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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Just like Adolf Eichmann, caught up-whether he liked it or not-in the twisted dreams of a man named Hitler.

I put the book down, stand up, and stretch. I have been reading for a long time and need to get up and move around a little. I take the aluminum pail by the sink and go to the stream to fill it. Next I take an armload of firewood from the shed in back and set it by the stove.

In a corner of the porch there's a faded nylon rope for hanging out laundry. I pull out my damp clothes from my backpack, smooth out all the wrinkles, and hang them up to dry. I take everything else out of the pack and lay it out on the bed, then sit down at the desk and fill in my diary for the last few days. I use a pen with a fine tip and write down in small letters everything that's happened to me. I don't know how long I'll remember all the details, so I better get them down as fast as I can. I search my memory. How I lost consciousness and came to in the woods behind a shrine. The darkness and my blood-soaked shirt. Phoning Sakura, spending the night at her place. How we talked, how she did that to me.

She'd said, I don't get it, you don't have to tell me that! Why don't you just go ahead and imagine what you want? You don't need my permission. How can I know what's in your head?

But she got it wrong. What I imagine is perhaps very important. For the entire world.

That afternoon I decide to go into the woods. Oshima said that going too far into the forest is dangerous. Always keep the cabin in sight, he warned me. But I'll probably be here for a few days, and I should know something about this massive wall of a forest that surrounds me. Better to know a little, I figure, than nothing at all. Empty-handed, I say good-bye to the sunny lot and step into the gloomy sea of trees.

There's a kind of rough path trod down through the forest, mostly following the lay of the land, but improved here and there with a few flat rocks laid down like stepping stones. Places prone to erosion have been neatly buttressed with wooden planks, so that even if the weeds grow over it you can still follow the path. Maybe Oshima's brother worked on the path little by little each time he stayed here. I follow it into the woods, uphill at first, then it goes down and skirts around a high boulder before climbing up again. Overall it's mostly uphill, but not a very tough climb. Tall trees line both sides, with dull-colored trunks, thick branches growing out every which way, dense leaves overhead. The ground is covered with undergrowth and ferns that have managed to soak up as much of the faint light as they can. In places where the sun doesn't reach, moss has silently covered the rocks.

Like someone excitedly relating a story only to find the words petering out, the path gets narrower the farther I go, the undergrowth taking over. Beyond a certain point it's hard to tell if it's really a path or something that just vaguely resembles one. Eventually it's completely swallowed up in a sea of ferns. Maybe the path does continue up ahead, but I decide to save that exploration for next time. I don't have on the right kind of clothes and haven't really prepared for that.

I come to a halt and turn around. Suddenly nothing looks familiar, there's nothing I can cling to. A tangle of tree trunks ominously blocks the view. It's dim, the air filled with a stagnant green, and not a bird to be heard.

I'm suddenly covered in goosebumps, but there's nothing to worry about, I tell myself. The path is right over there. As long as I don't lose sight of that I'll be able to return to the light. Eyes glued to the ground, I carefully retrace my steps and, after much longer than it took me to get here, finally arrive back in front of the cabin. The lot is filled with bright, early-summer sunlight, and the clear calls of birds echo as they search for food. Everything's exactly the same as I left it. Or at least I think it is. The chair I was sitting on is still on the porch. The book I was reading is facedown like I left it.

Now I know exactly how dangerous the forest can be. And I hope I never forget it. Just like Crow said, the world's filled with things I don't know about. All the plants and trees there, for instance. I'd never imagined that trees could be so weird and unearthly. I mean, the only plants I've ever really seen or touched till now are the city kind-neatly trimmed and cared-for bushes and trees. But the ones here-the ones living here-are totally different. They have a physical power, their breath grazing any humans who might chance by, their gaze zeroing in on the intruder like they've spotted their prey. Like they have some dark, prehistoric, magical powers. Like deep-sea creatures rule the ocean depths, in the forest trees reign supreme. If it wanted to, the forest could reject me-or swallow me up whole. A healthy amount of fear and respect might be a good idea.

I go back to the cabin, take my compass out of my backpack, and check that the needle's showing north. It might come in handy sometime, so I slip it in my pocket. I go sit on the porch, gaze at the woods, and listen to Cream and Duke Ellington on my Walkman, songs I recorded off a library's collection of CDs. I play "Crossroads" a couple of times. Music helps me calm down, but I can't listen for very long. There's no electricity here and no way to recharge the batteries, so once my extra batteries are dead the music's over for good.

I work out a bit before dinner. Push-ups, sit-ups, squats, handstands, different kinds of stretching exercises-a routine that keeps you in shape without any machines or equipment. Kind of boring, I'll admit, but you get a decent workout. A trainer at the gym taught me the routine. "Prisoners in solitary confinement like this best," he explained, calling it the "world's loneliest workout routine." I focus on what I'm doing and go through a couple of sets, my shirt getting sweaty in the process.

After a simple dinner I go out on the porch and gaze up at the stars twinkling above, the random scattering of millions of stars. Even in a planetarium you wouldn't find this many. Some of them look really big and distinct, like if you reached your hand out intently you could touch them. The whole thing is breathtaking.

Not just beautiful, though-the stars are like the trees in the forest, alive and breathing. And they're watching me. What I've done up till now, what I'm going to do-they know it all. Nothing gets past their watchful eyes. As I sit there under the shining night sky, again a violent fear takes hold of me. My heart's pounding a mile a minute, and I can barely breathe. All these millions of stars looking down on me, and I've never given them more than a passing thought before. Not just stars-how many other things haven't I noticed in the world, things I know nothing about? I suddenly feel helpless, completely powerless. And I know I'll never outrun that awful feeling.

Back inside the cabin, I carefully arrange some firewood in the stove, ball up a few sheets of an old newspaper, light it, and make sure the wood catches fire. In grade school I was sent to camp, and learned how to build a fire. I hated camp, but at least one good thing came out of it, I suppose. I open the damper to let the smoke out. It doesn't go well at first, but when a piece of kindling catches the fire spreads to the other sticks. I shut the door on the stove and scrape a chair over in front of it, set a lamp nearby, and pick up where I'd left off in the book. Once the fire's built up a bit I set a kettle of water on top to boil, and after a while the kettle burbles pleasantly.

Back to Eichmann. Of course his project didn't always go according to plan. Conditions at various sites slowed things down. When this happened he acted like a human being-at least a little. He got angry, is what I'm saying. He grew incensed at these uncertain elements that threw his elegant solution into disarray. Trains ran late. Bureaucratic red tape held things up. People in charge were replaced, and relations with their successors didn't go well. After the collapse of the Russian front, concentration camp guards were sent there to fight. There were heavy snowfalls. Power outages. Not enough poison gas to go around. Rail lines were bombed. Eichmann hated the war itself-that element of uncertainty that screwed up his plans.

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