The moon is beautiful tonight: On East Asian narratives

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1.
Once a conversation with an Australian friend surprised me; she told me that Haruki Murakami, the world-famous Japanese novelist, struck her as “very Japanese.” “But why?” I puzzled, thinking of the Western pop culture references sprinkled throughout his works and his Englishized prose style.

“Many of his stories don’t have a real conflict,” she said. “Like in 1Q84, you feel all those surreal elements are built up for something, but in the end, nothing really happens. Even the romance between Tengo and Aomame ends up half-baked.”

That day, we were talking about story structure. I told her that very often my workshop friends comment that my stories don’t contain conflict. Their critique reminds me of the East Asian story-telling convention—at the risk of generalization, we tend to generate a plot without using conflict. As opposed to the West’s five-act or three-act, the term Kishōtenketsu is often used to describe the development of a classic East Asian narrative. It includes four different acts: introduction (ki), development (shō), twist (ten), and conclusion (ketsu). Introduction and development are comparable, though only slightly, to exposition and rising action, and conclusion to denouement. There’s not a climax that determines the character’s fate one way or the other in this setup. In fact, the present story in many East Asian narrative remains largely unaffected by the turbulent emotions roiling inside the characters.

Then, you may wonder, what’s the point of storytelling? Isn’t that boring?

It’s still intriguing. Take the great Japanese writer, Junichiro Tanizaki’s The Key. Written in diary form, the novel grapples with the sexual fantasies an elderly man harbors towards his wife, 11 years his junior, and his wife’s towards their daughter’s boyfriend. Both the husband and the wife lock their diaries in drawers, leaving the keys out purposefully—they hope the other will peek. The story is saturated with the couples’ intense suspicions of one another. Reading the book for a third time, I still found myself hooked till the very last page. However, Tanizaki’s work doesn’t involve a conflict in the Western sense.

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