What is the main message of Walden?

What would it be like to leave society and live in the woods? What kind of insights can solitude amongst nature provide? In the 1850s, American poet, author, and transcendentalist Henry David Thoreau sought to answer these questions. Embarking upon an experiment of two years, two months, and two days spent living in a house in the woods, Thoreau wanted to determine what makes life meaningful. The result was Walden, or Life in the Woods (1854), a book that condenses his time at Walden Pond into one year, elucidating the themes, main idea, and conclusions he drew from his time of solitude.

Walden Quick Facts

Walden Background

Walden, or Life in the Woods (1854) was written by Henry David Thoreau, an American writer, poet, and orator who lived in New England for the majority of his life. Thoreau was involved in the Transcendentalism movement and sought to understand the connections between man and nature more deeply. To do so, he lived in a wooden cabin in relative isolation for two years, two months, and two days. The area in which he lived is referred to as Walden Pond, given the pond on the property, and it is from this pond that Thoreau titled this collection.

Transcendentalism was a 19th-century philosophical movement of writers, poets, and philosophers in the United States, centered in New England. The main beliefs of transcendentalists are the importance of nature, individualism, and the innate goodness of people.

Walden (1854) Summary

Walden is an experimental book by Thoreau that is part essay collection, part memoir, part scientific observation, and part poetry. It is divided into multiple chapters, all summarized here. The book takes his two years, two months, and two days at Walden Pond and shortens it to the span of one year; in the book, the changing of the seasons is an important literary tool for illustrating Thoreau’s ideas about humanity.

The first chapter of Thoreau’s book is also its longest. Titled "Economy," Thoreau outlines in exacting detail the specifics of his two years, two months, and two days. He explains the dimensions of the cabin built upon the land and how he plans to live thanks to the help of close friends and family. In particular, he discusses Ralph Waldo Emerson and his family, who allowed him to build the cabin on their property by Walden Pond in exchange for Thoreau clearing some of the woods and completing tasks outdoors on the property at Emerson’s request.

The title of the section comes from his understanding of the economic aspect of his natural experiment, all of the costs and expenses, both monetarily and physically, associated with his time in the woods. He outlines how many people work too hard and many expenses in daily life. Clothing, for example, only serves to separate people from one another and preoccupy them as a silly concern.

He also discusses the philosophy of his time in the woods and the benefits and drawbacks of philanthropy and religion. Thoreau is reluctant to endorse philanthropy given the importance he places on individuality; he concludes that if an individual’s life calling is philanthropy, then that person should pursue it. Overall, however, philanthropy only serves to decrease people’s self-reliance. He rejects the mission of organized religion and believes that people should embark on individual spiritual journeys.

"Where I Lived, and What I Lived For"

In the next chapter, "Where I Lived, and What I Lived For", Thoreau describes choosing the location for his time in nature. Originally, Thoreau had planned on purchasing a farm known as Hollowell farm, but the wife who lived on the farm changed her mind and declined to sell it. When he first moves into the house at Walden Pond, the construction was not completed. Thoreau enjoys this, however, as it allows him to feel more a part of nature. He details his thoughts surrounding the trappings of society and believes that people are too caught up in unimportant news and trifling gossip. Rather, people should seek to live "deliberately" (Walden, ch. 2) and consciously, to do all things with intent.

"Reading"

"Reading" is the next chapter, and Thoreau discusses the importance of reading. He sees books as markers of true wealth and believes that people should endeavor to read classic novels. To him, reading helps people expand their spiritual understanding of the world. He believes that a person’s mental education must be fostered throughout their whole life, that while Concord, Massachusetts has good schools for children, there should also be schools for adults and that education shouldn’t end in childhood.

"Sounds"

After discussing reading, Thoreau begins to talk about another sense in the chapter "Sounds." He discusses how people should be more in tune with the sounds that they hear around them. Nature in particular is full of sounds that help people increase their perceptiveness. Whether it is the sound of birds chirping, the train passing by his plot of land, or the church bells in town, fostering awareness of the sounds and sights aids in a person’s enjoyment of life.

"Solitude"

After this, he heads into the next chapter, "Solitude." Here, he discusses the importance of being comfortable in solitude, as it brings a person closer to nature. At his house in the woods, he has two regular companions: a nearby settler and an older woman with an excellent memory. He notes that there is an important distinction between solitude and loneliness: one can feel lonely even amongst many people, while solitude is something a person should strive toward.

While Thoreau writes extensively about the importance of self-reliance and solitude, critics of Walden were quick to point out that the cabin itself is not as isolated as Thoreau may have claimed—it was only about two miles from Concord. Additionally, the commuter train ran directly parallel to Thoreau's land, and Thoreau's mother often stopped by to clean his dirty laundry and give him food!

Following up on his discussion of solitude, Thoreau notes that though he enjoys the solitude of his time in the woods, he also enjoys receiving visitors in the chapter "Visitors." He has many visitors, including people just seeking to use the water of the pond as well as travelers or those seeking charity. Thoreau has no time for those seeking charity, as he resents their lack of self-reliance. One important visitor that Thoreau spends time writing about is a Canadian man who he sees as living a simple, true "animal life" (ch. 6). Despite his relative isolation, Thoreau notes that he has more visitors at Walden Pond than he ever did living in the city.

Thoreau hosted many visitors in his cabin. At one point, he wrote that he had about "thirty souls" (ch. 6) living in his house at one time!

Every morning, Thoreau begins his work in the bean fields. He describes the work he does in the fields and how working with the land allows him to feel more connected to it. He describes the importance of working with the land in a mindful way, and he dislikes the trend of large farms working the land with machinery seeking to make a profit. He believes the life and noble profession of farming has been lessened by those who would seek to disconnect farming practices from their ancient roots and connection to nature.

"The Village"

Despite his time at Walden Pond being an experiment in living in solitude, Thoreau returns to the nearby village every few days. He describes these visits in the chapter "The Village". He goes to enjoy the chatter and gossip of the villagers and to better appreciate the wildness of nature upon his return to the Pond. He also laments societal institutions such as taxation as he relates that, upon one visit to the village, he was arrested for not paying a poll tax and spent the night in jail.

In 1849, Thoreau published a paper based on a lecture he had given entitled "Resistance to Civil Government" which has come to be known as just "Civil Disobedience." This is based on his arrest for not paying taxes, and he argues that individuals shouldn't have to comply with government mandates that they do not agree with. It has become a very influential text on civil, nonviolent resistance to government forces.

"The Ponds"

Following his description of his visits to the village, Thoreau describes Walden Pond and the surrounding area where he lives in "The Ponds." With scientific observation, Thoreau describes in detail the pond’s shape, the wildlife that lives in and amongst it, and the pond’s color and features. He also takes a few paragraphs to discuss nearby ponds, but none that are better than Walden Pond. He notes that the pond and its surrounding are humble and “does not approach to grandeur” (ch. 9) but that, to someone well-acquainted with the pond, it deserves a detailed description.

"Baker Farm"

After "The Pond" comes "Baker Farm," a chapter in which Thoreau describes spending time at the farm of a neighbor, John Field, after he had been caught in a rainstorm. Thoreau describes Field, an Irish immigrant farmer, as hardworking and leading a simple lifestyle. Thoreau tries to get Field to break away from the conventions of modern society that weigh him down—his employer, debt collectors—but Field is uninterested or afraid to do so. Compared to Field, Thoreau is very happy with his independent lifestyle.

"Higher Laws"

In "Higher Laws," Thoreau discusses the balance between a spiritual and savage life. He believes that the desire to kill and eat animals is a savage desire in humans, but one that is understandable. However, those who can lead a vegetarian lifestyle have transcended the primitive urges that drive people to eat meat. He lauds those who can commit to vegetarianism, chastity, and abstain from alcohol indulgence. He believes that the control exercised by this kind of lifestyle is indicative of a higher spiritual connection with God.

"Brute Neighbors", "House-Warming", and "Former Inhabitants and Winter Visitors"

"Brute Neighbors" is the next chapter, in which Thoreau talks about the Hermit, who comes to Walden Pond to fish with him. He expresses admiration for the wildlife that live around his property for their carefree, wild ways of life. In the next chapter, "Housewarming", Thoreau describes additions he has added to the house to make it more of a home and to make it more comfortable to live in during the winter months. "Former Inhabitants and Winter Visitors" is the subsequent chapter in which Thoreau describes the people who used to occupy his area at Walden Pond and the various visitors he receives during the winter, including poet and transcendentalist William Ellery Channing.

In "Winter Animals", Thoreau observes the behavior of the animals during the wintertime. He wonders about whether the animals have a hierarchy or societal organization the way humans do. As he does with the animals, in "The Pond in Winter," Thoreau describes the observations he makes about the pond during the wintertime. The ice in the pond was cut out by laborers who came to take it to the Carolinas.

After the winter comes the chapter "Spring." He notes at the beginning of the chapter that one of the primary motivations for coming to the woods was to observe the arrival of springtime. As the ice melts and the flowers gradually spring up, the rebirth he witnesses in nature is echoed in the internal rebirth Thoreau feels watching. At the end of the chapter, he notes that on September 6th, 1847, he left Walden Pond.

"Conclusion"

Thoreau expounds upon many of the topics discussed in previous chapters in his conclusion to Walden. His ultimate conclusion is that people must embrace the life they live, no matter their circumstances. He believes that at any moment in time a person may reinvent their lives. People must strive for individuality and renewal, rejecting societal pressures and conformities.

Main Idea of Walden

In Walden, Thoreau ultimately set out to determine what makes life meaningful. He concludes that self-reliance, solitude, simplicity, and spirituality are all the components of a meaningful life. A person must determine what job they should do by what calls to them, and what they can do with conviction. If everybody worked with intent and sought to live a life appreciative of the splendors of nature, then they would be closer to an ideal kind of life.

Walden Analysis

Thoreau makes use of recurrent themes, symbols, and an exacting writing style throughout Walden.

Walden Themes

Throughout Walden, Thoreau employs themes dealing with nature, independence, Transcendentalism, and simplicity.

Self-Reliance & Independence

One of Thoreau’s main themes throughout Walden is the importance of people developing their own self-reliance and sense of independence. Much of this is centered on the rejection of conformity and the embrace of individuality, a central tenet of Transcendentalism. Much of Thoreau’s beliefs about self-reliance stem from his dislike of societal conventions. He believes that society makes people complacent and that a life lived free from constraints and expectations is the best way to live a fulfilled, spiritual life. For Thoreau, the societal focus on petty gossip was one such example of something that made people complacent—if they were too focused on that, they couldn't focus on enriching themselves.

I lived alone, in the woods, a mile from any neighbor, in a house which I had built myself, on the shore of Walden Pond, in Concord, Massachusetts, and earned my living by the labor of my hands only." (Walden, ch. 1)

Think about modern society. What aspects of contemporary lives (social media, gossip, etc.) can you think of that may make people complacent?

Transcendentalism & Spirituality

Throughout Walden, Thoreau’s observations embody transcendentalist values such as individuality, conviction, and the innate goodness of people. He also details the importance of spirituality. He articulates his distrust in organized religion and that people should seek to have an individual relationship with God. Many of his overarching criticisms of society and his beliefs about nature and its relationship with people stem from his transcendental beliefs. He believes that people are caught up in the petty gossip and obstacles of daily life that stop them from seeking spiritual fulfillment. Through embracing life in appreciation and communication with nature, relying solely upon oneself, and recognizing the goodness of humanity, Thoreau believes that people can progress into life as close to ideal as possible.

...be a Columbus to whole new continents and worlds within you, opening new channels, not of trade, but of thought." (Walden, ch. 18)

The Importance of Nature

Similar to the previous two themes, much of Walden deals with the importance of nature. Thoreau uses the passing of the seasons throughout Walden as a way to represent how nature can relate to and reflect humanity. As all of nature undergoes rebirth and regrowth in springtime, Thoreau detailed how humans can and should do the same. Just as how plants spring back up every year, Thoreau believes that people should undergo constant reinvention. Through a relationship with nature, people can gain more understanding of the world and their own lives; through nature, people can become closer to God.

A lake is the landscape's most beautiful and expressive feature. It is the earth's eye; looking into which the beholder measures the depth of his own nature." (Walden, ch. 9)

Leading a Simple Life

Finally, if there is one message that can be taken away from Walden, it is Thoreau’s ultimate presentation of the simple life. To him, society is filled with endless, unimportant distractions. A truly well-lived life is one that is lived humbly, relying upon simple pleasures. These simple pleasures include having ample leisure time, especially in comparison to time spent working, reducing the amount of consumption one engages in, and rejecting the frivolities of mainstream society.

With respect to luxuries and comforts, the wisest have ever lived a more simple and meagre life than the poor" (Walden, ch. 1)

Symbols in Walden

Thoreau employs multiple symbols throughout Walden to underscore his message.

Walden Pond

Throughout the entirety of Walden, Walden Pond is used as a symbol of the inherent holiness and importance of nature. He likens it to the Ganges River in India, known as the holiest river in the world. Thoreau recounts bathing in the pond in the mornings, and he likens that to a religious experience. The Pond stands in for the spirituality of nature as a whole, and just as he emphasizes that humans must undergo a rebirth, Walden Pond itself is described as having been dead in winter but comes alive in spring.

Every morning was a cheerful invitation to make my life of equal simplicity...I got up early and bathed in the pond; that was a religious exercise" (Walden, ch. 2)

The Cycle of the Seasons

The cyclical nature of the seasons is also a symbol of humanity. Throughout Walden, Thoreau’s real-life two years, two months, and two days are compressed into one seasonal cycle. Beginning and ending in spring, Thoreau seizes on the idea of rebirth both in regard to nature and in man. Each of the seasons symbolizes an aspect of the life he lives at Walden Pond: in summer he is active and tending to his fields, while wintertime comes and his chapters become more about his internal thoughts. In springtime, there is rebirth in the world. Thoreau discusses the importance of rebirth and reinvention in people’s lives.

It appeared to me that for a like reason men remain in their present low and primitive condition; but if they should feel the influence of the spring of springs arousing them, they would of necessity rise to a higher and more ethereal life." (Walden, ch. 1)

Walden’s Writing Style

Thoreau has a very distinct writing style that he employs in Walden. Thoreau writes in a direct manner, but his prose often turns lyrical when he discusses nature. In addition to his paragraphs of text, he includes many snippets of poetry and verse, both written by others and penned by him. His writing style often reflects his subject. The summer months contain writing that is more sunny and joyous, while his writing is calmer in winter, turning introspective.

Is the Walden lifestyle appealing? The University of Southern California developed Walden, a Game (2017) where you can try your hand at living the simple life in a virtual recreation of the cabin at Walden Pond!

Walden - Key takeaways

• Walden, or Life in the Woods (1854) is a book by American author, poet, and transcendentalist Henry David Thoreau.

• Walden was based on Thoreau’s experience of living in relative isolation in a house at Walden Pond near Concord, Massachusetts for two years, two months, and two days.

• The main conclusion of Walden is that people should seek to live an independent, self-reliant life in harmony with nature in order to find spiritual fulfillment.

• Thoreau’s transcendentalist beliefs, the importance of nature, the pleasures of a simple life, and self-reliance constitute the main themes of Walden.

• The symbols of Walden Pond and the cycle of the seasons serve to emphasize Thoreau’s overall conclusions about life in the woods.

Page 2

Have you ever had a weird, emotionally perplexing dream, and when you woke up the world just felt wrong? That is exactly what reading John Berryman's (1914-1972) poetry collection 77 Dream Songs (1964) is supposed to feel like. Purposefully written to portray a kind of dream world that hovers outside of reality, Berryman's collection examines themes like depression, loneliness, and self-destruction. Keep on reading for an analysis of 77 Dream Songs.

77 Dream Songs: Book by John Berryman

77 Dream Songs was John Berryman's first majorly successful collection of poetry. Published in 1964, the book was awarded the Pulitzer Prize for Poetry in 1965. Berryman was not a new poet at the time of publication, but the book's instant success was a surprise to many critics.

Berryman had published his first mature collection of poetry, The Dispossessed, in 1948 to overwhelmingly negative reviews. His book-length poem, Homage to Mistress Bradstreet, (1956) was successful, but it was 77 Dream Songs that established Berryman's literary reputation.

Much of the content of 77 Dream Songs was inspired by Berryman's own life. He was born in Oklahoma in 1914, and had a troubled childhood. As Berryman's parents were finalizing their divorce, his father committed suicide. Berryman's mother remarried within months and frequently criticized his dead father, causing Berryman further pain.

At the time 77 Dream Songs was published, the adult Berryman was struggling with alcoholism and depression. The protagonist of the collection, Henry, serves as Berryman's alter-ego, as he struggles with much of the same challenges that Berryman faced. Henry experiences depression and alcoholism and contemplates suicide in more than one poem.

Four years after 77 Dream Songs, Berryman continued Henry's story with His Toy, His Dream, His Rest (1968). This collection was also a major success, and in 1969, Berryman combined the two books into The Dream Songs, which contained 385 individual poems.

Berryman took his own life in 1972 by jumping off of a bridge.

77 Dream Songs Summary

77 Dream Songs is in the genre of poetry and can be more specifically listed as lyric poetry. The collection follows the narrator, Henry, while he navigates a dream world that hovers between reality and imagination. The odd syntax and vague imagery used throughout 77 Dream Songs highlights that things are not quite as they should be.

Henry strongly resembles Berryman himself: a white, middle-aged American who attempts to cope with both his desire and despair. The collection functions as a dream diary as Henry struggles with his trauma and the loss from his past. Henry is plagued by depression and is disillusioned by his life. He yearns to make a connection with others but is restricted by his mental state. His only friend, who calls Henry "Mr. Bones," is hostile and deeply problematic.

Mr. Bones is a controversial figure. Henry's alter ego, he dresses in blackface and speaks in an exaggerated Southern, Black dialect. As a liberal writer, many scholars have wondered why Berryman appears to be reverting to crude, racist stereotypes. While some say he is poking fun at minstrelsy in America's dark past, others argue that his use of Black dialect is inherently wrong and harmful. What is your interpretation?

Each of the 77 poems can be read independently, but Berryman intended them to be read as part of a sequence. By the end of the 77 dream songs, Henry has not overcome his demons and is still struggling with loneliness, sadness, and guilt. Henry's dream world is continued in Berryman's following collection, His Toy, His Dream, His Rest (1968).

77 Dream Songs Analysis

In order to analyze the collection as a whole, let's look at some of the individual poems and analyze what they reveal about Henry.

Devoid of any world-building or scene-setting, "Dream Song 1" dives immediately into Henry's mental state:

Huffy Henry hid the day,unappeasable Henry sulked." (1-2)

Readers are immediately tuned into Henry's character and the problems he faces. The poem states that the entire world seemed to be on his side at one point. It was like a "wool lover" (7)—warm and comforting but also scratchy and imperfect. After the "departure" (9) from this happiness, "nothing fell out as it might or ought" (10). Henry has experienced a deep betrayal that has caused lingering trauma. His poor attitude is directly linked to his shaken mental state and the despair that he faces every day. The speaker states that he doesn't know how Henry survived. Henry isn't simply an unlikeable villain, he is a complex, hurting human being whose happiness was lost to his trauma.

"Dream Song 4"

"Dream Song 4" is important in showing how Henry relates to other people. Instead of being able to connect with others on an emotional, human level, Henry has no feelings of empathy. He views people like they are objects and oddities. When he sees an attractive woman, he notes,

...I hungered back

and only the fact of her husband & four other people

kept me from springing on her" (4-6)

While this quote speaks to Henry's feelings of intense desire and longing, it also shows that sees himself as separate from "other people." He is unable to consider either the woman or the people she's with as humans with agency, but he sees them as objects of desire or obstacles in his way. His lack of empathy is likely intricately tied to his inability to connect with his own emotions and heal from his trauma. This perpetuates a cycle of loneliness where Henry can't get close to anyone. The second to last line in the poem reads, "Where did it all go wrong? There ought to be a law against Henry" (17).

"Dream Song 14"

"Dream Song 14" reveals how Henry's pain has changed the way he views the world as a whole. The poem famously begins, "Life, friends, is boring. We must not say so" (1). Henry states that nothing in life excites him anymore. Although he knows people shouldn't say they're bored of living, he is. He can't find any enjoyment in art, literature, other people, or even himself. At the end of the poem, Henry reveals why he is bored: his companion has left him and he is now lonely and numb. He says,

and somehow a dog

has taken itself & its tail considerably away

into mountains or sea or sky, leaving

behind: me, wag." (15-18)

The betrayal that he has faced hasn't just made Henry sad and hopeless. It has caused the world itself to lose all meaning to him. Henry feels guilty because he has been conditioned to believe that life is a gift and we should never be bored of it. At the same time, though, his loneliness and isolation has made living seem like a boring, impossible chore.

"Dream Song 29"

"Dream Song 29" shows how deeply Henry's trauma has altered his reality. The poem begins by stating that no matter how much time he has, Henry will not be able to recover from what has happened to him. He is haunted by another thing that follows him around too. But he is unable to see what it is exactly is affecting him, so he has no control over it.

Henry then states that he didn't kill anyone, although he thought that he did. He can imagine hacking a woman up and hiding her body for someone to find. He almost wants the body to be found, perhaps so that he can make that connection with another human. Regardless, he realizes in the morning that he didn't murder anyone:

He knows: he went over everyone, & nobody's missing.

Often he reckons, in the dawn, them up.

Nobody is ever missing." (16-18)

His trauma affects him so badly that he isn't sure of the world around him or even of his own actions. He thinks he might be capable of murder and might enjoy it like a game. But he often wakes up and realizes that the violence is a figment of his imagination.

All of these poems work in tandem to develop Henry's character. He is often considered an anti-hero because he is selfish, manic, and volatile. The more we examine Henry's character, though, the more it becomes apparent that he is merely attempting to survive his trauma. His distance from the world, others, and himself is a coping mechanism that he uses to protect himself from further pain.

The numbness and altered reality that Henry experiences is due to his unresolved trauma. This doesn't mean that Henry is unproblematic or completely innocent, but it does reveal the deep impact that his trauma and subsequent depression has had on all areas of his life.

Anti-hero: a main character/protagonist who lacks the qualities (such as morality and honor) that are typically associated with a hero.

77 Dream Songs Themes

The main themes in 77 Dream Songs Collection are depression, loneliness, and self-destruction.

Depression

Throughout the entire collection, Henry struggles with feelings of depression. He becomes numb to the world and the people around him as he swims in his own grief. Consider this passage from "Dream Song 29":

There sat down, once, a thing on Henry's heart

só heavy, if he had a hundred years

& more, & weeping, sleepless, in all them time

Henry could not make good." (1-4)

His depression makes him feel completely helpless and out of control, which in turn makes him lash out. In between the poems where Henry is subdued and just wants to hide, are instances of violence and manic energy. His ability to connect with others is hampered by the overwhelming feeling of depression.

Loneliness

Because his depression makes him feel alone and takes control of his entire life, Henry suffers from extreme loneliness. This is directly shown in "Dream Song 40" when Henry says,

I'm scared a lonely. Never see my son,easy be not to see anyone," (1-2)

Not only does Henry isolate himself physically, but when he does encounter other people he isolates himself emotionally as well. This is apparent in "Dream Song 4," when he craves the woman physically but has no interest in her emotionally. His depression has isolated him from others and led to physical and emotional loneliness.

Self-destruction

Because Henry feels numb to the world and the people around him, he becomes quite self-destructive. Firstly, he stays in a friendship with a man who wants to see him fail simply because he has no one else. He allows the toxic relationship with the man who calls him Mr. Bones to continue. He also actively contemplates suicide when his depression is at its peak. In "Dream Song 40," he says,

Got a little poison, got a little gun" (5).

Although Henry does not commit suicide, he considers the idea. He also is self-destructive in many of his social interactions, where he positions himself as the villain.

77 Dream Songs Meaning

Berryman was very adamant that 77 Dream Songs was not autobiographical. In several interviews, lectures, and introductions he stated that he and Henry were not the same person. In fact, according to the Norton Anthology of Modern Poetry,

When the first volume, 77 Dream Songs, was misinterpreted as simple autobiography, Berryman wrote in a prefatory note to the sequel, 'The poem then, whatever its cast of characters, is essentially about an imaginary character (not the poet, not me) named Henry, a white American in early middle age sometimes in blackface, who has suffered an irreversible loss and talks about himself sometimes in the first person, sometimes in the third, sometimes even in the second; he has a friend, never named, who addresses him as Mr Bones and variants thereof."1

Although not a purely autobiographical collection, 77 Dream Songs did help Berryman work through aspects of his own depression and childhood trauma. He reflects on his father's suicide and the betrayal that he felt growing up without a father. He also discusses drinking, feelings of guilt, and the potential for violence.

Because 77 Dream Songs was influenced in part by Berryman's own trauma and childhood experiences, he is often grouped with the Confessional poets. Berryman resented that association, though he was friends with famous Confessional poets like Robert Lowell. Other confessional poets include Sylvia Plath and Anne Sexton.

Confessional poetry is influenced by the poet's own trauma and experiences. Confessional poets use writing as an outlet to work through their feelings and mental health issues, which are often dramatized in poetry for the effect. The work often closely mirrors the poet's life and personal experiences. Although readers get a glimpse into the author's psyche, it is important to note that the speaker and the poet are not one in the same.

On more than a personal level, 77 Dream Songs depicts how depression and other mental illnesses can impact every aspect of a person's life. More than just a feeling of sadness, it can make those who suffer from it feel numb, hostile, isolated, and even hopeless. The dream-like qualities contribute to the eerie feeling of the poem, where things aren't quite right. 77 Dream Songs presents a more extreme case of depression, but it depicts the reality of the illness without romanticizing it.

77 Dream Songs - Key takeaways

• 77 Dream Songs was written by John Berryman.
• The antagonist of the collection, Henry, is Berryman's literary alter-ego, but he and Berryman are not the same person.
• 77 Dream Songs is set in a dream world, where Henry has to navigate his past trauma and his suffocating depression.
• The main themes are depression, loneliness, and self-destruction.
• Berryman used this collection to work through his own struggles with his trauma and depression. It also shows that depression is more than just being sad, it affects every aspect of Henry's life and even alters his reality.

Page 3

1Q84 is a 2009 novel by Japanese writer Haruki Murakami (1949-Present). A love story set in a dystopian 1984, the novel follows two lonely characters as they become entwined in a secretive and dangerous cult. Murakami uses 1Q84 to investigate the changing nature of reality and themes about the problems of modernity.

1Q84: Summary

It's 1984 in Toyko, and a young woman named Aomame leads a double life. Working as a fitness instructor during the day and a paid assassin at night. Aomame is contracted by a wealthy woman, known as The Dowager, to kill men who commit acts of domestic abuse.

Having grown up in a strict religious sect, Aomame often feels lonely and isolated. She recalls a brief spark of love she shared with a classmate years ago. On her way to a meeting, Aomamae's taxi gets stuck in heavy traffic on the expressway. The driver suggests Aomame uses the emergency staircase to reach the street below. As she exits, he warns that things are not always what they seem and cryptically cautions, "... don't let appearances fool you. There's always only one reality." (Ch. 1)

How does the taxi driver's warning foreshadow the book's events?

Aomame descends the stairs and notices slight differences in the street. The newspapers refer to recent events she can't recall, including a recent confrontation between police and a sect of religious extremists. Later, she notices two moons in the night sky. Aomame recognizes she has slipped into an alternative reality, one slightly different from the 1984 she knows—a world she calls 1Q84.

Tengo Kawana is an aspiring writer who works as a math teacher. He lives a lonely life while waiting for his big break, and he often remembers a brief moment of love he shared with a classmate twenty years ago. Tengo's literary editor offers him a job rewriting a manuscript entitled Air Chrysalis. Allegedly written by a 17-year-old girl called Fuka-Eri, the novel shows promise but needs substantial work. Uncomfortable with changing another writer's work, Tengo agrees to meet with Fuka-Eri.

After meeting Fuka, Tengo realizes she could not be the writer. Her legal guardian, Professor Ebisuno explains that Fuka's parents were involved in a secretive cult that sought to create a Utopia but ended up in a closed-off compound. They have not been in touch for over seven years.

1Q84 is narrated by Aomame, Tengo, and later on Ushikawa, a private detective investigating the couple. Throughout the novel, each narrator suffers from intense loneliness. How does each of the narrators try to cope with their loneliness?

Fuka-Eri's manuscript is set in a world with two moons and tells the story of a ten-year-old girl in a religious commune who encounters mythical creatures known as "the Little People." As Tengo begins to investigate Fuka's background, he discovers a cult called Sakigake controlled by a shadowy figure known only as "the Leader." He suspects the fantastical elements of Fuka's story may be true.

Aomame continues to complete contracts for the Dowager and indulges in meaningless sex with older men she picks up in bars. At a singles bar, she meets Ayumi, a policewoman with similar sexual attitudes. Aomame confides in Ayumi that she hasn't had any close friendships since her best friend committed suicide to escape an abusive relationship.

The Dowager introduces Aomame to a 10-year-old girl who has escaped from the Sakigate cult. When the girl reveals that the Leader sexually abuses young girls in the cult, the Dowager commissions Aomame to kill him. With Ayumi's help, Aomame uncovers the Leader is Fuka's father. Soon after this, Ayumi is found dead in a hotel room.

Aomame arranges to meet the Leader under the guise of a therapeutic massage session to soothe his chronic joint pain. During the session, the Leader tells Aomame he knows she is there to kill him. After discussing religion and reality, the Leader warns Aomame that there is no path back to her actual reality. When Aomame confronts the Leader about the abuse, he claims the Little People force him to commit the acts. He welcomes a death that will free him from their influence. After Aomame kills him, severe thunderstorms suddenly rack the city.

Before he dies, the Leader displays great self-awareness and insight. How does this impact the reader's feelings about him?

Now under threat from the Sakigate, the Dowager places Aomame in a safe house near Tengo's apartment. As Tengo continues to edit Fuka's writings, he wanders to a local playground. Looking up at the night sky, he sees two moons. From her window, Aomame watches the man staring into the sky and recognizes him as someone from her past. She rushes down but misses him.

A third narrator, Ushikawa, is introduced. Once a successful lawyer, Ushikawa was mired in disgrace and forced to quit his practice. Now working as a private investigator, Ushikawa is hired by the Sakigake cult to find Fuka. After seeing Fuka working closely with Tengo, he begins investigating the writer.

Ushikawa begins a stakeout of the apartment and follows Tengo back to the playground. When Tengo leaves, Ushikawa notices a woman attempting to follow him and trails her home. His investigation reveals that Tengo and Aomame are former classmates and uncovers Aomame's relationship with the Dowager.

Suspecting the pair's involvement in the Leader's disappearance, Ushikawa tails Aomame. She spots the detective and follows him back to his stakeout, where she notices Tengo's name on the mailbox and remembers him as the classmate she'd shared one fleeting moment of love many years ago.

Ushikawa observes Fuka entering Tengo's apartment, but before he can report his findings to the cult, the Dowager's bodyguard interrogates and kills him. Now free from danger, Tengo and Aomame finally meet at the playground and embrace.

The novel's plot depends on many coincidences and circumstances of chance. Are these influenced by the mysterious Little People or how things work in the alternative reality?

Aomame shares her strange experience with Tengo and the pair return to the expressway staircase. They cross back over and are relieved to find only one moon in the night sky. Aomame begins to notice minor details in this reality but can't be sure if they are differences in reality or gaps in memory. Now pregnant, Aomame remembers the Leader's warning that there are no paths back to the world she came from, but reasons that as long as she has Tengo and their baby, they will be happy together.

1Q84: Characters

Most of 1Q84 is told from the perspective of Aomame and Tengo; each of them narrates alternating chapters. In the later stages of the book, the reader is introduced to a third narrator, Ushikawa.

Aomame

Aomame is a 30 -year old woman who leads a double life. Growing up in "the Society of Witnesses," a religious cult that prophesized the end of the world, she learned discipline but received no love or affection. She works out daily and maintains a strict diet while maintaining a regimented life. Her only indulgences are the occasional beer and random sexual encounters. She feels a crushing sense of loneliness and often thinks about the one genuine moment of love she shared with Tengo 20 years ago.

The novel's male lead and second narrator, Tengo, is an aspiring writer who works on the occasional short story and commission pieces from his editor. Having grown up in a broken home, Tengo is traumatized by his mother's abandonment. Raised by his stern father, Tengo struggles to feel close to others and often escapes into his imagination where he remembers the loving moment he shared with Aomame at school.

Ushikawa

The novel's third narrator is a disgraced lawyer who works as a private investigator for the Sakigate cult. Hired to track down Fuka, Ushikawa investigates Tengo and soon uncovers his association with Aomame. A dedicated and tireless investigator, Ushikawa connects many of the dots before Aomame and Tengo. He recognizes their deep connection and is jealous.

Fuka-Eri

A 17-year-old high school student who claims to have written Air Chrysalis, Fuka is detached and apathetic. Tengo works closely with her to redraft the manuscript and discovers that much of the fantastical tale is based on her experiences in the Sakigate cult.

The Leader

The mysterious head of the Sakigate cult, the Leader, is a reclusive and powerful figure throughout the book. Through Tengo's research, it is revealed that the Leader is Tamotsu Fukada, father of Fuka-Eri. He claims to be able to predict the future and communicates with the Little People. This relationship may have caused his mysterious illness and chronic pain.

Murakami often uses his novels and short stories to explore the evolving nature of Japanese identity and society. After Japan's defeat in WWII, the nation was rebuilt and entered a period of prosperity. With increased modernization, Japanese society became more westernized. Many people felt came at the expense of many traditional forms of life.

In the 1970s and 1980s, Japan saw considerable growth in religious cults in response to these social changes.

While many of these groups started as meditation and yoga classes, some transformed into more isolated and repressive sects that sought to close themselves off from the outside world.

On March 20, 1995, a radical section of the Aum Shinrikyo cult carried out the Toyko Subway Attack, killing 13 civilians. The incident sent shockwaves through Japan.

Murakami conducted extensive research on the cult and the attack for his 1997 nonfiction book Underground: The Tokyo Gas Attack and the Japanese Psyche. Murakami continued to explore the dangers of organized religion and the shortcomings of modernity in 1Q84.

In 1Q84, Murakami questions the idea that economic prosperity is akin to happiness. The postwar recovery saw Japan quickly modernize and emerge as a dominant global force. However, it also resulted in an increased sense of loneliness and a yearning for spiritual fulfillment within the population.

Religion

In 1Q84, Murakami is highly critical of organized religion. He uses the novel to attempt to understand the need for faith, especially in the light of cult activity in Japan during the 1970s and 1980s. The Sakigate cult and the Society of Witnesses in which Aomame grew up, serve to isolate their members and cut them off from the rest of the world. The cult is shown to be violent, dangerous, and implicated in covering up the Leader's sexual abuse of young girls.

Whilst planning the Leader's assassination, the Dowager and Aomame discuss the cult-like trappings of their arrangement; they are shut off from others and operate a violent ideology, but the Dowager reasons that since Aomame is paid and has the option to reject the contracts, they are not indeed a cult.

While Murakami is critical of religious groups, he doesn't wholly villainize the members or the need for spiritual beliefs. As the Leader faces death at Aomame's hands, he explains his role and the necessity for religion:

...no one is looking for painful truths. What people need is beautiful, comforting stories that make them feel as if their lives have some meaning. Which is where religion comes from." (Ch.11)

Murakami acknowledges that the drive for spirituality and meaning is part of the human experience but also points out how organized religion manipulates and warps this. Though the Leader is guilty of abuse, he is shown to be powerless to the mythical Little People. He uses the Little People to represent humanity's darker desires and drives. Murakami leaves the motivations and actions of the Little People open to the reader's interpretation.

Loneliness

All three narrators suffer from intense loneliness and spend most of the novel isolated from other people. Aomame has suffered loneliness from an early age. Instead of giving love, her parents drilled her with strict religious teachings. She was ostracized at school due to her family's spiritual conviction and has struggled to feel connected to other people since then. To quell her loneliness, she uses sex as physical intimacy; however, it lacks deeper emotional bonds, and she ends up feeling lonely again. The Dowager's bodyguard warns Aomame:

Loneliness becomes an acid that eats away at you." (Ch. 2)

Tengo faces similar struggles with intimacy and long-term relationships. Struggling with childhood trauma and a broken heart, he still remembers the feeling of love he had when he held onto Aomame's hand at school. Even his job as a writer involves a great deal of isolation and solitude.

The novel's third narrator, Ushikawa, is alone because of his failed marriage. He yearns to be with his wife and two children but is stuck, alone, watching other people live their lives.

Japanese culture is traditionally collectivist. In collectivist cultures, an emphasis is placed on group identity rather than the individual. Family, friends, or community often surround people, but the narrators of 1Q84 are different. They stand out from their society as individual and unique figures. Murakami shows us that though this can be liberating, it also results in a great deal of loneliness.

1Q84: Meaning

At almost a thousand pages, 1Q84 is a complex work that tackles significant social anxieties. Because of the title, many readers draw comparison's to George Orwell's classic dystopian novel Nineteen Eighty-Four (1949). While there are similarities and references to this work, the title is the name Aomame gives to the alternate 1984 she finds herself in.

1Q84—that's what I'll call this new world, Aomame decided. Q is for "question mark." A world that bears a question." (Ch. 9)

Murakami is also using wordplay in the title. In Japanese, the number 9 and the letter Q have similar pronunciations. This reflects the similar but slightly different reality in which Aomame finds herself. The world of 1Q84 feels like a dystopia. Just like the society Orwell created in Nineteen Eighty-Four, in 1Q84, history has been rewritten, and a cult mentality has gained power in society. Like Winston Smith in Orwell's novel, Aomame is the only individual who seems to notice the differences.

While Orwell's villain was an ever-present, inescapable Big Brother, the antagonists of 1Q84 are the invisible and ambiguous group known as the Little People. When talking to Tengo about the cult Fuka escaped, Professor Ebisuno draws this comparison between the forces:

There's no longer any place for a Big Brother in this real world of ours. Instead, these so-called Little People have come on the scene. Interesting verbal contrast, don't you think?" (Ch. 18)

In interviews, Murakami has spoken about his intentions with 1Q84. The Tokyo subway attacks scarred the Japanese nation and left many searching for answers about how a prosperous and stable country could produce such a deadly cult. Murakami believed this sense of confusion wasn't just limited to his own country. After the terrorist attacks of 9/11, he believes that the world shook off the optimism of the 1990s and entered the new millennium with a sense of paranoia and disbelief.

Just before 1Q84 was published in the U.S, Murakami wrote an essay entitled "Reality A and Reality B" (2010), in which he contextualized the creation of the novel. He posited that the world struggled to come to terms with a new reality in the new millennium's first decade. With terror attacks and the quickening pace of technology, it felt to him like the world had split off from its intended track and spun off into a darker and more complex reality. Like Aomame, Murakami believes most people felt some form of uncertainty and disbelief in this new reality.

According to Murakami, readers want stories that reflect the more chaotic and uncertain world they face. Therefore it is the writer's job to "transform the things and events around us into the metaphor of the story form and to suggest the true nature of the situation...that is the story's most important function." 1

With 1Q84, Murakami wants to depict "the near past of 1984 "4 as a way for his readers to understand the confusion and disconnection of modern times. Though 1Q84 is sometimes dark and disturbing, Murakami underpins the story with hope and love. While Tengo and Aomame struggle with loneliness throughout the story, they eventually can unite and face the uncertainty of a new world together.

1Q84 weaves many genres together. Presenting a nightmarish version of society close to reality, 1Q84 differs from other works of dystopian fiction, as it is set in the near past rather than the near future. Murakami creates the novel's world in exhausting detail with long stretches that follow the characters' daily routines. By blending this realism with fantastical elements, 1Q84 could be considered a work of magic realism.

The novel also contains many elements of postmodernism; it involves rejecting organized religion and questioning societal norms, and the characters are complex and nuanced. Aomame commits acts of murder, but her targets are unsympathetic abusers. Tengo is a writer who takes someone else's story as his own. The reader can even sympathize with the grotesque and greedy Ushikawa at points. Another characteristic of postmodernism is the character's struggle to find meaning in life and their disconnection from the modern world. In 1Q84, each of the narrators is shown to feel out of place and uncomfortable in modern Tokyo as they desperately search for meaning and connection to other people.

1Q84 - Key takeaways

• 1Q84 is a dystopian postmodernist work by famed Japanese writer Haruki Murakami.
• The book's title references another dystopian novel, Nineteen Eighty-Four, by George Orwell.
• Set in an alternative version of Toyko in 1984, the story follows two long-lost lovers, Aomae and Tengo, as they each become involved with a deadly cult called the Sakigate.
• Murakami uses the novel to explore the real-life cult phenomenon that affected Japan in the 1970s and 1980s.
• The book contains elements of magic realism and dystopian fiction and is a postmodernist work.