Haruki Murakami - Kafka on the Shore

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Amazon.com
The opening pages of a Haruki Murakami novel can be like the view out an airplane window onto tarmac. But at some point between page three and fifteen-it's page thirteen in Kafka On The Shore-the deceptively placid narrative lifts off, and you find yourself breaking through clouds at a tilt, no longer certain where the plane is headed or if the laws of flight even apply.
Joining the rich literature of runaways, Kafka On The Shore follows the solitary, self-disciplined schoolboy Kafka Tamura as he hops a bus from Tokyo to the randomly chosen town of Takamatsu, reminding himself at each step that he has to be "the world¹s toughest fifteen-year-old." He finds a secluded private library in which to spend his days-continuing his impressive self-education-and is befriended by a clerk and the mysteriously remote head librarian, Miss Saeki, whom he fantasizes may be his long-lost mother. Meanwhile, in a second, wilder narrative spiral, an elderly Tokyo man named Nakata veers from his calm routine by murdering a stranger. An unforgettable character, beautifully delineated by Murakami, Nakata can speak with cats but cannot read or write, nor explain the forces drawing him toward Takamatsu and the other characters.
To say that the fantastic elements of Kafka On The Shore are complicated and never fully resolved is not to suggest that the novel fails. Although it may not live up to Murakami's masterful The Wind-Up Bird Chronicle, Nakata and Kafka's fates keep the reader enthralled to the final pages, and few will complain about the loose threads at the end.
From Publishers Weekly
Starred Review. Previous books such as The Wind-Up Bird Chronicle and Norwegian Wood have established Murakami as a true original, a fearless writer possessed of a wildly uninhibited imagination and a legion of fiercely devoted fans. In this latest addition to the author's incomparable oeuvre, 15-year-old Kafka Tamura runs away from home, both to escape his father's oedipal prophecy and to find his long-lost mother and sister. As Kafka flees, so too does Nakata, an elderly simpleton whose quiet life has been upset by a gruesome murder. (A wonderfully endearing character, Nakata has never recovered from the effects of a mysterious World War II incident that left him unable to read or comprehend much, but did give him the power to speak with cats.) What follows is a kind of double odyssey, as Kafka and Nakata are drawn inexorably along their separate but somehow linked paths, groping to understand the roles fate has in store for them. Murakami likes to blur the boundary between the real and the surreal-we are treated to such oddities as fish raining from the sky; a forest-dwelling pair of Imperial Army soldiers who haven't aged since WWII; and a hilarious cameo by fried chicken king Colonel Sanders-but he also writes touchingly about love, loneliness and friendship. Occasionally, the writing drifts too far into metaphysical musings-mind-bending talk of parallel worlds, events occurring outside of time-and things swirl a bit at the end as the author tries, perhaps too hard, to make sense of things. But by this point, his readers, like his characters, will go just about anywhere Murakami wants them to, whether they "get" it or not.

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"Hey, stone," he called out right after the first movement ended. "Pretty nice music, huh? Really makes you feel like your heart's opening up, don't you think?"

The stone was silent.

He had no idea if the stone was listening, to the music or to him, but he forged ahead anyway. "Like I was saying this morning, I've done some awful things in my life. I was pretty self-centered. And it's too late to erase it all now, you know? But when I listen to this music it's like Beethoven's right here talking to me, telling me something like, It's okay, Hoshino, don't worry about it. That's life. I've done some pretty awful things in my life too. Not much you can do about it. Things happen. You just got to hang in there. Beethoven being the guy he was, he's not about to say anything like that. But I'm still picking up that vibe from his music, like that's what it's saying to me. Can you feel it?"

The stone was mute.

"Whatever," Hoshino said. "That's just my opinion. I'll shut up so we can listen."

When he looked outside at two, a fat black cat was sitting on the railing on the veranda, gazing in at the apartment. Bored, Hoshino opened the window and called out, "Hey there, kitty. Nice day, isn't it?"

"Yes, indeed, it is a fine day, Mr. Hoshino," the cat replied.

"Gimme a break," Hoshino said, shaking his head.

The Boy Named Crow

The boy named Crow flew in large, languid circles above the forest. After inscribing one, he'd fly off to another spot and carefully begin another, identical circle, each invisible circle following another in the air only to vanish. Like a reconnaissance plane, he scanned the forest below him, looking for someone he couldn't seem to locate. Like a huge ocean, the forest undulated beneath him and spread to the horizon in a thick, anonymous cloak of interlaced branches. The sky was covered with gray clouds, and there was neither wind nor sunlight. At this point the boy named Crow had to be the loneliest bird in the world, but he was too busy to think about that now.

He finally spotted an opening in the sea of trees below and shot straight down through it to an open piece of ground. The light shone on a small patch of ground that was marked with grass. In one corner of the clearing was a large round rock and a man in a bright red sweat suit and a black silk hat was sitting on it. He wore thick-soled hiking boots, and a khaki-colored bag lay on the ground beside him. A strange getup, though the boy named Crow didn't mind. This was who he was after. What the man had on was of little consequence.

The man looked up at the sudden flapping of wings and saw Crow land on a large branch. "Hey," he said cheerfully.

The boy named Crow didn't make any reply. Resting on the branch, he gazed, unblinking, expressionless, at the man. Occasionally he'd incline his head to one side.

"I know who you are," the man said. He doffed his hat and put it back on. "I had a feeling you'd be coming here before long." He cleared his throat, frowned, and spat on the ground, then stamped the spit into the dirt with his boot.

"I was just resting, and feeling a bit bored with no one to talk to. How about coming over here? We can have a nice little talk. What do you say? I've never seen you before, but that doesn't mean we're total strangers."

The boy named Crow kept his mouth shut, holding his wings close in against himself.

The man in the silk hat lightly shook his head. "Ah, I see. You can't speak, can you? No matter. I'll do the talking, if you don't mind. I know what you're going to do, even if you don't say a word. You don't want me to go any further, do you? It's so obvious I can predict what'll happen. You don't want me to go any further, but that's exactly what I want to do. Because it's a golden opportunity I can't let slip through my fingers-a once-in-a-lifetime opportunity."

He gave the ankle of his hiking boots a good slap. "To leap to the conclusion here, you won't be able to stop me. You aren't qualified. Let's say I play my flute, what's going to happen? You won't be able to come any closer to me. That's the power of my flute. You might not know this, but it's a unique kind of flute, not just some ordinary, everyday instrument. And actually I've got quite a few here in my bag."

The man reached out and carefully patted the bag, then looked up again at the boy named Crow perched on his branch. "I made this flute out of the souls of cats I've collected. Cut out the souls of cats while they were still alive and made them into this flute. I felt sorry for the cats, of course, cutting them up like that, but I couldn't help it. This flute is beyond any world's standards of good and evil, love or hatred. Making these flutes has been my longtime calling, and I've always done a decent job of fulfilling my role and doing my bit. Nothing to be ashamed of. I got married, had children, and made more than enough flutes. So I'm not going to make any more. Just between you and me, I'm thinking of taking all the flutes I've made and creating a much larger, far more powerful flute out of them-a super-size flute that becomes a system unto itself. Right now I'm heading to a place where I can construct that kind of flute. I'm not the one who decides whether that flute turns out to be good or evil, and neither are you. It all depends on when and where I am. In that sense I'm a man totally without prejudices, like history or the weather-completely unbiased. And since I am, I can transform into a kind of system."

He removed his silk hat, rubbed the thinning hair on top of his head, put the hat back on, and quickly adjusted the brim. "Once I play this flute, getting rid of you will be a snap. The thing is, I don't feel like playing it right now. It takes a lot out of me, and I don't want to waste any strength. I'll need all of it later on. But whether I play the flute or not, you can't stop me. That should be obvious."

The man cleared his throat once more, and rubbed the slight swell of his belly. "Do you know what limbo is? It's the neutral point between life and death. A kind of sad, gloomy place. Where I am now, in other words-this forest. I died, at my own bidding, but haven't gone on to the next world. I'm a soul in transition, and a soul in transition is formless. I've merely adopted this form for the time being. That's why you can't hurt me. You follow me? Even if I were to bleed all over the place, it's not real blood. Even if I were to suffer horribly, it's not real suffering. The only one who could wipe me out right now is someone who's qualified to do so. And-sad to say-you don't fit the bill. You're nothing more than an immature, mediocre illusion. No matter how determined you may be, eliminating me's impossible for the likes of you." The man looked at the boy named Crow and beamed. "How 'bout it? Want to give it a try?"

As if that was the signal he'd been waiting for, the boy named Crow spread his wings wide, leaped off the branch, and darted straight at him. He seized the man's chest with both talons, drew his head back, and brought his beak down on the man's right eye, pecking away fiendishly like he was hacking away with a pickax, his jet black wings flapping noisily all the while. The man put up no resistance, didn't lift a finger to protect himself. He didn't cry out, either. Instead, he laughed out loud. His hat fell to the ground, and his eyeball was soon shredded and hanging from its socket. The boy named Crow tenaciously attacked the other eye now. Once both eyes were replaced by vacant cavities, he turned immediately to the man's face, pecking away, slashing it all over. His face was soon cut to ribbons, pieces of skin flying off, blood spurting out, nothing more than a lump of reddish flesh. Crow next attacked the top of his head, where the hair was thinnest, and still the man kept on laughing. The more vicious the attack became, the louder he laughed, as if the whole situation was so hilarious he couldn't control himself.

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