[The following is an excerpt from "The Wind-Up Bird Chronicle" by Haruki Murakami you may find relevant to today's climate of political discourse. -ed]

    About two years after I married Kumiko, Noboru Wataya published a big, thick book.  It was an economics study full of technical jargon, and I couldn't understand a thing he was trying to say in it.  Not one page made sense to me.  I tried, but I couldn't make any headway because I found the writing indecipherable.  I couldn't even tell if this was because the contents were so difficult or the writing itself was bad.  People in the field thought it was great, though.  One reviewer declared that it was "an entirely new kind of economics written from an entirely new perspective." Soon the mass media began to introduce him as a "hero for a new age."  Whole books appeared, interpreting his book.  Two expressions he had coined, "sexual economics" and "excretory economics", became the year's buzzwords.  I couldn't believe that anyone who wrote these articles understood what Noboru Wataya was saying in his book.  I had doubts they even opened it.  But such things were of no concern to them.  Noboru Wataya was young and single and smart enough to write a book no one could understand.
    It made him famous.  The magazines all came to him for critical pieces.  He appeared on television to comment on political and economic questions.  Soon he was a regular panel member on one of the political debate shows.  Those who knew Noboru Wataya (including Kumiko and me) had never imagined him to be suited to such glamorous work.  Once he got a taste of the world of mass media though, you could almost see him licking his chops.  He was good.  He didn't mind having a camera pointed at him.  If anything, he even seemed more relaxed in front of the cameras than he was in the real world.We watched his sudden transformation in amazement.  The Noboru Wataya we saw on television wore expensive suits with perfectly matching ties, and eyeglass frames of fine tortoiseshell.  His hair had been done in the latest style.  And even if he had been outfitted by the network , he wore the style with perfect ease, as if he had dressed that way all his life.  Who was this man?  I wondered, when I first saw him.  Where was the real Noboru Wataya?

    In front of the camera, he played the role of Man of Few Words.  When asked for an opinion, he would state it simply, clearly, and precisely.  Whenever the debate heated up and everyone else was shouting, he kept his cool.  When challenged, he would hold back, let his opponent have his say, and then demolish the person's argument with a single phrase.  He had mastered the art of delivering the fatal blow with a purr and a smile.  On the television screen, he looked far more intelligent and reliable than the real Noboru Wataya.  I'm not sure how he accomplished this.  He certainly wasn't handsome.  But he was tall and slim and had an air of good breeding.  In the medium of television, Noboru Wataya had found the place where he belonged.  The mass media welcomed him with open arms, and he welcomed them with equal enthusiasm.

    Meanwhile, I couldn't stand the sight of him- in print or on TV.  He was a man of talent and ability, to be sure.  I recognized that much.  He had an animal instinct for sensing the direction of the wind.  But if you paid close attention, you knew that his words lacked consistency.  They reflected no single worldview based on profound conviction.  His was a world that he had fabricated by combining several one-dimensional systems of thought.  He could rearrange the combination in an instant as needed.  These were ingenious, even artistic, intellectual permutations.  But to me they amounted to nothing more than a game.  IF there was any consistency to his opinions, it was the consistent lack of consistency, and if he had a worldview, it was the lack of a worldview.  But these very absences were his greatest assets.  Consistency and an established worldview were excess baggage in the intellectual mobile warfare that flared up in the mass media's tiny time segment.

    He had nothing to protect, which meant that he could concentrate his attention on attack, knocking enemy down.  Noboru Wataya was an intellectual chameleon, changing his color in accordance with his opponents, adlibbing his logic for maximum effectiveness, mobilizing all the rhetoric at his command.  He clearly had the knack of appealing directly to the feelings of the mass audience.  He knew how to use the kind of logic that moved the great majority.  Nor did it even have to be logic, it just had to appear to be so, as long as it aroused the feelings of the masses.

    Trotting out the technical jargon was another forte of his.  No one knew what it meant, of course, but he was able to present it in such a way that you knew it was your fault if you didn't get it.  And he was always citing statistics.  They were engraved in his brain, and they carried tremendous persuasive power, but if you stopped to think about it afterwards, you realized that no one had questioned his sources or their reliability.

    These clever tactics of his used to drive me mad, but I was never able to explain to anyone exactly what upset me so.  I was never able to construct an argument to refute him.  It was like boxing with a ghost: your punches just swished through the air.  There was nothing solid for them to hit.

    And so Noboru Wataya came to be seen as one of the most intelligent figures of the day.  Nobody seemed to care about consistency anymore.  All they looked for on the tube were the bouts of intellectual gladiators, the redder the blood they drew, the better.  It didn't matter if the same person said one thing on Monday and the opposite on Thursday.