If Cats Disappeared From The World

A core principle of Japanese culture is that healthy and virtuous living necessitates that one cultivate thoughtful moderation in the treatment of inanimate objects. The two most popular and influential religions in Japan, Shinto and Buddhism, both caution against the opposing vices of wastefulness and unhealthy attachment. Clinging attachment to objects is anathema to Shinto ideals of spiritual purity; they are also a major cause of dukkha, or suffering, which prevents enlightenment in Buddhist teachings. In turn, certain yokai, or spirits, in Japanese folklore punish wastefulness; traditional disposal ceremonies at Shinto and Buddhist shrines encourage respect and reverence for objects even once they’ve outlived their usefulness. The Japanese expression mottanai, which expresses regret over wastefulness, has become a recent slogan in environmental protection campaigns.

The postman begins the novel as a man unduly attached to his possessions, and unfairly dismissive of their importance of objects. He is aghast at the thought of surrendering prized collections of comics or action figures, but willing to sacrifice useful everyday items like phones. This reflects his attitude to interpersonal relationships; he holds on to strong emotions for his loved ones, but does not take time to maintain the relationships as he goes through his days. As a consequence, he is unfulfilled and isolated in his everyday life and beset with regrets as he approaches the end of his life. Only as he comes to understand the interconnectedness of people, objects, and experiences, simultaneously learning to value and let go of those meaningful aspects of life, is he able to face his death with peace and contentment.

The postman’s deal with the Devil Aloha gives him the necessary perspective to recognize the significance of everyday objects, and to rediscover the resilience of his relationships. Only by sacrificing seemingly unimportant objects does the postman understand their function: Phones are a literal link to his ex-girlfriend and his friend Tsutaya; clocks are the substance of his father’s professional life; and the movies La Strada, in which a man only recognizes his love for his wife when it’s too late, and Limelight, which argues that all existence has meaning, confirm the epiphany that life is only meaningful because all of its seemingly insignificant elements are in fact meaningful.

By refusing to continue sacrificing objects in exchange for his own life, the postman is simultaneously letting go of his attachment to the material world, and acknowledging its value. He repairs his relationships even as death severs them: thanking his deceased mother, reconciling with his ex-girlfriend, finding catharsis in shared grief with Tsutaya, and determining to rebuild bridges with his father by giving Cabbage over to his father’s care.