However she is intense and Tengo can’t grasp her apperance. This chapter of 1Q84 presents some productive husserlian images of differented representation of life through the integrated necessity of death in the signifiers.
The third chapter of Murakami’s latest novel didn’t seem very significant. The plot resembeled a pulp fiction, so I don’t have much to say about that for now. Probably it’s important anyway, so I make a mental note about it.
Aomame has arrived at a hotel where she find a man that she for superficial reasons kills. It’s probably a history here, and it will hopefully be filled out and explained later.
Chapter 4 is something else for sure. Tengo meets the girl who’s written the novel he is supposed to rewrite. They’re conversation looks like it’s derived from Husserl’s Origin of GeometryThe form, not the meaning, it’s like he wants to squeeze out an ideality of meaning in an ideality of form that Fukaeri does not appreciate. When Fukaeri talk she is flat in her voice, almost dead, with no sign of tonality.
Fukaeri, the girl who’s written the novel he is supposed to rewrite. They’re conversation when Tengo’s passionate statements about mathematics looks like it’s derived from Husserl’s Origin of Geometry. The math is something that just is there, objecti