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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"She hadn't prepared any other songs, so the B side of the single was an instrumental version of the same song. With a piano and an orchestra, she of course playing the piano. A beautiful performance. It was around 1970. The song was on all the radio stations at the time, my mother said. This was before I was born, so I don't know for sure. This was her one and only song as a professional singer. She didn't put out an LP or a follow-up single."

"I wonder if I've heard that song."

"Do you listen to the radio much?"

I shake my head. I hardly ever listen to the radio.

"You probably haven't heard it, then. Unless it's on some oldies station, chances are you haven't. But it's a wonderful song. I have it on a CD and listen to it every once in a while. When Miss Saeki's not around, of course. She hates any mention of the song. She doesn't like anyone bringing up the past."

"What's the name of the song?"

"'Kafka on the Shore.'" Oshima says.

"'Kafka on the Shore'?"

"That's correct, Kafka Tamura. The same name as you. A strange coincidence, don't you think?"

"But Kafka isn't my real name. Tamura is, though."

"But you chose it yourself, right?"

I nod. I'd decided a long time ago that this was the right name for the new me.

"That's the point, I'd say," Oshima says.

Miss Saeki's boyfriend died when he was twenty, Oshima goes on. Right when "Kafka on the Shore" was a hit. His college was on strike during the period of student unrest and shut down. He went to bring supplies to a friend of his who was manning the barricades, just before ten one night. The students occupying the building mistook him for a leader of an opposing faction-he did resemble him a lot-and grabbed him, tied him to a chair, and interrogated him as a spy. He tried to explain that they'd made a mistake, but every time he did they smashed him with a steel pipe or baton. When he fell to the floor they'd kick him with their boots. By dawn he was dead. His skull was caved in, his ribs broken, his lungs ruptured. They tossed his corpse out on the street like a dead dog. Two days later the college asked the national guard to come in, and within a couple of hours the student revolt was put down and several of them were arrested and charged with murder. The students confessed what they'd done and were put on trial, but since it wasn't premeditated two of them were convicted of involuntary manslaughter and given short prison sentences. His death was totally pointless.

Miss Saeki never sang again. She locked herself in her room and wouldn't talk to anybody, even on the phone. She didn't go to his funeral, and dropped out of college. After a few months, people suddenly realized she was no longer in town. Nobody knows where she went or what she did. Her parents refused to discuss it. Maybe even they didn't know where she'd been. She vanished into thin air. Even her best friend, Oshima's mother, didn't have a clue. Rumors flew that she'd been committed to a mental hospital after a failed suicide attempt in the deep forests surrounding Mount Fuji. Others said a friend of a friend had spotted her on the streets of Tokyo. According to this person she was working in Tokyo as a writer or something. Other rumors had it she was married and had a child. All of these, though, were groundless, with nothing to back them up. Twenty years passed.

No matter where she was or what she was doing all this time, Miss Saeki didn't hurt for money. Her royalties for "Kafka on the Shore" were deposited in a bank account, and even after taxes still amounted to a substantial sum. She got royalties every time the song was played on the radio or included in an oldies compilation. So it was simple for her to live far away, out of the limelight. Besides, her family was rich and she was their only daughter.

Suddenly, twenty-five years later, Miss Saeki reappeared in Takamatsu. The ostensible reason was her mother's funeral. (Her father had died five years before, but she hadn't come to the funeral.) She held a small service for her mother and then, after things had quieted down, sold the house she'd been born and raised in. She moved into an apartment she'd purchased in a quiet part of the city and seemed to settle down again. After a time she had some talks with the Komura family. (The head of the family, after the death of the eldest son, was his younger brother, three years younger. It was just the two of them, and no one knows what they talked about, exactly.) The upshot was Miss Saeki became head of the Komura Library.

Even now she's slim and beautiful and has the same neat, smart look you see on the record jacket of "Kafka on the Shore." But there's one thing missing: that lovely, innocent smile. She still smiles from time to time, definitely a charming smile, but it's always limited somehow, a smile that never goes beyond the moment. A high, invisible wall surrounds her, holding people at arm's length. Every morning she drives her gray Volkswagen Golf to the library, and drives it back home in the evening.

Back in her hometown, she had very little to do with former friends and relatives. If they happen to meet she makes polite conversation, but this seldom goes beyond a few standard topics. If the past happens to come up-especially if it involves her-she makes a quick, smooth segue to another topic. She's always polite and kind, but her words lack the kind of curiosity and excitement you'd normally expect. Her true feelings-assuming such things exist-remain hidden away. Except for when a practical sort of decision has to be made, she never gives her personal opinion about anything. She seldom talks about herself, instead letting others talk, nodding warmly as she listens. But most people start to feel vaguely uneasy when talking with her, as if they suspect they're wasting her time, trampling on her private, graceful, dignified world. And that impression is, for the most part, correct.

So even after settling back into her hometown, she remained a cipher. A stylish woman wrapped in refined mystery. Something about her made it hard to approach her. Even her nominal employers, the Komura family, kept their distance.

Eventually Oshima became her assistant and started to work in the library. At the time Oshima wasn't working or going to school, just staying at home reading and listening to music. Except for a few people he exchanged e-mails with, he hardly had any friends. Because of his hemophilia, he spent a lot of time going to see a specialist at the hospital, riding around town in his Mazda Miata, and except for his regular appointments at the University Hospital in Hiroshima and the occasional stay at the cabin in the Kochi mountains, he never left town. Not to imply that he was unhappy with this life. One day Oshima's mother happened to introduce him to Miss Saeki, who took an instant liking to him. The feeling was mutual, and the notion of working in a library intrigued him. Oshima soon became the only person Miss Saeki normally dealt with or spoke to.

"Sounds to me like Miss Saeki came back here in order to become head of the library," I say.

"I'd have to agree. Her mother's funeral was just the opportunity that brought her back. Her hometown must be so full of bittersweet memories that I imagine it was a hard decision to return."

"Why was the library so important to her?"

"Her boyfriend used to live in a building that's part of the library now. He was the eldest Komura son, and a love of reading was in his blood, I suppose. He liked to be alone-another family trait. So when he went into junior high he insisted on living apart from the main house, in a separate building, and his parents gave their okay. The whole family loved reading, so they could understand where he was coming from. If you want to be surrounded by books, it's fine with us-that kind of thing. So he lived in that annex, with nobody bothering him, coming back to the main house only for meals. Miss Saeki went to see him there almost every day. The two of them studied together, listened to music, and talked forever. And most likely made love there. The place was their own bit of paradise."

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