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Ankle to ankle -- Hair -- Wednesday in April -- The Garden -- Rosary -- Anywhere else but here -- Silent all these years / Thesis (M.F.A.)--Wichita State University, College of Liberal Arts and Sciences. / "May 2006."

Cricket in a Fist is composed of seven stories about a secular Jewish family settled in Canada. The central character, Ginny Reilly, is raised by her mother and grandmother, who emigrated from the Netherlands after surviving the Holocaust. When she is thirty-seven, Ginny suffers a head injury that causes temporary memory loss and a permanent personality change, and she becomes a self-help guru. Following a cultural crisis such as the Jewish Holocaust, a family may disconnect itself from cultural memory, and a family without cultural memory, like an amnesiac patient, must reformulate a sense of identity. As the characters in Cricket in a Fist grapple for an unblemished identity in Canada, they try to dismiss their unruly history. Analogously, the conscious formation of self is the basis of Ginny’s self-help philosophy, which urges wilful forgetfulness as a means to cast off all traces of irresolvable ambiguity and traumatic memory.

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This thesis offers a reading of the first eleven novels of popular Japanese novelist Murakami Haruki, as well as a selected number of his short-stories and non-fictional works, as an evolving therapeutic discourse. In short, it is a response to Murakami's own claim to have started writing fiction as a means of self-therapy. Murakami, I will argue, is primarily responding to existential anxieties that have been magnified by conditions of cultural decline in late-capitalist Japan. His resulting therapeutic discourse shares interesting parallels with certain psychoanalytic theories of the twentieth century. Previous psychoanalytic readings of Murakami's work have tended to take either the writings of Carl Jung or Jacques Lacan as their starting point. This thesis will argue, however, that both theoretical frameworks are needed if one is to truly understand where Murakami is coming from. This kind of therapeutic reading might seem to justify those critics who see only the escapist elements in Murakami's fiction and who fault him for failing to engage fully with the important political and social issues of his day. In fact, a therapeutic reading, I will argue, is the best way to see how closely related Murakami's search for self-therapy and his growing search for commitment really are.

This collection of contemporary fiction explores a diverse set of themes and characters, and utilizes a variety of stylistic elements.

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