61 pages • 2 hours read
Helen DeWittThe Last Samurai
Fiction | Novel | Adult | Published in 2000A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Prologue-Book 1Chapter Summaries & Analyses
Book 1, Part 1: “Do Samurai Speak Penguin Japanese?”
Prologue Summary
Content Warning: This section of the guide includes a discussion of suicide, stigmatizing language about mental illness, and allusions to rape.
Sibylla’s grandfather, “a Methodist minister” (17), is known for his striking appearance and resonant voice. When Sibylla’s father, an atheist and Darwinist, earns a scholarship to Harvard at a young age, her grandfather encourages him to explore theological studies before embracing secularism. Her father faces rejection from most theological seminaries due to his young age and unconventional motives. Eventually, he finds a smaller seminary that charges him $1,500 a year. Her grandfather, in support of his son’s theological studies, offers to cover half of the tuition.
Sibylla’s father meets a man named Buddy at a bar and amasses $1,000 from pool games. He receives investment advice from a stranger about real estate. Both he and Buddy trust the stranger’s insights. Later, Sibylla’s father receives an admission offer from Harvard without a scholarship. His father attributes it to “God’s will” (21). This decision leaves him uncertain about his future, leading him to embark on a 1,300-mile drive and engage in giving strangers money for unusual tasks. His journey takes him to Buddy’s house in Philadelphia where he learns about Buddy’s family’s suppressed musical ambitions due to their father’s “very high standards” (23). Buddy, regretful about not pursuing his musical dreams, confides in Sibylla’s father, who encourages Buddy to support his youngest sister, Linda, in her musical aspirations. Linda, a talented pianist, meets Sibylla’s father, and despite initially labeling him as “the atheist” (24), they later get married.
Book 1, Part 1, Introduction Summary
Book 1 is prefaced with epigraphs that excerpt dialogue from Akira Kurosawa’s 1954 film Seven Samurai and a passage from The Films of Akira Kurosawa (1965) by Donald Richie.
At age 23 in 1985, Sibylla joins a small group reading an obscure German work, having taught herself German using “Teach Yourself German” (28). She reflects on her time at Oxford, where she reads Roemer’s obscure work in the Reserve section of the Radcliffe Camera. Despite the difficulty of the material, she continues reading and translating it as she finds boredom worse than death.
After spending hours deciphering Roemer’s text, Sibylla realizes that his work holds significance to just the “49 individuals who understand its significance” (33). Her reading of Roemer’s work leaves her questioning her academic choices. She considers possibilities, from working as an artist’s assistant to contemplating travel destinations like London, Paris, or Rome. However, her thoughts are interrupted when her son, Ludo, poses questions about the movie they are watching, bringing her back to the present.
Sibylla, concerned about providing “a benevolent male” role model for Ludo (36), chooses to introduce him to the film Seven Samurai in the hopes of offering potential role models. While watching, she reflects on the possibility of Ludo becoming a prodigy akin to Mozart or Newton. In the film, an important scene involves a samurai disguising himself as a priest to rescue a child held hostage by a thief, which Sibylla uses to delve into the ethical and moral aspects of the samurai’s actions. As the conversation deepens, Sibylla provides various details about the film and emphasizes that if Ludo achieves success through his actions, it could serve as a valuable example for others. If his life takes a less favorable turn, his experiences might still offer lessons for others.
In the movie, the farmers must select the right samurai to help them, leading them to Kambei Shimada. Sibylla admires the translator’s work in translating Japanese into Penguin (the contrived version of English into which Sibylla believes that English translators translate). Ludo expresses interest in learning Japanese, and a symbolic “Voice of Sweet Reason” pops into Sibylla’s head telling her to finish existing projects before starting something new (41). However, Sibylla agrees to consider teaching him. They discuss the syllabic nature of Japanese characters and explore numerical prefixes in various languages. The conversation then shifts to art and music, with mentions of Gianlorenzo Bernini’s genius, Cézanne’s unique painting style, and Glenn Gould’s expertise in Bach’s works. They also discuss historical figures like Rilke, Zweig, Musil, Newton, and Einstein. The conversation concludes with Sibylla encouraging Ludo to complete reading the Odyssey to earn his Japanese language lessons. She also mentions accepting a job offer from Emma, her colleague and friend.
Book 1, Part 1, Chapter 1 Summary
Sibylla initially plans to teach Ludo using flashcards and gradual learning, but Ludo’s eagerness and swift progression prompts her to switch to phonics. He quickly grasps letter sounds along with learning some French words, and they celebrate his reading progress together. Sibylla then introduces arithmetic, teaching Ludo to count and perform calculations. He makes remarkable progress, eventually delving into complex mathematical concepts and becoming proficient in mathematics by the age of four.
While Sibylla takes a break from her writing to read “Iliad 16” (54), Ludo expresses interest in the Greek text, and she reluctantly decides to introduce him to the Greek alphabet, providing a table for his use as he transfers words from “Odyssey 5” onto his file cards (56).
Book 1, Part 1, Chapter 2 Summary
In 1985, Sibylla starts working as a secretary at a London publishing house that specializes in dictionaries and nonacademic scholarly works. Although she does not particularly enjoy the work, she is averse to the idea of returning to the United States. She reflects on the disparity between her envisioned vibrant, colorful world and the British books in English that fall short of capturing its essence. Despite this inner conflict, she maintains composure while speaking with Emma who is fond of America and its culture.
During their conversation, Sibylla contends that people from all over the world come to England to become English writers, leading to various “languages fading into English” (59). She believes that the rich tapestry of immigrant cultures is not adequately represented in English literature.
Book 1, Part 1, Chapter 3 Summary
In June 1986, Sibylla’s office is abuzz with “nervous excitement” as it has been acquired by a large American firm (62), raising concerns about job security. Emma secures an invitation for Sibylla to a merger celebration party where both American and British writers are featured, including Liberace, known for his unique writing style that prioritizes effortless excellence over effort and excellence. Meanwhile, Ludo is immersed in reading Odyssey 9 and enjoys it.
Book 1, Part 1, Chapter 4 Summary
In 1986, Sibylla stumbles upon Arnold Schoenberg’s Theory of Harmony in a bookstore (65). Sibylla is profoundly impressed by his ideas, realizing that art is about creating unique elements rather than just replicating reality.
At the merger celebration party, Sibylla discusses Schoenberg’s music theory and the opera “Moses and Aaron” with attendees (68). Later, Liberace arrives at the party and engages in a conversation with Sibylla who looks “bored and frustrated” (70). Sibylla contemplates leaving and Liberace suggests that they depart together, offering her a lift. They engage in a flirtatious conversation, discussing various topics including the Rosetta Stone and language preservation. Liberace compliments Sibylla’s enthusiasm. At his place, he worries about being boring and repeatedly asks if he is. Sibylla feels trapped in a relentless cycle of curiosity and politeness. To temporarily break the cycle, she impulsively kisses Liberace, leading to a new, unexpected situation as he unbuttons her dress, and Sibylla complies out of politeness.
Book 1, Part 1, Chapter 5 Summary
On a stormy day, Sibylla and Ludo watch a modern cinematic masterpiece in their bedroom. Sibylla reflects on her morning’s work at the computer while Ludo bombards her with questions. They watch Kurosawa’s Seven Samurai, and Sibylla provides Ludo with insights into the film, comparing it to Kurosawa’s earlier work, Rashomon. Considering their financial situation, Sibylla decides to work on “Advanced Angling” downstairs (78), and Ludo pleads to join her, but she doesn’t let him. Throughout the hour, she hears Ludo howling upstairs to join her with the samurai film’s theme in the background. Unable to endure it any longer, Sibylla decides to let Ludo join her downstairs and gets back to her typing while Ludo begins reading Hebrew texts quietly. After giving him lunch, Sibylla returns to her computer and works for several hours with only occasional questions from Ludo. She reflects on her situation and is visited by the Alien’s thoughts (a voice that Sibylla hears and with which she interacts). Despite her hesitations, she rewatches Seven Samurai to see Rikichi, a central character, then resumes reading about the Hebrew language.
Book 1, Part 1, Interlude Summary
Sibylla recalls her grandfather, a talented amateur musician. Her uncle, Buddy, didn’t want to become an accountant, but his father did not let him become a musician. There’s a sense of pressure within the family to follow specific career paths. Sibylla’s father passionately encourages Linda to pursue her dreams. There’s a discussion about Linda going to Juilliard for her music, and her brother, Buddy, and Sibylla’s father offer to accompany her.
Linda arrives at Juilliard initially planning to showcase her musical versatility with multiple instruments but ultimately decides to proceed with her violin, viola, mandolin, and flute. She insists on an immediate audition despite standard procedures, catching the attention of a homely man with a bow tie who guides her to a room with a grand piano. To the man’s surprise, Linda chooses to play her violin first and then performs a Beethoven sonata on the piano with determination. As she transitions to the mandolin and flute, he finally engages, offering her a chance to demonstrate her piano skills. Reluctant at first, Linda seizes the opportunity and plays Beethoven’s “Moonlight Sonata” and a Brahms intermezzo, only to have her technique issues addressed by the man, who points out wrist tension. He assigns a rigorous exercise to be practiced for four hours daily for two months and encourages her to return in a year.
Linda’s post-audition emotions are overwhelming; the man at Juilliard taking her seriously and giving her an intensive practice regimen makes it one of her happiest days. Meanwhile, Sibylla’s father and Buddy are preoccupied with purchasing a motel. Linda, upon returning home, dedicates herself to piano practice, but she starts to question her musical journey and her family’s motivations. As she struggles, the advice from the homely man becomes a heavy burden, leading her to contemplate the significance of deep thinking in music beyond mere scale practice. She considers an alternative path for her musical development.
Prologue-Book 1 Analysis
DeWitt employs point of view as a narrative device in The Last Samurai, shifting between the first-person perspectives of Sibylla and Ludo. In the opening parts of the novel, Sibylla’s voice dominates the narrative landscape. Through her first-person perspective, Dewitt introduces the events leading up to Ludo’s birth and insight into Sibylla’s anxieties and musings regarding her son’s genius. Ludo’s voice gradually enters the narrative fray, often in the form of journal entries. DeWitt exposes readers to multiple perspectives on the same events, enhancing the novel’s exploration of ambiguity and fragmentation. In the latter half of the novel, DeWitt orchestrates a structural shift that places Ludo at the narrative’s helm. Part 3 exclusively comprises Ludo’s journal entries while Parts 4 and 5 comprise Ludo’s direct first-person perspective. This structural transition highlights the novel’s evolution into a coming-of-age story: an exploration of Ludo’s growth and self-discovery.
Beyond language, DeWitt utilizes atypical typographic elements, transcending the conventional presentation of a novel. She adorns the narrative with a variety of font sizes and typesetting choices, injecting the text with an aesthetic and artistic dimension that defies traditional norms. The structure of the novel similarly resists literary conventions. She divides the novel into five main parts, each of unequal size. Within these parts, she further dissects the narrative into multiple sections. These sections are introduced with a striking blend of quotes, titles, numbers, and references to other texts. These elements underscore the characters’ contemplations of aesthetic practices, including Sibylla’s thoughts about art deviating from reality and Linda’s contemplation of the relationship between music and her thoughts.
DeWitt employment of unconventional formal techniques in her writing—such as incomplete sentences, changes in font size, and the incorporation of multiple foreign languages—mirrors Sibylla’s impatience with conventional literary norms. Furthermore, in the initial part of the book, Ludo’s commentary on Seven Samurai frequently interrupts Sibylla’s narrative, even mid-sentence. His voice seems to transcend the confines of time, disrupting both the linear progression of the narrative and Sibylla’s own recollections. DeWitt also gradually enlarges the font size of Ludo’s dialogue, symbolizing his growing influence over Sibylla. Consequently, the novel’s emotional and thematic impact does not solely emerge from the story itself but also from its form and structure.
DeWitt incorporates excerpts from various texts in Book 1. Many are obscure texts, and DeWitt links their complex esotericism to the theme of Intellectual Pursuit and Genius. In the case of The Last Samurai (Book 1), this includes numerous references to other literary and academic works within the novel, such as Richie’s The Films of Akira Kurosawa, Römer’s Aristarchs Athetesen in der Homerkritik (28), Fraser’s Ptolemaic Alexandria, Darwin’s Origin of Species, Wodehouse’s Leave It to Psmith, Schoenberg’s Theory of Harmony, and Ibn al-Muqaffa’s Kalilah wa Dimnah. These references create intertextuality, connecting the novel to a broader cultural and literary tradition while simultaneously blurring the lines between fiction and reality. This self-referentiality prompts readers to question the distinction between fiction and reality.
The presence of the symbolic voices of “the Alien” and the “Voice of Sweet Reason” further underscores the postmodern elements within the narrative (41). These characters appear unexpectedly, challenging traditional narrative structures and reminding the readers of the work’s fictional nature. The Voice of Sweet Reason’s advice to prioritize ongoing projects over starting new ones echoes the postmodern theme of fragmented narratives. The Alien’s surreal and absurd exchanges with Sibylla highlight the novel’s characteristic of deconstructing conventional storytelling and blurring the lines between reality and fantasy, a hallmark of postmodern literature.
The idea of boredom and its significance in postmodernism is also apparent in Book 1. Sibylla’s vehement aversion to boredom, as expressed in her wish to “never [to] be bored” (34) reflects a sentiment often associated with the postmodern era. She finds boredom worse than death. Through Sibylla, DeWitt explores the ennui and disillusionment experienced by modern individuals living in an information-saturated, consumer-driven society.
Book 1 delves into the topic of linguistic colonization and the act of translation. Sibylla notices the complex dynamics of linguistic imperialism, where “all the languages fad[e] into English” (59), erasing the richness of other languages and cultures. She further observes, in literature, that non-English-speaking immigrants are often relegated to the role of “character actors speaking bad English or italics” (59), reflecting a form of cultural misrepresentation. Sibylla contemplates the critical idea that “[t]ranslation becomes the part of domination, of achieving control on the language, culture, and people being translated” (Young, Robert. Postcolonialism: A Very Short Introduction. Oxford University Press, 2003, p. 140). Her contemplations introduce the novel’s ideas about The Power of Language and Art to Enrich the Human Experience, suggesting that cultural oppression deprives people of forms of expression and pleasure.
