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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"Well, what are you gonna do?" the boy named Crow says.

He's sitting right across from me.

"You're not back home anymore, where you can stuff yourself with whatever you like," he says. "I mean, you've run away from home, right? Get that through your head. You're used to getting up early and eating a huge breakfast, but those days are long gone, my friend. You'll have to scrape by on what they give you. You know what they say about how the size of your stomach can adjust to the amount of food you eat? Well, you're about to see if that's really true. Your stomach's gonna get smaller, though that'll take some time. Think you can handle it?"

"Yeah, I can handle it," I reply.

"Good," Crow tells me. "You're supposed to be the toughest fifteen-year-old on the planet, remember?"

I give him a nod.

"Well, then, how about you stop staring at your empty plate and get a move on?"

Following this advice, I stand up and go to the front desk to negotiate over the price of my room. I explain I'm a student at a private high school in Tokyo and have come here to write my graduation paper. (Which isn't a total lie, since the high school affiliated with my school has this kind of setup.) I add that I'm collecting materials for the paper at the Komura Memorial Library. There's much more to research than I'd imagined, so I'll have to stay at least a week in Takamatsu. But since I'm on a budget, would the discounted room rate be possible not just for three days, but for the whole time I'm here? I offer to pay each day in advance, and promise not to cause any trouble.

I stand there in front of the girl in charge, trying to do my best imitation of a nice, well-brought-up young man who's in a tight spot. No dyed hair for me, no piercings. I have on a clean white Ralph Lauren polo shirt, chinos, and a pair of brand-new Topsiders. My teeth are gleaming and I smell like soap and shampoo. I know how to speak politely. When I feel like it, I'm pretty good at impressing people older than me.

The girl listens silently, nodding, her lips slightly twisted up. She's petite, and wearing a green uniform blazer over a white blouse. She looks a little sleepy, but goes about her morning duties briskly. She's about the same age as my sister.

"I understand," she says, "but I have to clear it with the manager. We should have an answer for you by noon." Her tone is businesslike, but I can tell that in her book, I pass. She notes down my name and room number. I have no idea whether this negotiating will get me anywhere. It might blow up in my face-if the manager demands to see my student ID, say, or tries to get in touch with my parents. (Of course I gave a phony home phone number when I registered.) But seeing as how my funds are limited, I figure it's worth the risk.

I check the Yellow Pages and call a public gym and ask about their weight machines. They have most of what I need, and it only costs five bucks a day. I get directions from the station, thank them, and hang up.

I go back to my room for my backpack, then hit the streets. I could just leave my stuff in the room, or in the hotel safe, but I feel better carrying it all with me. It's like it's a part of me already, and I can't let go.

On the bus from the terminal in front of the station to the gym, I can feel my face tighten up, I'm so nervous. Suppose somebody asks why a kid my age is traipsing off to the gym in the middle of the day? I don't know this town and have no idea what these people are thinking. But no one gives me a second glance. I'm starting to feel like the Invisible Man or something. I pay the entrance fee at the desk, no questions asked, and get a key to a locker. After changing into shorts and a T-shirt in the locker room, I do some stretching exercises. As my muscles relax, so do I. I'm safe inside this container called me. With a little click, the outlines of this being-me-fit right inside and are locked neatly away. Just the way I like it. I'm where I belong.

I start on my circuit training. With Prince blasting away on my Walkman, I put in a good hour of training, making my usual round of the seven machines. I thought for sure a gym in such a small town would be full of dated machines, but these are the latest models, with the metallic smell of brand-new steel. The first round I do with light weights, then increase the weight for the second circuit. I know exactly how much weight and how many reps work for me. Pretty soon I start to sweat and stop every once in a while to take a swig from the bottle and a bite out of a lemon I bought on the way over.

Once I finish training I take a hot shower using the soap and shampoo I've brought along. I do a good job of washing my cock, not too many years out of its foreskin, and under my arms, balls, and butt. I weigh myself and flex my muscles a bit in front of a mirror. Finally I rinse out my sweaty shorts and T-shirt in the sink, wring them out, and stow them away in a plastic bag.

I take a bus back to the station and have a steaming bowl of udon in the same diner as the day before. I take my time, gazing out the window as I eat. The station's packed with people streaming in and out, all of them dressed in their favorite clothes, bags or briefcases in hand, each one dashing off to take care of some pressing business. I stare at this ceaseless, rushing crowd and imagine a time a hundred years from now. In a hundred years everybody here-me included-will have disappeared from the face of the earth and turned into ashes or dust. A weird thought, but everything in front of me starts to seem unreal, like a gust of wind could blow it all away.

I spread my hands out in front of me and take a good hard look at them. What am I always so tense about? Why this desperate struggle just to survive? I shake my head, turn from the window, clear my mind of thoughts of a hundred years away. I'll just think about now. About books waiting to be read in the library, machines in the gym I haven't worked out on. Thinking about anything else isn't going to get me anywhere.

"That's the ticket," Crow tells me. "Remember, you're supposed to be the toughest fifteen-year-old on the planet."

Like the day before, I buy a box lunch at the station and take the train, arriving at the Komura Library at eleven-thirty. And sure enough, Oshima's there at the counter. Today he's wearing a blue rayon shirt buttoned to the neck, white jeans, and white tennis shoes. He's sitting at his desk, absorbed in some massive book, with the same yellow pencil, I guess, lying beside him. His bangs are all over his face. When I come in he looks up, smiles, and takes my backpack from me.

"Still not going back to school, I see."

"I'm never going back," I confess.

"A library's a pretty good alternative, then," he says. He turns around to check the time on the clock behind him, then goes back to his reading.

I head off to the reading room and back to Arabian Nights. Like always, once I settle down and start flipping pages, I can't stop. The Burton edition has all the stories I remember reading as a child, but they're longer, with more episodes and plot twists, and so much more absorbing that it's hard to believe they're the same. They're full of obscene, violent, sexual, basically outrageous scenes. Like the genie in the bottle they have this sort of vital, living sense of play, of freedom, that common sense can't keep bottled up. I love it and can't let go. Compared to those faceless hordes of people rushing through the train station, these crazy, preposterous stories of a thousand years ago are, at least to me, much more real. How that's possible, I don't know. It's pretty weird.

At one o'clock I go out to the garden again, sit on the porch, and eat my lunch. I'm about halfway done when Oshima comes over and says I have a phone call.

"A phone call?" I say, at a loss for words. "For me?"

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