Quotes from book
Kafka on the Shore

Kafka on the Shore
Haruki MurakamiOriginal title 海辺のカフカ (Japanese, 2002)

Kafka on the Shore is a 2002 novel by Japanese author Haruki Murakami. Its 2005 English translation was among "The 10 Best Books of 2005" from The New York Times and received the World Fantasy Award for 2006.

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“That’s how stories happen — with a turning point, an unexpected twist. There’s only one kind of happiness, but misfortune comes in all shapes and sizes. It’s like Tolstoy said. Happiness is an allegory, unhappiness a story.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore

Haruki Murakami photo

“My cell phone number," she says with a wry expression. "I'm staying at my friend's place for a while buy if you ever feel like sseeing somebody, give me a call. We can go out for a bite or whatever. Don't be a stranger, okay? 'Even chance meetings'… how does the rest of that go?”

Haruki Murakami book Kafka on the Shore

"'Are the results of karma.'"
Kafka on the Shore (2002)

Haruki Murakami photo

“On my fifteenth birthday I'll run away from home, journey to a far-off town, and live in a corner of a small library. It'd take a week to go into the whole thing, all the details. So I'll just give the main point. On my fifteenth birthday I'll run away from home, journey to a far-off town, and live in a corner of a small library.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter One

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“Closing your eyes isn't going to change anything. Nothing's going to disappear just because you can't see what's going on. In fact, things will even be worse the next time you open your eyes. That's the kind of world we live in. Keep your eyes wide open. Only a coward closes his eyes. Closing your eyes and plugging up your ears won't make time stand still.”

Haruki Murakami book Kafka on the Shore

Kafka on the Shore (2002)

Haruki Murakami photo

“The term "spirit projection " sprang to mind. Are you familiar with it? Japanese folk tales are full of this sort of thing, where the soul temporarily leaves the body and goes off a great distance to take care of some vital task and then returns to reunite with the body. The sort of vengeful spirits that populate The Tale of Genji may be something similar. The notion of the soul not just leaving the body at death but-assuming the will is strong enough -also being able to separate from the body of the living is probably an idea that took root in Japan in ancient times. Of course there's no scientific proof of this, and I hesitate to even raise the idea.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter Eight,

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“According to Aristophanes in Plato's The Banquet, in the ancient world of legend there were three types of people.
In ancient times people weren't simply male or female, but one of three types: male/male, male/female or female/female. In other words, each person was made out of the components of two people. Everyone was happy with this arrangement and never really gave it much thought. But then God took a knife and cut everyone in half, right down the middle. So after that the world was divided just into male and female, the upshot being that people spend their time running around trying to locate their missing half.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter Five, Oshima

Haruki Murakami photo

“In the depths of our crater lake, everything is silent. The volcano's been extinct for ages. Layer upon layer of solitude, like folds of soft mud. The little bit of light that manages to penetrate to the depths lights up the surroundings like the remains of some faint, distant memory. At these depths there's no sign of life. I don't know how long she looks at me -not at me, maybe, but at the spot where I am. Time's rules don't apply here. Time expands, then contracts, all in tune with the stirrings of the heart.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 23, Kafka Temura

Haruki Murakami photo

“I've experienced all kinds of discrimination," Oshima says. "Only people who've been discriminated against can really know how much it hurts. Each person feels the pain in his own way, each has his own scars. So I think I'm as concerned about fairness and justice as anybody. But what disgusts me even more are people who have no imagination. The kind T. S. Eliot calls hollow men. People who fill up that lack of imagination with heartless bits of straw, not even aware of what they're doing. Callous people who throw a lot of empty words at you, trying to force you to do what you don't want to. Like that lovely pair we just met." He sighs and twirls the long slender pencil in his hand. "Gays, lesbians, straights, feminists, fascist pigs, communists, Hare Krishnas-none of them bother me. I don't care what banner they raise. But what I can't stand are hollow people. When I'm with them I just can't bear it, and wind up saying things I shouldn't. With those women I should've just let it slide, or else called Miss Saeki and let her handle it. She would have given them a smile and smoothed things over. But I just can't do that. I say things I shouldn't, do things I shouldn't do. I can't control myself. That's one of my weak points.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 19, Oshima

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“As I already explaned, I don't have any form. I'm a conceptual metaphysical object.”

Haruki Murakami book Kafka on the Shore

Colonel Sanders in Kafka on the Shore
Kafka on the Shore (2002)

Haruki Murakami photo

“Lost opportunities, lost possibilities, feelings we can never get back. That's part of what it means to be alive. But inside our heads - at least that's where I imagine it - there's a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in awhile, let in fresh air, change the water in the flower vases. In other words, you'll live forever in your own private library.”

Haruki Murakami book Kafka on the Shore

Kafka on the Shore (2002)

Haruki Murakami photo

“I stood there for a while, holding Nakata tight in my arms, feeling like I wanted to die or disappear. Just over the horizon the violence of war went on, with countless people dying. I no longer had any idea what was right and what was wrong. Was I really seeing the real world? Was the sound of birds I was hearing? I found myself alone in the woods, totally confused, blood flowing from freely from my womb. I was angry, afraid, embarrassed-all of these rolled into one. I cried quietly, without making a sound.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 12

Haruki Murakami photo

“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 he 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 nearly away. Just the way I like it. I'm where I belong.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter Seven

Haruki Murakami photo

“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”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 15

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“I think what Kafka does is give a purely mechanical explanation of that complex machine in the story, as sort of a substitute for explaining the situation we're in. What I mean is … " I have to give it some more thought. "What I mean is, that's his own device for explaining the kind of lives we lead. Not by talking about our situation, but by talking about the details of the machine.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter Seven, Kafka Tamura

Haruki Murakami photo

“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”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter Seven

Haruki Murakami photo

“Adults constantly raise the bar on smart children, precisely because they're able to handle it. The children get overwhelmed by the tasks in front of them and gradually lose the sort of openness and sense of accomplishment they innately have. When they're treated like that, children start to crawl inside a shell and keep everything inside. It takes a lot of time and effort to get them to open up again. Kid's hearts are malleable, but once they gel it's hard to get them back the way they were. Next to impossible, in most cases.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 12

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“When a war starts people are forced to become soldiers. They carry guns and go to the front lines and have to kill soldiers on the other side. As many as they possibly can. Nobody cares whether you like killing other people or not. It's just something you have to do. Otherwise you're the one who gets killed." Johnnie Walker pointed his index finger at Nakata's chest. "Bang!"”

Haruki Murakami book Kafka on the Shore

he said. "Human history in a nutshell."
Source: Kafka on the Shore (2002), Chapter 16

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“Nakata let his body relax, switched off his mind, allowing things to flow through him. This was natural for him, something he'd done ever since he was a child, without a second thought. Before long the borders of his consciousness fluttered around, just like the butterflies. Beyond these borders lay a dark abyss. Occasionally his consciousness would fly over the border and hover over that dizzying, black crevass. But Nakata wasn't afraid of the darkness or how deep it was. And why should he be? That bottomless world of darkness, that weighty silence and chaos, was an old friend, a part of him already. Nakata understood this well. In that world there was no writing, no days of the week, no scary Governor, no opera, no BMWs. No scissors, no tall hats. On the other hand, there was also no delicious eel, no tasty bean-jam buns. Everything is there, but there are no parts. Since there are no parts, there's no need to replace one thing with another. No need to remove anything, or add anything. You don't have to think about difficult things, just let yourself soak it all in. For Nakata, nothing could be better.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter Ten

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“You still don't get it, do you? We're talking about a revelation here," Colonel Sanders said, clicking his tongue. "A revelation leaps over the borders of the everyday. A life without revelation is no life at all. What you need to do is move from reason that observes to reason that acts. That's what's critical. Do you have any idea what I'm talking about, you gold-plated whale of a dunce?”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 28, Colonel Sanders

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“The world of the grotesque is the darkness within us. Well before Freud and Jung shined a light on the workings of the subconscious, this correlation between darkness and our subconscious, these two forms of darkness, was obvious to people. It wasn't a metaphor, even. If you trace it back further, it wasn't even a correlation. Until Edison invented the electric light, most of the world was totally covered in darkness. The physical darkness outside and the inner darkness of the soul were mixed together, with no boundary separating the two. They were directly linked. Like this.”

Haruki Murakami book Kafka on the Shore

Source: Kafka on the Shore (2002), Chapter 23