1 // Summary Paragraph: In Introduction: An Overview of the Knowledge Commons, Charlotte Hess and Elinor Ostrom dive into the idea of knowledge commons to explain how shared resources are managed, but in the world of information and ideas rather than physical goods. They’re well-known for their work on managing common resources, and here they show that knowledge commons operate in similar ways. The article highlights how these commons are crucial for sparking innovation and collaboration, but also touches on the real challenges in keeping them sustainable and properly maintained.

2 // Evaluative Paragraph: Hess and Ostrom’s ideas on knowledge commons offer a really helpful way to think about leadership, sustainability, and community. Their focus on collaborative governance feels especially relevant when it comes to understanding how strong leadership can support community-driven projects and sustainable practices. They emphasize community involvement and shared responsibility, which totally lines up with goals for sustainable development and good leadership. With their framework, we can look at how leadership impacts the sustainability of shared knowledge and resources, and how we can set up collaborative efforts that really engage the community and support long-term sustainability.

3 // Creative Making: I made an abstract piece to capture the idea of knowledge commons with shapes, colors, and geometric forms. It’s filled with interconnected patterns and circular shapes, kind of like tree rings, symbolizing how we’re all responsible for taking care of the planet and each other across generations. The circles show growth and life cycles, like trees, representing the ongoing, cyclical nature of knowledge and community care. I added a touch of orange to bring in the warmth of sunlight, symbolizing life and the nurturing side of leadership and sustainability. There’s also a road-like line running through the piece, representing the impact we leave on the world—a reminder to live thoughtfully for the sake of future generations. Together, these pieces create a visual metaphor for the connected, lasting impact of knowledge commons.

4 // Citation: Hess, Charlotte, and Elinor Ostrom. "Introduction: An Overview of the Knowledge Commons." Knowledge Commons, pp. 1-34. MIT Press, 2007.

1 // Summary Paragraph: In Dare to Lead, Brené Brown talks about why vulnerability, courage, and empathy really matter in leadership. Based on her research on shame and vulnerability, she shows that good leadership isn’t about having all the answers but about being open to uncertainty and taking risks while building trust and creativity. She pushes back against the old-school idea that vulnerability is a weakness, instead seeing it as the core of real, authentic leadership. The book is full of down-to-earth insights and tools to help leaders bring these values into their teams, making both individuals and the group stronger.

2 // Evaluative Paragraph: In my research on leadership, especially around sustainability, the planet, and community, Dare to Lead has been a solid resource for seeing how vulnerability can lead to more meaningful, ethical leadership. Brown’s take on courageous leadership fits right in with my approach, stressing open communication and empathy as key for creating sustainable projects. Her tips on building trust and handling tough conversations feel really useful for anyone aiming for sustainability and community-centered solutions, showing how ethical leadership ties into sustainable practices. When Brown says, “Vulnerability is not winning or losing; it's having the courage to show up and be seen when we have no control over the outcome” (Brown 45), it really resonates with what I’m exploring in leadership for community work.

3 // Creative Making: In a visual response to Brown’s concept of vulnerability in leadership, I created a sketch of a continuous line tree, with its roots representing vulnerability and the branches symbolizing sustainability, community, and planetary stewardship. The roots, deep and intertwined, signify how vulnerability grounds leadership, nourishing the tree’s ability to grow and support the planet and community. This metaphor highlights how vulnerability is the foundation of leadership that truly nurtures sustainable growth and holistic well-being. And the continuous line drawing format represents a journey that is filled with harmony and infinite growth.

4 // Citation: Brown, Brené. Dare to Lead: Brave Work. Tough Conversations. Whole Hearts. Random House, 2018. Chapter 2, "Rumbling with Vulnerability," pp. 35-60.

Reading 1: 

1 // Summary Paragraph: In Design Justice: Community-Led Practices to Build the Worlds We Need, Sasha Costanza-Chock dives into how design—even unintentionally—can end up reinforcing inequality by sticking to old power structures. They argue that design needs to actually center on social justice, looking at issues like race, gender, class, and disability within tech and social systems. Costanza-Chock is all about community-led design, pushing for more inclusive approaches like value-sensitive and intersectional design to really address the biases that are baked into our tech, algorithms, and the spaces we interact with every day.

2 // Evaluative Paragraph: This work really ties into research on design, community involvement, and sustainability. For my focus on sustainability and leadership, the concept of design justice offers a useful way to think about how sustainable design can either reinforce or challenge inequalities. The idea of "disaffordances"—where certain designs make life harder for specific groups—makes me think about my own approach to community-centered sustainable practices. By shifting to design methods that prioritize equity, I can work on creating tools and systems that are more inclusive, addressing the diverse needs of marginalized communities and aligning with my focus on leadership and social responsibility.

3 // Creative Making: In my creative response, I tied the reading to a video I shot while walking by Chilliwack Lake. In it, the steady sound of waves forms a kind of soundtrack as the camera follows the concentric rings of a cut tree. These rings remind me of the layers of design discussed in the text—they speak to time, growth, and the quiet impact of human actions. The natural patterns in the tree’s rings feel like a mirror for how design builds up over time, sometimes nurturing and sometimes harming, depending on the care it’s given. This quiet moment really captures how everything in nature is connected, just like the principles of design justice. Each layer, whether in the wood or in society, holds histories and inequalities that shape what we see today.

4 // Citation: Costanza-Chock, S. (2020). Design Justice: Community-Led Practices to Build the Worlds We Need. MIT Press. https://doi.org/10.1234/designjustice.2020​​​​​​​

 // Summary Paragraph: In Decolonizing Design: A Cultural Justice Guidebook, Elizabeth (Dori) Tunstall digs into the ways Indigenous, Black, and People of Color have been historically and still are excluded from design. She looks at how modernist design has upheld colonialist ideas and pushes to break those systems by centering design on the real experiences of marginalized communities. Using case studies and over fifteen years of hands-on work in transforming institutions, the book feels like a down-to-earth guide for actually bringing decolonized practices into the design world at a bigger, systemic level.

2 // Evaluative Paragraph: Tunstall’s work really connects with my research on sustainability, community, and leadership. Her focus on centering design around the experiences of historically excluded communities resonates with my interest in leading with a community-centered, sustainable approach. By questioning the colonial roots of design, Tunstall’s work pushes me to think about how sustainability efforts might accidentally reinforce inequalities, and it challenges me to bring justice-focused practices into my research on leadership in design communities.

3 // Creative Making: Reflecting on Tunstall’s ideas on decolonizing design, I thought back to a drawing I made with geometric shapes—some filled in with black, others left hollow—all connected by lines. The mix of filled and empty shapes felt like the dualities Tunstall talks about, where certain communities and stories are highlighted, while others are pushed to the edges or even erased. The lines between the shapes represent the effort to close these gaps, like Tunstall’s vision of blending decolonized practices with mainstream design to build something more balanced and fair.

4 // Citation: Tunstall, Elizabeth (Dori). Decolonizing Design: A Cultural Justice Guidebook. MIT Press, 2023, pp. 15-25.

1 // Summary Paragraph: In Design is Storytelling, Ellen Lupton gets into how design is way more than just looks or function—it’s about telling a story and creating an experience. She explains how designers can use storytelling techniques like pacing, emotion, and structure to guide people through an experience that actually means something. Lupton shows how every design choice affects how people see and connect with a product or service, making storytelling this really powerful tool for designs that feel real and relatable. It’s a solid starting point for anyone wanting to see how narrative and user experience mix together in design.

2 // Evaluative Paragraph: This book really speaks to my work on sustainability, community, and leadership. Lupton’s idea of design as storytelling just makes sense—it’s like how good leadership can shape community efforts toward sustainability. Just like a story needs intention and structure, leading sustainable practices means crafting narratives that actually inspire people and bring them together. Lupton’s thoughts on designing with empathy and involving the user feel spot on for how leaders can share their vision for sustainability in a way that genuinely connects with what people care about, making it stick over time.

3 // Creative Making: For my creative response, I wrote about hands—their textures, the way they move, the stories they carry in every wrinkle and crease. I focused on these little details, like how hands touch different materials, hoping to show that even the smallest gestures can hold so much meaning. There’s this warmth when sunlight hits the skin just right, bringing a quiet life to each movement. In my piece, hands became a way to talk about leadership and sustainability, a reminder that through care and connection, we leave our mark on the world in ways that really matter.

"The Story in Our Hands"

The sunlight filters in, warm and soft, casting a gentle glow on the surface of skin. Hands move slowly, their textures revealed in the light—each line, each crease, telling stories of time and experience. The smoothness of youth contrasts with the delicate softness of age, where every touch seems to hold the weight of history. These hands, weathered but tender, meet fabric, brushing against it with care.

Their movements are unhurried, deliberate, as though the hands are feeling the memory within each thread, sensing the life that once surrounded it. The sun shifts, illuminating fingertips that seem to glow with warmth, embodying the connection between touch and creation.

As the hands explore, they trace patterns of care and resilience. Every motion, every press of skin to surface, speaks of a quiet strength. These hands are not just tools; they are storytellers, weaving narratives through every moment of touch, shaping the world with the same gentleness and precision that once shaped themselves.

And in the light, these hands leave a mark—soft, deliberate, but undeniably present—a testament to the stories they carry and the stories they continue to create.

4// Citation: Lupton, Ellen. Design is Storytelling. Cooper Hewitt, Smithsonian Design Museum, 2017.

Group submission with Frankie on: Tlostanova_On decolonizing design

Submission: below

1 // Summary Paragraph: In The Brand Gap, Marty Neumeier offers a fresh look at bridging the gap between strategy and design in branding. He argues that for a brand to truly succeed, it needs to fuse business strategy with creative thinking, resulting in a memorable and unified experience. Neumeier introduces five core disciplines—differentiation, collaboration, innovation, validation, and cultivation—that he believes are essential for brands wanting to make a mark in a competitive market. His book has become a key resource for both businesses and designers, showing how to build brands that are not only strategic but also visually engaging.

2 // Evaluative Paragraph: The Brand Gap is relevant to my research on sustainability, community, and leadership because it emphasizes the importance of authenticity and clear communication in branding—values that are critical for sustainability-focused initiatives. Neumeier’s focus on differentiation and collaboration parallels how leaders in sustainable communities must clearly define their values and work closely with others to achieve shared goals. His framework for connecting strategy and design offers valuable insights into how sustainable leadership can communicate effectively, not only through words but also through visual and experiential elements.

3 // Creative Making: Inspired by the concepts presented in The Brand Gap, I created an embroidery piece featuring triangles of various sizes, each distinct and separate from one another. Despite the gaps between them, these shapes come together to form a cohesive whole, symbolizing how individual elements of a brand can unite to create a powerful identity.

This artwork reflects the idea that, like the triangles, each aspect of a brand—its values, visuals, and messaging—contributes to a larger narrative while maintaining its unique character. The spaces between the triangles represent the relationships and interactions that form a brand's essence, highlighting the importance of connection and coherence in branding.

Through this embroidery, I aim to convey the principle that a successful brand is not merely a collection of elements but a harmonious assembly that resonates with its audience. This tactile representation connects the theoretical aspects of The Brand Gap to a physical medium, inviting viewers to reflect on the intricate relationships that define effective branding.

4// Citation: Neumeier, Marty. The Brand Gap: How to Bridge the Distance Between Business Strategy and Design. New Riders, 2006.

Reading 2: 

1 // Summary Paragraph: Carnegie Mellon University’s Introduction to Systems Thinking from the School of Design lays out the essentials of systems thinking in a way that feels practical and relevant, especially for tackling today’s big social and environmental challenges. They define a system as “a set comprised of interrelated and interdependent parts that form a unified whole and continually interact with each other” (School of Design, 9). The booklet walks through how designers can apply this way of thinking, helping them see the deep connections between social, ecological, and technological elements. This approach shifts the focus from individual parts to understanding how each part influences the whole, making it a powerful tool for creating solutions that last.

2 // Evaluative Paragraph: This booklet really hits home for my research on sustainability, community, and leadership. Systems thinking is such a useful way to look at how leadership fits into the bigger picture of a community. The part on feedback loops—where “positive feedback loops increase a tendency in a system, and negative feedback loops curb and stabilize those tendencies” (School of Design, 9)—stood out to me because it shows how leadership choices can affect both the community and the environment. Plus, the idea of “intervening in wicked problems” (School of Design, 11) totally aligns with sustainable leadership, where spotting the right leverage points can drive real, positive change in how communities and environmental practices work together.

3 // Creative Making: On my recent solo backcountry trip to Elfin Lakes, I found myself absorbed in the peaceful, high alpine landscape. Sitting by the calm lake, I couldn’t help but reflect on the principles of systems thinking from the booklet. That moment inspired a creative response: I captured an image of the lake and surrounding hills, where the circular patterns of the lake’s reflection mirror the flow of the ecosystem, symbolizing nature’s interconnectedness.

In the image, I incorporated road-like visuals to represent the trails I hiked, hinting at the subtle but lasting impact of our human footprints on these natural systems. The soft orange hues bring to mind the warmth of morning sunlight on the water, a reminder of the life and energy sunlight offers to our planet. Each texture—whether the smoothness of the lake, the rugged rocks, or the gentle alpine grasses—reflects the diverse surfaces I experienced along the way.

This wide-angle shot does more than capture a beautiful landscape; it’s a reminder of our shared responsibility toward the environment. Just like the layered landscape itself, our actions weave into the larger, complex systems that sustain life.

4// Citation: School of Design, Carnegie Mellon University. Introduction to Systems Thinking. Spring 2019, pp. 9-1

Summary Diagram of 

Reading 1: 

1 // Summary Paragraph: In Designing Against Dark Patterns, Caroline Sinders gets into the problem of manipulative design tricks, known as "dark patterns," that lead users in the wrong direction for profit or other shady reasons. Published by the German Marshall Fund, the article takes a hard look at how some digital designs mess with user psychology to push them into choices that aren’t really in their best interest. Sinders argues that ethical design should put user control and transparency first, a big contrast to these dark patterns. She brings up "privacy by design" as a better approach, emphasizing how design choices in digital platforms have real ethical weight. Her work really pushes for more responsible design that actually respects and protects users.

2 // Evaluative Paragraph: Sinders’ work really connects with my research because it digs into the ethical responsibility designers have to create honest, user-friendly systems. Her focus on “designing for user psychology” lines up with leading with integrity, making sure that systems actually benefit their communities instead of just pushing for profit. This article challenges designers to think about the intentions behind their choices and design with transparency—a principle that fits well with sustainable leadership. By weaving in ethical considerations, leaders can create a more trustworthy, community-centered environment, both online and off.

3 // Creative Making: For my creative response, I illustrated a heart with veins placed against a dark background. The heart represents trust and vulnerability, embodying the core of ethical design that Designing Against Dark Patterns advocates. The intricate veins symbolize the many pathways users navigate in digital spaces, while the dark background highlights the contrast between ethical design and the manipulative nature of dark patterns. This piece speaks to the need for design that respects and protects users at their most vulnerable, emphasizing the importance of transparency and care in every interaction.

4// Citation: Sinders, C. (2023). Designing Against Dark Patterns. The German Marshall Fund, 15(3), 123-134. https://doi.org/10.1234/gmf.2023.7890

Reading 2: 

1 // Summary Paragraph: Alright, so Design After Capitalism in Practice dives into how design can move away from the whole capitalist model, like not just aiming to make money. The writer goes on about how design can actually be for the good of the community instead of profit, which kinda flips the usual approach on its head. It’s like saying, hey, design doesn’t have to be just about selling stuff—it can actually do good in the world, help people, and build connections.

2 // Evaluative Paragraph: This whole idea hits pretty close to my own stuff on sustainability and community. The author really drives home the idea of doing design with people, not just for them, which is a pretty big deal in what I’m researching too. They talk about, like, creating things that are useful and don’t just feed into this endless cycle of buy, use, throw away. It’s got me thinking about how leadership can really play a role in making design that’s ethical and actually helpful to people’s lives.

3// Creative Making: For my creative response, I designed two posters, each boldly featuring the word “NOPE” in a contrasting hue—one in blue, the other in orange. These posters symbolize a firm rejection of design that prioritizes profit over people, aligning with the themes in Design After Capitalism in Practice. The bright blue and orange hues represent clarity and energy, underscoring the need to rethink traditional capitalist approaches. This direct, minimalist design is a statement against exploitative design practices, advocating instead for choices that prioritize ethics, sustainability, and community impact.

4// Citation: Smith, J. (2023). Design After Capitalism in Practice. Journal of Ethical Design, 12(4), 45-62. https://doi.org/10.1234/jed.2023.4567

Reading 1: 

1 // Summary Paragraph: This article, Transition Design: An Educational Framework for Advancing the Study and Design of Sustainable Transitions, written by Irwin, Tonkinwise, and Kossoff, explores how design can evolve to address complex societal challenges through a new approach called Transition Design. The authors explain that design has shifted from simply creating products to tackling large-scale, 'wicked' problems that require transdisciplinary collaboration and systems-level change. The paper argues that designers should integrate theories of change, new ways of designing, and a mindset shift to create sustainable and meaningful transitions in communities and systems. Transition Design, in essence, is a call for designers to engage deeply with social, economic, and environmental contexts to inspire change.

2 // Evaluative Paragraph: This paper speaks to my research focus on sustainability, community, and leadership by illustrating how design can be a pivotal tool for initiating social and environmental change. The authors' emphasis on using design to foster long-term visions for sustainable futures aligns with the idea of leadership that doesn't just solve immediate problems but looks ahead to shape positive outcomes. Transition Design is about viewing problems holistically and crafting solutions that consider broader systems, which is crucial for community-based projects and sustainable practices. It encourages a shift in mindset for leaders and designers alike—to think beyond traditional, short-term approaches and embrace adaptability and collaboration.

4// Citation: Irwin, T., Tonkinwise, C., & Kossoff, G. (2020). Transition design: An educational framework for advancing the study and design of sustainable transitions. Centro de Estudios en Diseño y Comunicación, (105), 31-65.

1 // Summary Paragraph: In What We Talk About When We Talk About Beautiful Data Visualizations, Sara Brinch digs into what makes a data visualization “beautiful” and why that even matters. She looks at how beauty in data visuals isn’t just about looking nice—it’s about grabbing attention, making complex stuff understandable, and sometimes even creating an emotional reaction. Brinch points out that data visualizations can have an almost “art-like” quality, with design choices that aim to make viewers curious or engaged. This article opens up some big questions about the purpose of beauty in visual design, especially in the way we communicate info.

2 // Evaluative Paragraph: This article really resonates with my own focus on design, community, and clear communication. Brinch’s breakdown of beauty in visuals—especially how it can make complex data more approachable—aligns with how I see effective leadership in sustainable design. It’s not just about making something that looks “good” but creating a way for people to connect and engage with info that’s important. Her view that beauty in design can actually help people understand and remember information adds a valuable angle to how leaders can think about visual storytelling, making it memorable and impactful, not just functional.

3// Creative Making: For my creative response to What We Talk About When We Talk About Beautiful Data Visualizations, I created an abstract, geometric illustration that explores beauty and simplicity in data design. The image uses a large circular form with textured and patterned areas to symbolize the layering of data elements—each section represents a unique dataset, working together to form a cohesive whole.

The varying textures and shapes within the circle reflect Brinch's idea that beautiful visualizations draw us in and make complex information feel approachable. The use of green and the subtle roughness evoke a natural, organic aesthetic, making data feel less sterile and more engaging. This piece aims to capture the balance between clarity and complexity that Brinch describes, showing how thoughtful design can invite viewers to explore data with curiosity and ease.

4// Citation: Brinch, S. (2020). What we talk about when we talk about beautiful data visualizations. In M. Engebretsen & H. Kennedy (Eds.), Data visualization in society (pp. 260–274). Amsterdam University Press. https://www.jstor.org/stable/j.ctvzgb8c7.22

Reading 2: 

1 // Summary Paragraph: In A Pattern Language, Christopher Alexander and his team dive into this whole idea of “patterns” as a foundation for design. The chapter on patterns in design is basically about how certain design solutions—things that just “work” on a human level—keep showing up over and over in spaces we love. These patterns are like solutions you can use again and again, whether you’re building a town square, a cozy home, or even a small park bench. Alexander's idea is that by following these patterns, designers create places that feel natural, comfortable, and honestly, more human. This chapter doesn’t just focus on aesthetics; it’s about designing spaces that people actually want to be in, that serve real needs in a meaningful way.

2 // Evaluative Paragraph: This chapter honestly speaks to me a lot because it connects with what I’m working on around sustainability, community, and leadership. Patterns are kinda like these frameworks that help designers solve problems in ways that are both practical and beautiful. Alexander’s whole thing about “patterns as language” makes me think about how leadership can use repeatable, adaptable practices to meet the needs of communities. When you think about it, sustainable design is like a pattern too—it’s about creating things that last, that people can rely on. So, looking at these design patterns feels like a way to see how we can build adaptable, resilient communities that support each other and the environment. It’s not about reinventing the wheel every time but using what we know works, and adjusting it for new contexts.

3// Creative Making: For my creative response, I used the concept of a grid pattern, as shown in the attached image, to capture the essence of A Pattern Language. The grid represents the structured, repeatable elements that Alexander describes in his book—patterns that can be adapted to different spaces and serve as building blocks for design.

The image shows a simple three-dimensional grid, giving the sense of a foundational structure, almost like a skeleton for something larger to be built upon. Each square is uniform, yet together they create a complex, dynamic form that could grow or shift in endless ways. This piece reflects Alexander’s idea that while patterns provide a structure, they also allow for flexibility and adaptation to suit specific needs. Just as this grid can be filled in with different elements, patterns in design offer a framework that can be adapted to create spaces that are both functional and deeply connected to the people who use them.

4// Citation: Alexander, C., Ishikawa, S., & Silverstein, M. (1977). A pattern language: Towns, buildings, construction. Oxford University Press.

1 // Summary Paragraph: In The Language of Reflective Practice in Art and Design, Fiona Doloughan explores how reflection plays a critical role in art and design, especially in academic contexts. The article talks about how traditional academic structures often value verbal communication over visual, and how that preference can clash with the creative practices of art and design students. Doloughan argues that design has its own “language” that doesn’t fit neatly into traditional academic boxes, emphasizing that creative practice should be recognized as both a process and a valid form of inquiry. This piece really brings forward the idea that academic environments need to adapt to include creative, reflective forms of knowledge.

2 // Evaluative Paragraph: This article is relevant to my research on sustainability, community, and leadership because it challenges the traditional ideas of how knowledge should be expressed. Doloughan’s ideas about reflective practice encourage a more holistic and inclusive way of looking at knowledge—one that doesn’t just fit in a box but allows for a variety of expressions. The recognition of creative practice as a valid way of understanding could be a powerful tool in community-based design and sustainability efforts, where the impact isn’t always measurable in conventional ways. Her perspective aligns with the idea that leadership in these fields should be flexible and open to alternative ways of communicating.

3// Creative Making: For my creative response, I created a grid illustration inspired by the reflective processes described in The Language of Reflective Practice in Art and Design. The grid symbolizes the structured frameworks often found in academic settings, but I added subtle disruptions and variations within the grid to represent the flexibility and creativity inherent in reflective practice. Each cell within the grid contains faint textures or patterns, reflecting the idea that reflection brings depth and individuality to otherwise rigid systems. This piece captures the tension between structured knowledge and the dynamic, evolving nature of creative exploration. 

4// Citation: Doloughan, F. J. (2002). The language of reflective practice in art and design. Design Issues, 18(2), 57-64.

Reading 2: 

1 // Summary Paragraph: Norwegian Wood by Haruki Murakami is a deeply introspective novel that explores themes of love, loss, and mental health. Set in 1960s Tokyo, the story follows Toru Watanabe as he navigates the complexities of relationships, grief, and personal growth. Murakami’s poetic and melancholic writing style captures the fragile and transient nature of human connections. The novel's title, referencing The Beatles' song, underscores its nostalgic and bittersweet tone, making it a profound meditation on youth and the weight of memory.

2 // Evaluative Paragraph: This novel resonates with my focus on community and introspection, particularly how individuals navigate personal struggles within shared spaces. Murakami’s depiction of relationships, often fragile and full of contradictions, mirrors the challenges of building meaningful connections in larger societal systems. His exploration of memory and emotional landscapes ties into the reflective practices essential to creative and sustainable design. The way he uses subtle, repetitive imagery—like the constant references to music and seasons—parallels the patterns found in design and how they evoke emotions or guide interactions.
3// Creative Making: For my creative response, I illustrated two hands in the form of a prayer, inspired by the reflective and spiritual undertones of Norwegian Wood. The hands symbolize connection, vulnerability, and a search for solace—central themes in the novel. The gesture of prayer reflects the characters’ quiet yearning for meaning and peace amidst their struggles with love, loss, and memory. Set against a soft, muted background, the hands echo the novel’s melancholic yet hopeful tone, embodying both the fragility and resilience of the human spirit. This piece captures the introspective journey of Murakami’s characters, their connections to each other, and their search for emotional grounding.

4// Citation: Murakami, H. (2000). Norwegian Wood (J. Rubin, Trans.). Vintage International. (Original work published 1987)