53 pages • 1-hour read
Haruki Murakami, Transl. Philip Gabriel, Transl. Ted GoossenA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summaries & Analyses
Reading Tools
Content Warning: This section of the guide includes discussion of death, death by suicide, suicidal ideation, self-harm, sexual content, mental illness, disordered eating, emotional abuse, and illness.
Tanimura shares the story of Dr. Tokai, a man whom he believes lives an artificial life. Dr. Tokai is a bachelor at the age of 52. He does not actively seek out a partner, is comfortable alone in bed, and is sufficient in keeping his home tidy. He works as a plastic surgeon, which guarantees him many chances to meet women. From an early age, Tokai knew he did not want to be married, and did not look for a serious partner. Instead, he dates, many times more than one woman at once. Most of these women are already in relationships or marriages, and Tokai takes on the role of a secondary lover.
Tokai is most comfortable with these casual flings. He enjoys going out to dinner, talking with these women, and having sex. His goal is to be present in the moment and always aims to simply have a great time. Many women leave him, deciding to get married, and it never bothers him. In fact, he is rather adept at assessing when a woman may be growing attached, and ends the relationship without hurting her.
The majority of Tokai’s friends are parents, who encourage him to have kids. He does not want to marry and become a father, and believes that his friends merely want him to suffer like they do with uncooperative and unappreciative children. Tanimura describes Tokai as a likeable and kind person. Though he discusses the women he meets, he never allows the conversations to turn vulgar.
Since Tokai often dates more than one woman at once, his secretary at his clinic organizes his schedule, often coordinating his meetings with these women and booking travel accommodations for Tokai to see them. Though some partners suspect their wives’ and girlfriends’ infidelity with Tokai, none are ever able to confirm it, and Tokai never deals with the actions of an angry lover. Tokai considers himself lucky to escape this jealousy and lives this kind of life for 30 years, until one day, he falls uncontrollably in love.
The woman is 16 years younger than him, with a child and a husband. They see each other for a year and a half. Tokai explains to Tanimura that it is a painful experience for him, and he tries to stop himself from feeling love. He tries focusing on her imperfections, but finds himself only falling in love with these too. The love overwhelms him, and Tokai believes that it has an actual, physical effect on his body. The woman, however, is unsure if they should continue the affair, and Tokai tells Tanimura that he obsesses over this horrifying possibility.
Tanimura met Tokai at the local gym, where both played squash on the weekends. They played a few games together and began meeting weekly, always going for a beer afterwards. Over these drinks, Tokai shares his life with Tanimura. He tells Tanimura that he loves this woman because she is special, and a “complete presence,” even though he has been with “better” women. The woman began the affair when she discovered her own husband’s infidelity, even though he tried to make amends.
The affair’s impact on Tokai is substantial, and he begins to wonder amidst these new feelings if he even knows who he is. He credits these thoughts to a story he read about Nazi concentration camps, and how one prisoner was kept from the gas chambers because of his skills as a doctor. As a plastic surgeon, Tokai realizes that his skills are not useful enough to save him if he were in the same position. Therefore, he wonders what his worth is if everything in his life were yanked away. Tokai admits that he wishes he could start his life over, feeling that he wasted it.
Part of Tokai’s obsession with discovering his self-worth stems from the role this woman now plays in his life. He thinks of her constantly, no matter what he is doing, and can no longer maintain more than one affair at a time. The longer they are together, the deeper his love for her becomes. Tanimura tries to tell Tokai that this is a normal reaction to love, but Tokai insists that it is not. He explains the rage he feels at the idea of not seeing her. This is the last time Tanimura and Tokai speak.
Tokai stops coming to the gym, and two months later, Tanimura receives a call from Tokai’s secretary, who informs Tanimura that Tokai passed away and has left something for Tokai. When they meet, the secretary tells Tanimura that Tokai stopped eating. After this, he also stopped caring what he looked like and was distracted. Most concerning, he stopped seeing women. His health declined as he lost weight from not eating, and he was soon too weak to operate on anyone. Eventually, he stopped coming to the clinic at all.
When the secretary could not reach Tokai for two days, he went to Tokai’s apartment and let himself in, only to find the apartment a mess and Tokai silent and still on the bed. The apartment reeked, but Tokai was not dead. He looked at the secretary, but never said a word. The secretary cleaned the apartment and opened the windows. He called the doctor, who came and examined Tokai, who still did not move or speak.
Tokai suffered from a form of anorexia, refusing to eat. The secretary believes that Tokai intentionally did this, taking joy from watching himself waste away, as though he wanted to be erased. The doctor tried to help Tokai, giving him nutritional shots and an IV, but nothing stopped his health from further declining. Throughout all of this, Tokai remained silent.
Tanimura asks the secretary if something happened between Tokai and the woman he loved. The secretary reveals that he tried to contact the woman to ask her, but only reached her husband. Her husband informed him that the woman no longer lived with him and their daughter. When the secretary finally found her, she was living with another man. While Tokai was madly in love with her, she was conducting another affair and chose that man over him.
Tanimura realizes that this is a wound Tokai could not heal from. The secretary tells Tanimura that when Tokai died, he weighed less than half of his normal weight and resembled the Jewish survivors of the Holocaust. In the end, Tokai died from heart failure, as though his heart broke. Despite pleading with the woman to see Tokai, she refused.
Before leaving, the secretary gives Tanimura a new squash racket. Tokai ordered it, but was too weak to play when it finally arrived, and wanted Tanimura to have it. The secretary also pleads with Tanimura not to forget Tokai, and now, Tanimura sees his account of Tokai’s death as a means of not forgetting him.
Tanimura remembers one specific conversation he had with Tokai. He believed that women were born with an independent organ that allowed them to lie. He believed that this is why they could lie and feel no regret. Now, Tanimura agrees with him. He remembers his friend, admiring how he loved completely, even though the loss of his love led Tokai to erase himself.
When Tanimura plays squash with Tokai’s racket, he wonders if it is in a way a sign from Tokai that he finally found an answer to the question of who he was, and that this was his way of telling him.
Every time Habara and the woman have sex, she tells a story afterwards. Habara takes to calling her Scheherazade, after the storytelling queen of the same name from A Thousand and One Nights. He never knows if the stories are real, but he is in awe of her gift. The way she tells these stories draws him in, fulfilling him.
Scheherazade is a 35-year-old housewife, a few years older than Habara. He does not know her real name, and she does not tell him much about her own life. She comes to visit Habara twice a week, delivering groceries and organizing his fridge. After this, they retreat to Habara’s bedroom and have sex. Afterwards, she tells stories until 4:30, when she abruptly leaves.
Habara never leaves his home and spends his time cooking, listening to music, and reading long books. He has no contact with the outside world other than Scheherazade, as he does not read the newspaper or watch TV. She is his only contact, and if he loses her, he is all alone. Habara is happy being alone. He is less concerned with losing Scheherazade than with losing her stories.
Scheherazade tells Habara of her former life as a lamprey. She explains that lampreys are like eels, though they have no jaws. Instead, they have suckers that they use to latch onto rocks, where they float amongst the weeds, waiting for trout to swim by and feast on. She remembers seeing a lamprey for the first time when she was younger, and immediately recognizing that she was once one. She only remembers snippets of this life, most palpably of feeling safe.
The two met each other four months prior, when Habara was moved to this House, and Scheherazade was assigned as his “support liaison.” When she offered up the idea of sex as another one of her duties, Habara did not decline. He believes it is a part of her role to support him. Just as the sex becomes routine, so too does the post-sex storytelling.
Scheherazade tells the story of her first obsession in love. When she was a teenager, she began breaking into houses, becoming addicted to it. She was a junior in high school and had an obsessive crush on a boy in her class. He liked another girl, however, and ignored her. She couldn’t shake her love for him, though she could not profess it.
One morning, Scheherazade skipped school to go to the boy’s house. Scheherazade knew no one would be home. She found the door unlocked and let herself in, going straight to the boy’s room. His room was neat, which she found to reflect her crush. She went through the belongings on his desk, smelling and kissing his books and pencils.
Habara asks Scheherazade if this is all she did, and she admits that it was not. She stole one of his pencils, then took a tampon out of her backpack and hid it in the back of one of his desk drawers. Afterwards, she returned to school with the pencil, using it all week, and became upset as the pencil shrank. In having the pencil, Scheherazade felt as though she had her crush, and was no longer hurt by his ignoring her. She tried her hardest not to return to his house, knowing how severe the consequences might be if she were caught, but could not resist.
10 days later, Scheherazade returned to the boy’s house. She spent more time in his room, reading through his notebooks, lying on his bed, and going through his drawers. She wanted to take one of his shirts, but was afraid that his mother would notice one missing. Instead, she took a soccer-badge to mark her visit, leaving three strands of her hair behind in an envelope, tucked into one of the boy’s books. Though this visit satisfied her, the satisfaction only lasted for 10 days.
Scheherazade interrupts the story, saying that she must leave. On her next visit, after they have sex, she resumes the story. She obsessed over the items she took for days, finding fulfillment in them. As her obsession grew, she began ignoring her schoolwork, drawing the attention of teachers. Despite this, she could not stop breaking into the boy’s house. As she did, she felt as though her feet were moving on their own, doing something she knew she should not.
On this third visit, she lay on his bed for a long time. When she felt the need to smell him, she went to the laundry room and found one of his dirty shirts. She smelled the armpits of the shirt, and though it was not an enticing smell, she loved that it was his. She returned to the boy’s bed, and as she smelled the shirt, she felt the beginnings of sexual desire. She decided to take the shirt, knowing that his mother would likely notice and realize that something was wrong. In return, she considered leaving her underwear, but chose not to. She did not want to leave something that embodied her desire for the boy.
Scheherazade pauses the story and asks Habara if they can have sex again. He realizes that in retelling the story, she draws herself back into that time just as she draws Habara into the story. Afterwards, she does not immediately take up the story again. When Habara asks her what she left for the boy, she admits that she did not leave anything, as she could not think of anything that had equal value to his shirt.
12 days after her third break-in, Scheherazade returned to find a new lock on the front door, and no key under the mat. She realized that the boy’s mother sensed that someone was breaking in. In a way, Scheherazade was thankful to the woman for stopping her break-ins before someone caught her. Every night, Scheherazade slept with the shirt next to her, reveling in its smell. To her surprise, the smell did not fade.
With the break-ins now impossible to continue, Scheherazade’s obsession faded, and the boy became just another classmate to her. During her third break-in, Scheherazade found porn magazines under the boy’s bed and realized that he was just a normal teenage boy. As her crush subsided, Scheherazade realized just how intense it was. To this day, she wonders if this kind of “sickness” she felt was normal or unique to her. Habara admits that he has never felt something so intense. Scheherazade reveals that the story does not end there, as she encountered the boy years later, but decides to save that for her next visit.
After Scheherazade leaves, Habara turns in early. As he sits in bed, he thinks of how much he craves her stories, finding an intimacy in them not present in their sex. He is terrified of losing this intimacy. He tries to imagine himself as a lamprey, to distract himself, but as he sways in the water, no trout swim by, and eventually everything fades to black.
While some stories in Men Without Women explore loneliness caused by death, infidelity, and growing apart, “An Independent Organ” explores The Persistence of Loneliness in Love through Tokai’s heartbreak. In this story, Tokai is a bachelor who dates many women, often at the same time. These women are often married or partnered, and Tokai never seeks to find love with them. However, when he finally does fall in love and feel its immense emotions, he suffers greatly when the relationship ends: “The deep sense of loss after you’ve met the woman you love, have made love, then said goodbye. Like you’re suffocating. The same emotion hasn’t changed at all in a thousand years” (92).
Tokai feels loss after she leaves him because he believes that he cannot experience the intense joy that he did before. Murakami compares it to suffocating, capturing Tokai’s experience of feeling love only briefly before having it taken away. Requited love can represent breathing, with each partner giving their love and taking the other’s. However, when the woman leaves Tokai, his love has nowhere to go, and the weight of it slowly crushes him. Murakami’s narrator also treats it as a universal experience: He describes the pain and suffering of Tokai as one that doesn’t change over the course of a thousand years. The narrative thus suggests that heartbreak is a constant of the human experience, and that men for generations feel what Tokai feels.
In “Scheherazade,” Scheherazade shares with Habara that she once lived a past life as a lamprey, living a peaceful existence at the bottom of a lake. The lamprey is a recurring image in the story, and acts as a symbol that represents the desire to lead a less complicated existence. The imagery of the lampreys suggests peace, with them being described as resting still, only moved by the water around them: “Habara imagined a bunch of lampreys swaying like weeds at the bottom of a lake. The scene seemed somehow divorced from reality, although reality, he knew, could at times be terribly unreal” (119).
Habara also makes an association between life as a lamprey and unreality. By picturing himself as a lamprey, he enters a different world, which may feel like reality, though it is seemingly impossible. Habara recognizes that reality does not always seem real either. Even when Habara imagines himself as a lamprey alongside a lamprey version of Scheherazade, it is in a peaceful and simple atmosphere: “He pictured himself and Scheherazade side by side, their suckers fastened to a rock, their bodies waving in the current, eyeing the surface as they waited for a fat trout to swim smugly by” (139). They coexist, peacefully, side-by-side, with the kind of intimacy Habara finds in her storytelling but cannot replicate with her on an interpersonal level.
Memories play an important role in many of the stories of Men Without Women as characters reflect on their experiences with love, romance, and obsession, introducing the theme of The Conflicting Nature of Memory After Loss. For Scheherazade, she recalls how gripping her teenage obsession was, but also acknowledges that it vanished just as quickly, comparing it to a fever or a tide: “When my break-ins stopped, my passion for him began to cool. It was gradual, like the tide ebbing from a long, sloping beach. Somehow or other, I found myself smelling his shirt less often and spending less time caressing his pencil and badge. The fever was passing” (142). At the time, Scheherazade could do nothing but think about the boy from her class, breaking into his house and stealing his clothes. She describes this as a tide, explaining that it ebbed over time as her obsession dwindled.
Now, as an adult, she can look back at this time with a keener eye, analyzing how she felt. She recognizes the absurdity of her actions, but honors how the emotions led her to commit these break-ins. While telling this story, these emotions rise up, and Habara notices how she seems to talk about this time with some longing. For Scheherazade, reliving this time of her life, in which she first felt love’s obsession and lost it, leaves her in a middle space, in which she can still feel the emotions that led her to act while also understanding how inappropriate it was.



Unlock all 53 pages of this Study Guide
Get in-depth, chapter-by-chapter summaries and analysis from our literary experts.