But I know I can find you,‖ Tengo said. The girl spoke. ―Because I could find you.‖ ―You found me?‖ ―Find me,‖ the girl said. ―While there‘s still time.‖ (1Q84; Haruki Murakami: 862)

Universitas Sumatera Utara

The conversation happens when both Tengo and Kumi are in Hashish‘s effect. The idea of reality and dream get contradict again since the sound that Tengo hears as reply is that of Kumi‘s voice, but his imagination sees her as Aomame. Even

Tengo himself says that he can‘t make out the boundary between reality and imagination. The sound of Kumi confirms that it is Kumi herself who answers

Tengo. Even when both of them are in Hashish‘s effect, it is weirdly juxtaposed that

Kumi answers Tengo in a conversation that she actually doesn‘t know about. When

Kumi‘s losing her consciousness, she acts as mediator to give a message to Tengo about Aomame.

In the novel, the message for Tengo is sent toward his subconscious through his dream and his subconscious during Hashish‘s effect. Both cases create the incongruous juxtaposition in which the event in character‘s dream and subconscious is in one line with reality, which is normally and logically unrelated.

4.2 Surrealist Image in 1Q84

Surrealist image is an image produced by automatic writing, an image that reconciled with dream to resolve the idea of reality and dream in the novel. In 1Q84,

Murakami creates the image of the two moons.

―There were two moons in the sky – a small moon and a large one. They were floating there side by side. The large one was the usual moon that she had always seen. It was nearly full, and yellow. But there was another moon right next to it. It had an unfamiliar shape. It was somewhat lopsided, and greenish, as though thinly covered with moss. This was what her vision had seized upon.‖ (1Q84;Haruki Murakami: 245-246)

Universitas Sumatera Utara The image of a moon gets distorted into a dream-like image and psychologically contrasting. By creating the surrealist image of the two moons,

Murakami making up an idea of another reality being switched. A parallel world.

Another world that resembles the real world, but in this world, there are two moons in the sky to tell one from the other.

The story starts with Aomame, a female protagonist in the novel takes on a taxi and gets herself a traffic jam in the expressway. The traffic is long enough that she can‘t wait for it due her schedule to meet someone. In the middle of the traffic, the taxi driver knows that Aomame is in rush and so he suggests her to get to the stairway at the turnout to climb it down and get out of the expressway by doing that.

Aomame seems hesitated at first because she has to walk in the middle of the crowded passageway to get to the stairway, but she realizes that waiting for the traffic won‘t do her any good and she accepts the driver‘s suggestion. Before

Aomame gets out, the driver says something unusual all of a sudden.

―Please remember: things are not what they seem.‖ Things are not what they seem, Aomame repeated mentally. ―What do you mean by that?‖ she asked with knitted brows. The driver chose his words carefully: ―It‘s just that you‘re about to do something out of the ordinary. Am I right? People do not ordinarily climb down the emergency stairs of the Metropolitan Expressway in the middle of the day, especially women.‖ ―I suppose you‘re right.‖ ―Right. And after you do something like that, the everyday look of things might seem to change a little. Things may look different to you than they did before. I‘ve had that experience myself. But don‘t let appearances fool you. There‘s always only one reality.‖ (1Q84;Haruki Murakami: 11)

Universitas Sumatera Utara

At this state, the driver gives a clue about what Aomame might encounter afterward as if he knows what will happen to Aomame. Normally, the taxi drivers won‘t say that kind of lines to their passengers, he warns Aomame that she might encounter something out of the ordinary after this even if he refers that as climbing down the emergency stairs of the Metropolitan Expressway in the middle of the day.

After that event, the driver‘s warning comes to sense in which Aomame realizes something has changed around her. As she heads for the station after climbing down the stairway, she passes a policeman on the street wearing the uniform and weapon which are different from Aomame‘s memory. Those are not uniform and weapon for Japan policeman‘s standard issue.

How could police uniforms and pistols have changed without her being aware of it? It was practically unthinkable. She read the newspaper closely each day. Changes like that would have been featured prominently. And besides, she paid careful attention to police uniforms. Until this morning, just a few hours ago, policemen were still wearing the same old stiff uniforms they always had, and still carrying the same old unsophisticated revolvers. She remembered them clearly. It was very strange. (1Q84;Haruki Murakami: 41-42)

Later Aomame asks her colleague, Tamaru, about the police uniform that suddenly changed without her knowing.

―How many years ago did the police get new uniforms and guns?‖ ―That big shootout near Lake Motosu between the Yamanashi Prefectural Police and the radical group took place in mid-October of 1981, and the police had their major reorganization the following year. Two years ago.‖

Universitas Sumatera Utara (1Q84;Haruki Murakami: 107)

Aomame has no recollection of such a big event. Being who she is, Aomame is the typical woman who won‘t miss any news around her, specially the major ones as this.

―There has to be a reason. How could I have overlooked such a major event, one that shook the whole of Japan?‖ ―I‘m too observant, too meticulous for that. I know when something‘s off by a millimeter. And I know my memory is strong. This is why, in sending a number of men to the other side, I‘ve never made a single mistake. This is why I‘ve been able to survive. I read the newspaper carefully every day, and when I say read the newspaper carefully, that means never missing anything that is in any way significant.‖ (1Q84;Haruki Murakami: 132)

At this point, Aomame realizes that the world around her has changed after climbing down the stairway. There is no way she could overlook such major events.

―Maybe I can look at this way – the problem is not with me but with the world around me. It‘s not that my consciousness or mind has given the rise to some abnormality, but rather that some kind of incomprehensible power has caused the world around me to change‖ ―It‘s not me but the world that‘s deranged‖ ―Yes, that settles it.‖ (1Q84;Haruki Murakami: 133)

At some point in time, the world I knew either vanished or withdrew, and another world came to take its place. Like the switching of a track. In other words, my mind, here and now, belongs to the world that was, but the world itself has already changed into something else.

Universitas Sumatera Utara Parallel worlds. (1Q84; Haruki Murakami: 133-134)

She thinks of it as just her hypothesis toward the change of the world, yet she is convinced with it that she is dragged to the other world, a parallel world. She believes that this is not the 1984 of the world she knew before, in 1984 she knew, there weren‘t those events happen. She is convinced that now she is in another 1984.

―1Q84 – that‘s what I‘ll call this new world‖ ―Q is for ‗question mark‘. A world that bears a question.‖ (1Q84;Haruki Murakami: 138)

Murakami creates the world with two moons as a tool for resolving the contradictory between the idea of reality and dream in the novel. Once the two moons appear, it remarks the beginning of surrealism‘s idea working on progress.

. . . This is the year 1Q84. A strange world where anything can happen (1Q84; Haruki Murakami: 889)

Before getting at this point, Aomame and the readers still overlook the fact that there is a major event that suddenly pops out, the event that shouldn‘t be happened before. Also Aomame states that the change is just mere her hypothesis.

But the appearance of the two moons distorts the reality image of one moon with its contrasting image gives the sense of dream-like in the novel.

Universitas Sumatera Utara The appearance of the two moons also forces the readers to expand the idea of reality in the novel. In the novel, Aomame doesn‘t want to ask other people about whether there are actually two moons in the sky or not. Later on, the acquaintance of

Aomame calls her, and Aomame asks him about the moons.

Aomame asked him if he had seen the moon lately. ―The moon?‖ Tamaru asked. ―You mean the moon – up in the sky?‖ ―Yes, the moon.‖ ―I can‘t say I recall consciously looking at it recently. Is something going on with the moon?‖ ―Nothing special,‖ Aomame said. ―All right, see you after four tomorrow.‖ (1Q84; Haruki Murakami: 266)

The next day, Aomame and Tamaru meet and Tamaru brag about the moon

Aomame talked about before.

―I saw the moon last night!‖ he said immediately. ―Oh, really?‖ Aomame said. ―Thanks to you, I started wondering about it. I hadn‘t stopped and looked at the moon in quite a while. It‘s nice. Very calming.‖ ―Were you with a lover?‖ ―Exactly,‖ Tamaru said, tapping the side of his nose. ―Is something up with the moon?‖ ―Not at all,‖ Aomame said, then added cautiously, ―It‘s just that, I don‘t know, I‘ve been concerned about the moon lately‖. ―For no reason at all?‖ ―Nothing in particular,‖ Aomame said.

Universitas Sumatera Utara Tamaru nodded in silence. He seemed to be drawing his own conclusions. This man did not trust things that lacked reasons. (1Q84; Haruki Murakami: 266)

The conversation about the moon is stopped there. Those lines give the uncertainty toward the world Aomame lives in. In Tamaru‘s point of view, he looks at the moon normally, without giving any explanation about whether the moon he looks at is just one or two. We can say that Tamaru is still living in a world he considers as normal. But the idea of ‗normal‘ itself is not clear due to the two moons

Aomame sees. There is no certainty in which the term normal refers to the world with two moons or not, since the term ‗normal‘ for Aomame is the world with one moon in the sky. With this uncertainty, Aomame‘s mind along with the readers get contradicted between the ideas of reality and dream in the novel by not giving a clear fact of the world Aomame is in now. Yet, the readers are forced to believe that the world in which Aomame lives in now has two moons in it. That idea gives the rise of surrealism atmosphere in the novel.

On Tengo‘s side, the two moons is described in the novel he rewrites entitled

Air Chrysalis. The novel itself is the work of Fuka-Eri, a daughter of Sakigake‘s leader who had escaped their commune. The story is about a girl, who lives in a commune and she experiences the dream-like events such as meeting the little people coming out from blind goat‘s corpse, making a chrysalis from the air, and all of those happen in a world with two moons in the sky. Such as Tengo describes in his conversation with his girlfriend about the novel:

―I‘m in a world that isn‘t here.‖

Universitas Sumatera Utara ―So I‘m not in the world that isn‘t here.‖ ―And not just you. The people who are in this world are not in the world that isn‘t here.‖ ―How is the world that isn‘t here different from this world? Can you tell which world you‘re in now?‖ ―Of course I can. I‘m the one who‘s writing it.‖ ―What I mean is, for people other than you. Say, if I just happened to wander into that world now, could I tell?‖ ―I think you could,‖ Tengo said. ―For example, in the world that isn‘t here, there are two moons. So you can tell the difference.‖

(1Q84; Haruki Murakami: 384)

The idea of the two moons comes from the work of fiction that Tengo rewrites in the novel. It means, at this moment we believe that Tengo lives in a world with one moon. Yet, the two moons appear in Aomame‘s sight. This idea forces the readers once again to expand their idea of reality in the novel. At this point readers are in the thought of the reality in which Tengo and Aomame live in got parted. In

Tengo‘s side, the idea of the two moons are just a work of fiction he rewrites, and

Aomame lives in a reality where the two moons are exist even with just her knowing. Also, by the conversation it becomes clear that the appearance of the two moons remarks the sign of another reality being switched.

At this state, the reader idea of normal world is only toward Tengo. It is as if

Aomame and Tengo are separated into two worlds between the world with one moon and the world with two moons, between the one which is real, and the one which is based on dream or imagination. However, both Tengo and Aomame are involved with the issue of Sakigake religious cult. Aomame with her intention of killing the

Leader of Sakigake, and Tengo with his rewriting of Air Chrysalis which both cases

Universitas Sumatera Utara threaten the little people who are considered as Gods in Sakigake. When Aomame is about to kill the leader of Sakigake, they are having a conversation about Tengo.

―Tengo wrote a story about the Little People and their deeds. Eriko furnished the basic story, and Tengo converted it into effective piece of writing. It was their collaborative effort, and it acted as an antibody, countering the momentum of the Little People. It was published as a book and became a bestseller, as a result of which, if only temporarily, the Little People found that many potential avenues had been closed for them, and limits were placed on several of their actions. You have probably heard of the book: it is called Air Chrysalis.” Aomame nodded, ―I‘ve seen articles about it in the newspaper. And the publisher‘s advertisements. I haven‘t read the book, though.‖ ―The one who did the actual writing of Air Chrysalis was Tengo. And now he is writing a new story of his own. In Air Chrysalis – which is to say, in its world with two moons – he discovered his own story.‖ (1Q84; Haruki Murakami: 585)

At this point, the confusion of the readers is rising even more because the

Leader explains about Tengo‘s involvement toward Sakigake to Aomame. The previous thought of the readers that said Aomame and Tengo are in different worlds gets blur. It happens because of the Leader saying that Tengo and the novel he rewrites are exist in the world Aomame lives in, and Aomame also knows about the novel. This way, the reader‘s idea of normal in Tengo‘s world is no longer valid. Yet, there is no certain fact that says Tengo and Aomame are in the same world. It happens because the writing of the novel doesn‘t give a chance for Tengo to look at the moon until this moment. It is still in questioned whether the world of Tengo also has two moons or not. So, even that being said, there is still contradiction between

Universitas Sumatera Utara Aomame‘s and Tengo‘s world, also the contradiction between the reality and dream that once again gives birth to the surrealism atmosphere in the novel.

The image of the two moons, as explained before, is the idea of a novel in which Tengo rewrites. It can be said that the world in Tengo‘s novel appears in reality. The idea of dream or imagination in Tengo‘s novel becomes in one line with reality. It is explained when Tengo sees the two moons for the first time in the novel.

Come to think of it, I haven‟t looked hard at the moon like this for a very long while, Tengo thought. When could the last time have been? Living one hectic day after another in the city, you tend to look down at the ground. You forget to even look at the night sky. It was then that Tengo realized there was another moon hanging in the sky. At first, he thought it might be an optical illusion, a mere trick of light rays, but the more he looked at it, the surer he became that there was a second moon with solid outlines up there. (1Q84; Haruki Murakami: 662)

This can‟t be, Tengo thought. What kind of reality mimics fictional creation? ―No, this can‘t be,‖ he actually said aloud. Or tried to. His voice barely worked. His throat was parched, as if he had just run a very long distance. There‟s no way this can be. That‟s a fictional world, a world that does not exist in reality. (1Q84; Haruki Murakami: 685)

The surrealist image of the two moons also resolves the idea of the two moons by making the idea of the novel which is the idea of imagination, becomes in one line with reality by making the idea truly appears in novel‘s reality.

The two moons in the novel also affects the theme of the novel which revolves around the two main characters, Tengo and Aomame, who are looking for

Universitas Sumatera Utara each other. The two moons resolves the idea of reality and dream to reunite Tengo and Aomame in a world of 1Q84 with a bizarre story full of juxtaposition. The two moons acts a guide for the two main characters in seeking each other.

―We came into this world so that we could meet. We didn‘t realize it ourselves, but that was the purpose of us coming here. We faced all kinds of complications – things that didn‘t make sense, things that defied explanation. (1Q84; Haruki Murakami: 1141)

Those lines explain all things about the novel. They both encounter Sakigake which is things that didn‟t make sense, things that defied explanation, all for them to be reunited once again led by the moon. In short, a story in which two people looking for each other and happen to meet once again. A love story. As for both already meet each other, the moon already fulfill the role in meeting the two of them, and

Aomame asks for Tengo to leave the world of 1Q84 in the way she came in before, through the stairway.

The stairway has to be here, she told herself. I have to believe it. (1Q84; Haruki Murakami: 1143) We have to get out of this world. To do that I have to believe, from the bottom of my heart, that these stairs will lead to expressway. I believe. (1Q84; Haruki Murakami: 1147)

After they climb up the stairway, they come out onto Metropolitan

Expressway No. 3 where Aomame got out from the taxi and from there climb down

Universitas Sumatera Utara the stairway to the 1Q84. They are convinced by doing that they could get out from

1Q84. There is only one way to make sure of it, which is by looking at the moon.

The clouds finally broke and the moon came into view. There was just one moon. That familiar, yellow, solitary moon. (1Q84; Haruki Murakami: 1150)

They knew without asking that they were seeing the exact same scene. (1Q84; Haruki Murakami: 1150) We‟re back in 1984, Aomame told herself. This isn‟t 1Q84 anymore. This is the world of 1984, the world I came from. (1Q84; Haruki Murakami: 1151)

Their coming back to the 1984 remarks the end of the story which they are reunited once again by their encountering toward Sakigake in 1Q84.

The two of them, driven by different motives, and approaching things from different angles, just happened to simultaneously shake Sakigake to the core. Two story lines at work, with different starting points but running parallel to each other. (1Q84; Haruki Murakami: 876)

The story of Tengo and Aomame start from different motives, Tengo with his book he rewrites than threaten the Little People, and Aomame with her intension in killing the Leader of Sakigake. Both Tengo and Aomame crossed path in dangerous way. Yet, all their doings toward surrealism events in the novel are for the sake of their meeting each other led by the moon as their guide. The surrealist image of the

Universitas Sumatera Utara two moons in the novel is a realization of the parallel world in creating a space for

Murakami to use his automatic writing to the fullest, to write anything he wants, including the idea to make the surrealist image to affect the theme in the novel in which to guide the two main characters by the two moons. Their encounter toward

Sakigake is merely the way for them to find each other in bizarre way in creating the surrealism atmosphere in the novel. By the surrealism image of the two moons, the novel runs on theme between the two main characters looking for each other in bizarre way, and they are happened to meet each other once again.

Murakami uses the idea of parallel world caused by the appearance of the two moons to write things that normally impossible to accept in reality. If bizarre things are written in the normal reality, it only causes the contradiction. Murakami uses the idea of the two moons to create the parallel world to resolve the contradiction. So, when bizarre things happen in the novel, those are happening in another world where the reality itself gets distorted by the appearance of the two moons. A world where anything can happen.

4.3 Findings

Based on the analysis before, the writer finds out that surrealism forces the readers to expand their idea of reality and widen their thought by creating bizarre story with juxtapositions. Surrealism in 1Q84 works between the conscious and subconscious to resolve the contradiction between them. In 1Q84, surrealism is not just to express the Murakami‘s idea as free as possible as an idea of automatic writing, but also to create readers state of mind where they have to think about what

Murakami wants to convey through the novel.

Universitas Sumatera Utara The Juxtaposition in the novel stands as the characteristic that builds the surrealism idea. In 1Q84, Murakami puts a juxtaposition where reality and dream run in one line which is normally and logically unrelated. At first case, Murakami puts the event where Tengo having his intercourse with Fuka-Eri and sends him to his dream to meet Aomame. While in reality Tengo is having intercourse with Fuka-Eri, he is ejaculating in his dream where he meets Aomame, and it affects the reality where Aomame becomes pregnant because of it. The second one is where Tengo and his friend, Kumi, are using hashish. Tengo gets his vision of seeing Aomame while he is in hashish‘s effect. Tengo sees Kumi as Aomame but while they are having conversation, it is Kumi‘s voice that comes out. They are also having a conversation in which Kumi doesn‘t even know about. The event in which Tengo is having his illusion becomes weirdly juxtaposed in reality with Kumi.

Murakami creates the surrealist image such as two moons with the idea of parallel world in the novel to resolve the idea of reality and dream which are previously contradicted. The uncertainties about the idea of two moons in the novel give confusion to the readers, yet they are forced to accept it so the readers can expand their idea by guessing various possibilities regarding of what reality is in the

1Q84. The appearance of the two moons until they disappear also remarks the interval where Murakami gives his idea as free as possible by giving a mindset to the readers that in parallel world anything can happen.

Surrealism in 1Q84 is not a just a work to create the idea of reality and dream in one novel, but also to resolve the contradictory between them as the base of idea of surrealism.

Universitas Sumatera Utara CHAPTER V

CONCLUSIONS AND SUGGESTIONS

5.1 Conclusions

1. The characteristic that builds the surrealism idea in Haruki Murakami‘s novel

1Q84 is portrayed in its juxtaposition. Murakami puts a juxtaposition where

reality and dream run in one line which is normally and logically unrelated.

At first case, Murakami puts the event where Tengo having his intercourse

with Fuka-Eri and sends him to his dream to meet Aomame. While in reality

Tengo is having intercourse with Fuka-Eri, he is ejaculating in his dream

where he meets Aomame, and it affects the reality where Aomame becomes

pregnant because of it. The second one is where Tengo and his friend, Kumi,

are using hashish. Tengo gets his vision of seeing Aomame while he is in

hashish‘s effect. Tengo sees Kumi as Aomame but while they are having

conversation, it is Kumi‘s voice that comes out. They are also having a

conversation in which Kumi doesn‘t even know about. The event in which

Tengo is having his illusion becomes weirdly juxtaposed in reality with

Kumi.

2. Murakami creates the surrealist image such as two moons to build the idea of

parallel world in the novel to resolve the idea of reality and dreamThe two

moons gives the idea of creating another world, 1Q84, in which Murakami

uses it to do his automatic writing to write anything that normally impossible

to happen in the usual reality. So, Murakami uses the idea of another world to

resolve the contradiction of reality and dream in the novel by giving a

mindset the reader that in a parallel world of 1Q84, anything can happen. 39

Universitas Sumatera Utara 5.2 Suggestions

Based on conclusions before, the writer wants to point out that surrealism is an interesting topic to be discussed because surrealism is the freest way to express ideas, in this case, through literature. Therefore, the writer hopes that there will be more researches regarding surrealism topic. The writer also suggests the reader and other students to:

1. To develop this topic by analyzing other aspects that closely related to

surrealism in order to get further understanding.

2. To analyze and do some research of surrealism with other relevant theory that

can be related to literature such as psychology.

3. To be a reference for the readers to understand more about surrealism not

only as bizarre works, but as works with free idea in it.

Universitas Sumatera Utara REFERENCES

Aspley, Keith. 2010. Historical Dictionary of Surrealism. Plymouth: The Scarecrow Press, Inc. Breton, Andre. 1929. Manifestoes of Surrealism.Translated by: Seaver, Richard & Lane, Helen. USA: University of Michigan Press. Drucker, Johanna. 1993. “Review: Dada Collage and Photomontage”, Art Journal, Vol. 52, No. 4, Interactions between Artists and Writers. Forster, E.M. 2002. Aspects of the Novel.New York: Rosseta Books LLC. Gale. 2008. Literary Movements for Students. Detroit: Gale Group. Hawthorn, Jeremi. 2001. Studying the Novel 4th edition. Arnold: Oxford University. Lestari, Thermalita. 2012. AnalisisTemadan Unsure SurealismeDalamCerpen „Nalgae‟ Karya Yi Sang. Depok: Universitas Indonesia Press. Mahon, Alyce. 2011. “The Lost Secret Frida Kahlo and the Surrealist Imaginary‖, Journal of Surrealism and the American. Moleong, Lexy J. 2007. Metodologi Penelitian Kualitatif. Bandung: PT. Remaja Rosdakarya Offset. Murakami, Haruki. 2011. 1Q84. New York: Vintage International. Nurgiantoro, Burhan. 2009. Teori Pengkajian Fiksi. Seventh Edition.Yogyakarta: Gajah Mada University Press. Peck, John and Martin Coyle. 1987. Literary Terms and Criticism. London: Macmillan Education, Ltd. Roberts, E.V., & Jacobs, H.E. 1995. Literature: An Introduction to Reading or Writing (4th Edition). New Jersey: Prentice Hall. Stanton, Robert. 1965. An Introduction to Fiction. New York: Holt, Rinehart and Winston. Taylor, George R. 2005. Integrating Quantitative and Qualitative Methods in Research. New York: University Press of America.

Turkel, Daniel Gregory. 2009. The Message of Surrealist Art. London: Mr. House. Wellek, Rene and Austin, Werren. 1963. Theory of Literature. Great Britain: Penguin Books, Ltd. Whitla, William. 1934. The English Handbook : A Guide to Literary Studies. Singapore: Ho Printing Singapore Pte.

Universitas Sumatera Utara December 2011. Reader‟s Guide for 1Q84. Retrieved from http://www.harukimurakami.com/reading_guide/1q84s-readers-guide (May 2017) September 2012. Running Through Murakami‟s 1Q84. Retrieved from http://harvardpolitics.com/literary-supplement-1/running-through-murakamis- 1q84 (May 2017) June 2013. What Is Surrealism In Literature? – Definition, Characteristic & Examples. Retrieved from http://study.com/academy/lesson/what-is- surrealism-definition-artists.html (May 2017) January 2014.. Relating Freud‟s Theories to Surrealist Works of Art. Retrieved from http://study.com/academy/lesson/relating-freuds-theories-to-surrealist-works- of-art.html (May 2017)

Universitas Sumatera Utara APPENDICES

i. Author Biography and Works

Haruki Murakami was born in Kyoto, Japan, in January 1949. He grew up in

Kobe and then moved to Tokyo, where he attended Waseda University. After college, Murakami opened a small jazz bar, which he and his wife ran for seven years. Murakami‟s books and stories have been bestsellers in Japan as well as internationally, with his work being translated into 50 languages and selling millions of copies outside his native country.

His first novel, Hear the Wind Sing, won the Gunzou Literature Prize for budding writer in 1979. He followed this success with two sequels, Pinball, 1973 and

A Wild Sheep Chase, which all together form The Trilogy of the Rat.

Murakami is also the author of the novels Hard-Boiled Wonderland and the

End of the World; Norwegian Wood; Dance DanceDance; South of the Border, West of the Sun; The Wind-Up Bird Chronicle; Sputnik Sweetheart; Kafka On the Shore;

After Dark; 1Q84; and Colorless TsukuruTazaki and His Years of Pilgrimage. He has written three short story collections: The Elephant Vanishes; After the Quake; and Blind Willow, Sleeping Woman; and an illustrated novella, The Strange Library.

ii. Summary of the Novel

Tengo and Aomame were grade school classmates who experienced a moment of mystical union when Aomame, a girl shunned for belonging to a fringe

Universitas Sumatera Utara religious group, suddenly seized Tengo‟s hand and looked deeply into his eyes. Their paths diverged shortly after Aomame‟s impulsive and ambiguous gesture, but each was left profoundly changed by it. For the next 20 years, they are held in the gravitational pull of this brief moment of connection.

Now they are nearly thirty. Tengo is a math teacher and unpublished novelist, drifting rather aimlessly through his life, with no clear sense of purpose or ambition.

Aomame is a fitness instructor, bodyworker and, most importantly, an assassin of men who have violently abused their wives.

When Komatsu, an unscrupulous and cynical editor, asks Tengo to rewrite a story by 17-year-old Fuka-Eri so that it can be considered for a major literary prize,

Tengo realizes he‟s entering into devil‟s bargain. But he‟s so taken with the story that he is unable to resist Komatsu‟s offer. Accepting the task opens up a Pandora‟s box of perils that far surpass even Tengo‟s and Komatsu‟s worst fears. The novel, Air

Chrysalis, becomes an immediate best seller, attracting widespread media attention that threatens to uncover Komatsu‟s and Tengo‟s scam. More ominously, the novel has aroused the ire of the “little people”, a malevolent group of other-worldly miniature spirits.

Aomame meanwhile has her own secrets. Employed by an elderly dowager, she stealthily and expertly murders men who have abused their wives but remain unprosecuted. When she accepts the assignment to kill the heavily protected leader of

Sakigake, the very religious cult that Fuka-Eri had fled and written about in Air

Chrysalis, she too enters a world of danger she never could have imagined. She has literally entered another world, one that is nearly identical to the ordinary world of

Universitas Sumatera Utara 1984 except that it has two moons in the sky. And in this new world, the flow of time and rules of reality have been subtly altered.

Both Tengo and Aomame crossed path with their acts toward Sakigake religious cult. Tengo with the novel he rewrote about Air Chrysalis which is the story of the actual event within Sakigake and the existence of „little people‟ that act like that of their God in Sakigake religious cult, which arouse the wrath of little people because Tengo opens their secret of existence to the world even the novel is considered as a work of fiction. On the other side, Aomame is involved in killing the

Leader of Sakigake, who is the prophet in that religious cult, the one who hears the voice, which also arouse the wrath of little people and Sakigake.

Blurring the line between possible and impossible, linear and non-linear time, fiction and reality, fate and free will, 1Q84is both a metaphysical mind-teaser and a fast-paced thriller where the stakes for Tengo and Aomame couldn‟t be any higher.

Murakami‟s most ambitious novel to date, 1Q84 is also an extraordinary love story, a story about the power of a single moment of deep connection to transcend time and space and justify even the greatest of risks.

Universitas Sumatera Utara