Banana Yoshimoto comparative essay

Banana Yoshimoto effectively portrays various common themes and motifs in both â€Å"Helix† and â€Å"Newlywed†, in revealing the subconscious state of mind of the respective protagonists. Although the storylines are quite different, we get the feeling that many themes and strategies such as isolation, incredible poetic effect, and the recurring use of a helper figure used to develop the characters, are relatively interchangeable. These literary patterns allow for the protagonists to both escape the shallowness that plagues them, and bring to light the deeper meaning behind their subconscious (now conscious) struggles, especially those relating to their true feelings for their personal companions. Isolation is a recurring theme that is a catalyst for the subconscious state causing the climactic epiphanies within the protagonists of both stories. This is comparably portrayed through the blatant representation of shallow urban relationships. In â€Å"Helix†, we witness this theme of shallowness through the personal thoughts of the protagonist at the beginning of the story. In a moment of reflection, the protagonist exclaims, I feel as if my heart will stop beating, because once I know that much about a woman, it can never work out between us. (Helix, 651) Alluding to his lover, this theme of shallowness is difficult to ignore as the narrator is transparently portraying his ability to write off a relationship on incredibly superficial grounds. In â€Å"Newlywed† however, Banana uses the same approach in order to portray this theme of isolation, yet goes to quite an extreme to illustrate her character’s subconscious thoughts. The transformation from bum to beauty is a symbolic element of the story, and is supposed to confuse both the narrator and the reader at first, but it soon becomes clear that there is a deeper philosophical meaning to this odd occurrence. This bizarre intervention, in what seemed to be quite an ordinary context, rapidly changes the pacing and evolution of the story itself. At first, the narrator is unsure of himself, which ultimately leads the reader to question the reliability of his story: â€Å"I tried convincing myself that this was nothing more than a drunken nightmare. That’s what it was, an ugly duckling dream, a transformation from bum to beauty.† (Newlywed, 5) The isolation that surrounds the protagonists of Newlywed and Helix both physically and emotionally is what ultimately leads to the epiphanies that expose the underlying feelings towards their companions. Whether it is an empty train cabin, or the deserted city of Tokyo, Yoshimoto definitely seeks to portray the feeling of seclusion in order to emphasize the revelations that expose the protagonists’ true emotions. Another common aspect in both â€Å"Helix† and â€Å"Newlywed† is Yoshimoto’s use of poetic language and literary symbolism in order to develop both her characters and the story with greater depth. Despite that fact that many of the descriptions that she gives on behalf of the narrator are purely physical, and extremely shallow, it is an important aspect of both stories, as it helps lead to the dramatic changes that occur within the protagonists. In â€Å"Newlywed† for example, when the beautiful woman on the train asks the narrator about his wife, the first description that he gives, is purely physical: â€Å"She’s short, and slender, and has long hair. And her eyes are real narrow, so she looks like she’s smiling, even when she’s angry.† (Newlywed, 6) These superficial descriptions may be attributed to the fact that the narrator was in a â€Å"drunken state†, yet clearly depict him as a man that is not madly in love with his wife. By contrast, the poetic imaging in â€Å"Helix† reveals a man that is clearly in love with his girlfriend. Even near the beginning of the story, when he is expressing his feelings of uncertainty toward his relationship, he still gives this poetic illustration of his girlfriend: â€Å"She was like an evening moon, her white light almost swallowed by the gradations of pale blue sky.† (Helix, 651) This beautiful poetic image of his girlfriend is surprising to the reader, as he had just explained that he was having difficulty overcoming her idiosyncrasies. This dramatization brings the reader to the realization that the protagonist’s stream of consciousness narration is very unpredictable, yet will ultimately lead to his ability to expose his true feelings as the story develops. The author clearly likes to represent this feeling of indecision with poetic illustration as it is used several times in both stories. In â€Å"Newlywed†, the narrator vividly describes his mixed feelings toward his wife, Atsuko, during the peak of his epiphany-like experience: â€Å"For me, the beautiful, all-encompassing web spun by this creature is at once so polluted, yet so pure that I feel compelled to grab on to it. I am terrified by it but find myself unable to hide from it. At some point I have been caught up in the magical power she has.† (Newlywed, 16) Banana doesn’t strictly limit her poetic language to the story’s character development; she also uses it to depict specific moods in order to contextualize certain situations that shake up the intensity of the story itself. Coincidentally, in both â€Å"Helix† and â€Å"Newlywed†, the feeling of isolation is commonly portrayed throughout both stories with the unique use of grandiose language. This allows the protagonists to avoid any outside distractions that would interfere with the personal situations that they have to deal with. Tokyo is described as being a ghost town at the beginning of â€Å"Helix†, for example. â€Å"There was not a soul on the dark streets, save the autumn wind. I encountered this emptiness at every moonlit corner I turned†. (Helix, 651) Clearly unusual in a city like Tokyo, Yoshimoto is almost desperately taking this context to the extreme in an attempt to add an element of absurdity to the situation, and maintain a clear line of focus on the protagonist and his continuous train of thought. In â€Å"Newlywed†, she uses the same strategic language to create a context of solitude in order isolate the protagonist: â€Å"I looked around to see if anyone else had witnessed this amazing transformation, but the passengers in the neighboring cars seemed miles away, in a totally different space, separated by a transparent wall, all looking just as tired as they had moments before, indifferent to my surprise.† (Newlywed, 4) The language that Yoshimoto uses is not only unique, but allows the reader to fully contextualize themselves within the story, and fully comprehend the conscious and unconscious struggles within each story’s protagonist. The use of helper figures is another way that the author both challenges and exposes the protagonists. The most evident helper figure from both stories is the seemingly god-like character that transformed from a homeless man to a beautiful woman in â€Å"Newlywed†. The interpretation of this symbolic figure is entirely left to the reader’s imagination, yet its crucial role in the storyline and to the protagonist’s character development is indisputable. This peculiar intervention is a clear example of how far Yoshimoto is willing to go to force her characters to express their thoughts. At first, it is difficult to process what the narrator is depicting; yet as the story develops, we quickly learn that this character has a specific purpose to act as catalyst to the protagonist’s epiphany-like reflection about his life, specifically in relation to marriage. After opening up to this woman about his life, he explains how he felt about what he had experienced on the train that night: â€Å"Deep inside, I felt timid, even scared, not about my own drunkenness or fear that my mind was playing tricks on me, but the more basic sensation of encountering something much larger than myself, and feeling immeasurably small and insignificant by comparison†. (Newlywed, 12) From this, the reader is able to see that this man is clearly having a life changing experience that is allowing him to re-evaluate the major aspects of his life, including his relationship. This helper figure to the protagonist allowed him to bring out the subconscious struggles that seemed to weigh on him throughout the story. On the other hand, â€Å"Helix† presents multiple helper figures, some seeming as random and arbitrary as that of â€Å"Newlywed† and similarly allows the protagonist to truthfully evaluate and ultimately expose how he feels about the woman that he loves. The first helper figure that seems to startle the narrator does not take the form of a person, but rather a situational mind-cleansing seminar that his girlfriend brings to the table. She explains, â€Å"I guess that’s the chance you take if you go to one of these sessions. You might even end up forgetting things that seemed really important to you, things you don’t want to forget†. (Helix, 652) This seminar quickly becomes a euphemism for breaking up in the mind of the narrator, and his response, â€Å"don’t go†, unconsciously shows his fear of losing her. This ultimately shifts the dynamic of the story as he had previously inferred his desire to break up with his girlfriend at the beginning of the story. Yoshimoto also inserts a random explosion near the end of â€Å"Helix† as the lovers discuss their love for each other. Much like most of the random events that present themselves in her stories, there is a deeper meaning below what we see at the surface. This strange intervention that causes people to â€Å"[poor] into the [empty] streets from every doorway† (Helix, 654) encapsulates the unpredictability that is portrayed throughout the story, and through the narrator’s stream of consciousness narration. This ultimately leads the story to end on a note of misunderstanding and confusion surrounding the protagonist’s comparison of love to the helix of a strand of DNA. The interventions are not only incorporated to reveal and expose the true feelings of each protagonist, but also change the dynamic of each story and help maintain a feeling of unpredictability toward the narratives themselves, as well as the unreliability of the protagonists.

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