About This Guide
The introduction, author biography, discussion questions, and suggested reading that follow are designed to enhance your group’s discussion of Colorless Tsukuru Tazaki and His Years of Pilgrimage, the eagerly anticipated new novel by Haruki Murakami.
Question & Answer
- What is the significance of the name of the novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage? Why is Tsukuru branded “colorless”? Would you say that this an accurate description of him? Is this how Tsukuru sees himself or is it how he is seen by others? What kind of pilgrimage does Tsukuru embark upon and how does he change as a result of this pilgrimage? What causes these changes?
- Why does Tsukuru wait so many years before attempting to find out why he was banished from the group? How does he handle the deep depression he feels as a result of this rejection and how is he changed by this period of suffering? Is Tsukuru the only character who suffers in this way? If not, who else suffers at what is the cause? Do you believe that their distress could have been avoided? If so, how?
- Do you consider Colorless Tsukuru Tazaki a realistic work of fiction? Why or why not? What fantastical or surreal elements does Murakami employ in the novel and what purpose do they serve? What do these elements reveal that strictly realistic elements might not? Kuro says, “I do think that sometimes a certain kind of dream can be even stronger than reality” (p. 310). In considering genre, do you believe that this is true?
- Tsukuru reveals that his father chose his name, which means “to make things.” Is this an apt name for Tsukuru? Why or why not? How does Tsukuru’s understanding of his own name affect the way that he sees himself? Where else in the story does the author address making things? Are they portrayed as positive or useful activities?
- Why is Tsukuru’s friendship with Haida so important? What is the outcome of this relationship? How does the relationship ultimately affect Tsukuru’s perception of himself? Does it alter Tsukuru’s response to the rejection he was subjected to years earlier in any way?
- Why does Haida share with Tsukuru the story about his father and the strange piano player who speaks of death? What might this teach us about the purpose of storytelling? How does Tsukuru react to this story? Is he persuaded by Haida’s tale? What does the story teach us about belief and the power of persuasion?
- Sara says that we live in an age where “we’re surrounded by an enormous amount of information about other people. If you feel like it, you can easily gather than information about them. Having said that, we still hardly know anything about people” (p. 148). Do the characters in the story know each other very well? Do you believe that technology in today’s world has helped or hindered us in knowing each other better?
- When Tsukuru finally sees three of his friends again, how have each of them changed? How do they react to seeing one another after all this time? Are their reactions strange and unexpected or predictable? What unexpected changes have taken place over the years, and why are they surprising to Tsukuru? Has anything remained consistent?
- When Tsukuru visits the pizzeria in Finland, how does he react after realizing he is the only one there who is alone? How is this different from his usual response to isolation throughout the story? Discuss what this might indicate about the role that setting plays in determining Tsukuru’s emotional state.
- Does Tsukuru’s self-image and understanding of his role within the group align with how they saw Tsukuru and perceived his role in their group? If not, what causes differences in their perceptions? Do Tsukuru’s thoughts about his rejection from the group align with his friends’ understanding of why he was banished? How did Tsukuru’s banishment affect the other members of the group?
- Why do Tsukuru and Kuro say that they may be partly responsible for Shiro’s murder? Do you believe that the group did the right thing by protecting Shiro? Why or why not?
- The Franz Liszt song “Le mal du pays” is a recurring motif in the novel. Shiro plays the song on the piano; Haida leaves a recording of it behind; Tsukuru listens to it again and again; Kuro also has a recording. Why might the author have chosen to include this song in particular in the story? What effect does its repetition have on the reader—and the characters in the novel?
- Sara tells Tsukuru: “You can hide memories, but you can’t erase the history that produced them” (p. 44). What does she mean by this? Do you agree with her statement?
- Kuro says that she believes an evil spirit had inhabited Shiro, and as Tsukuru is leaving her home, Kuro tells him not to let the bad elves get him. Elsewhere in the story, the piano player asks Haida’s father whether he believes in a devil. Does the novel seem to indicate whether there is such a thing as evil—existing apart from mankind, or is darkness characterized as an innate part of man’s psyche?
- While visiting Kuro, Tsukuru comes to the realization “One heart is not connected to another through harmony alone. They are, instead, linked deeply through their wounds” (p. 322). This, he says, “is what lies at the root of true harmony.” What does he mean by this? Do you agree with his statement?
- Why does Tsukuru seem to be so interested in railroad stations? How does his interest in these stations affect his relationship with his high school friends? Later in his life, how does this interest affect his understanding of friendship and relationships? The author revisits Tsukuru’s interest in railroad stations at the end of the book and refers to the sarin gas attack on the Tokyo subways in 1995 great disaster of 3/11 in Japan. Why do you think that Murakami makes mention of this incident? Does this reference change your interpretation of the story?
- Is Tsukuru’s decision with respect to Sara at the end of the story indicative of some kind of personal progress? What is significant about his gesture? How has Tsukuru changed by the story’s end? Do you believe that the final scene provides sufficient resolution of the issues raised at the start of the story? Does it matter that readers are not ultimately privy to Sara’s response to Tsukuru’s gesture?
- Tsukuru wishes that he had told Kuro, “Not everything was lost in the flow of time” (p. 385). What does he believe was preserved although time has gone by? What did the members of the group ultimately gain through their friendship despite their split?
- How does Colorless Tsukuru Tazaki compare to Haruki Murakami’s earlier novels? What themes do the works share? What elements of Murakami’s latest novel are different or unexpected?
Kobo Abe, The Woman in the Dunes; Julio Cortázar, Hopscotch; Gabriel García Márquez, One Hundred Years of Solitude; Jonathan Lethem, Chronic City; David Mitchell, Cloud Atlas; Haruki Murakami, Norwegian Wood; Robert Musil, The Man Without Qualities; Ruth Ozeki, A Tale for the Time Being; Zadie Smith, NW