Kafka on the Shore by Haruki Murakami - Paperback
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Kafka on the ShorePaperback

by

Haruki Murakami

(Author)

4.5

-

19,055 ratings


NATIONAL BESTSELLER • From the New York Times bestselling author of The Wind-Up Bird Chronicle and one of the world’s greatest storytellers comes "an insistently metaphysical mind-bender” (The New Yorker) about a teenager on the run and an aging simpleton.

Now with a new introduction by the author.

Here we meet 15-year-old runaway Kafka Tamura and the elderly Nakata, who is drawn to Kafka for reasons that he cannot fathom. As their paths converge, acclaimed author Haruki Murakami enfolds readers in a world where cats talk, fish fall from the sky, and spirits slip out of their bodies to make love or commit murder, in what is a truly remarkable journey.

“As powerful as The Wind-Up Bird Chronicle.... Reading Murakami ... is a strikingexperience in consciousness expansion.” —The Chicago Tribune

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ISBN-10

1400079276

ISBN-13

978-1400079278

Print length

480 pages

Language

English

Publisher

Vintage

Publication date

January 02, 2006

Dimensions

5.22 x 0.98 x 7.97 inches

Item weight

2.31 pounds


Popular Highlights in this book

  • The pure present is an ungraspable advance of the past devouring the future. In truth, all sensation is already memory.

    Highlighted by 4,723 Kindle readers

  • Kafka, in everybody’s life there’s a point of no return. And in a very few cases, a point where you can’t go forward anymore. And when we reach that point, all we can do is quietly accept the fact. That’s how we survive.

    Highlighted by 3,559 Kindle readers

  • Memories warm you up from the inside. But they also tear you apart.

    Highlighted by 2,951 Kindle readers


Product details

ASIN :

B000FC2ROU

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3410 KB

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Editorial Reviews

“As powerful as The Wind-Up Bird Chronicle.... Reading Murakami ... is a striking experience in consciousness expansion.” —The Chicago Tribune

“An insistently metaphysical mind-bender.” —The New Yorker

“If he has not achieved that status already, Haruki Murakami is on course to becoming the most widely read Japanese writer outside Japan, past or present.” —The New York Times


Sample

Cash isn't the only thing I take from my father's study when I leave home. I take a small, old gold lighter--I like the design and feel of it--and a folding knife with a really sharp blade. Made to skin deer, it has a five-inch blade and a nice heft. Probably something he bought on one of his trips abroad. I also take a sturdy, bright pocket flashlight out of a drawer. Plus sky blue Revo sunglasses to disguise my age.

I think about taking my father's favorite Sea-Dweller Oyster Rolex. It's a beautiful watch, but something flashy will only attract attention. My cheap plastic Casio watch with an alarm and stopwatch will do just fine, and might actually be more useful. Reluctantly, I return the Rolex to its drawer.

From the back of another drawer I take out a photo of me and my older sister when we were little, the two of us on a beach somewhere with grins plastered across our faces. My sister's looking off to the side so half her face is in shadow and her smile is neatly cut in half. It's like one of those Greek tragedy masks in a textbook that's half one idea and half the opposite. Light and dark. Hope and despair. Laughter and sadness. Trust and loneliness. For my part I'm staring straight ahead, undaunted, at the camera. Nobody else is there at the beach. My sister and I have on swimsuits--hers a red floral-print one-piece, mine some baggy old blue trunks. I'm holding a plastic stick in my hand. White foam is washing over our feet.

Who took this, and where and when, I have no clue. And how could I have looked so happy? And why did my father keep just that one photo? The whole thing is a total mystery. I must have been three, my sister nine. Did we ever really get along that well? I have no memory of ever going to the beach with my family. No memory of going anywhere with them. No matter, though--there is no way I'm going to leave that photo with my father, so I put it in my wallet. I don't have any photos of my mother. My father had thrown them all away.

After giving it some thought I decide to take the cell phone with me. Once he finds out I've taken it, my father will probably get the phone company to cut off service. Still, I toss it into my backpack, along with the adapter. Doesn't add much weight, so why not. When it doesn't work anymore I'll just chuck it.

Just the bare necessities, that's all I need. Choosing which clothes to take is the hardest thing. I'll need a couple sweaters and pairs of underwear. But what about shirts and trousers? Gloves, mufflers, shorts, a coat? There's no end to it. One thing I do know, though. I don't want to wander around some strange place with a huge backpack that screams out, Hey, everybody, check out the runaway! Do that and someone is sure to sit up and take notice. Next thing you know the police will haul me in and I'll be sent straight home. If I don't wind up in some gang first.

Any place cold is definitely out, I decide. Easy enough, just choose the opposite--a warm place. Then I can leave the coat and gloves behind, and get by with half the clothes. I pick out wash-and-wear-type things, the lightest ones I have, fold them neatly, and stuff them in my backpack. I also pack a three-season sleeping bag, the kind that rolls up nice and tight, toilet stuff, a rain poncho, notebook and pen, a Walkman and ten discs--got to have my music--along with a spare rechargeable battery. That's about it. No need for any cooking gear, which is too heavy and takes up too much room, since I can buy food at the local convenience store.

It takes a while but I'm able to subtract a lot of things from my list. I add things, cross them off, then add a whole other bunch and cross them off, too.

My fifteenth birthday is the ideal time to run away from home. Any earlier and it'd be too soon. Any later and I would have missed my chance.

During my first two years in junior high, I'd worked out, training myself for this day. I started practicing judo in the first couple years of grade school, and still went sometimes in junior high. But I didn't join any school teams. Whenever I had the time I'd jog around the school grounds, swim, or go to the local gym. The young trainers there gave me free lessons, showing me the best kind of stretching exercises and how to use the fitness machines to bulk up. They taught me which muscles you use every day and which ones can only be built up with machines, even the correct way to do a bench press. I'm pretty tall to begin with, and with all this exercise I've developed pretty broad shoulders and pecs. Most strangers would take me for seventeen. If I ran away looking my actual age, you can imagine all the problems that would cause.

Other than the trainers at the gym and the housekeeper who comes to our house every other day--and of course the bare minimum required to get by at school--I barely talk to anyone. For a long time my father and I have avoided seeing each other. We live under the same roof, but our schedules are totally different. He spends most of his time in his studio, far away, and I do my best to avoid him.

The school I'm going to is a private junior high for kids who are upper-class, or at least rich. It's the kind of school where, unless you really blow it, you're automatically promoted to the high school on the same campus. All the students dress neatly, have nice straight teeth, and are boring as hell. Naturally I have zero friends. I've built a wall around me, never letting anybody inside and trying not to venture outside myself. Who could like somebody like that? They all keep an eye on me, from a distance. They might hate me, or even be afraid of me, but I'm just glad they didn't bother me. Because I had tons of things to take care of, including spending a lot of my free time devouring books in the school library.

I always paid close attention to what was said in class, though. Just like the boy named Crow suggested.

The facts and techniques or whatever they teach you in class isn't going to be very useful in the real world, that's for sure. Let's face it, teachers are basically a bunch of morons. But you've got to remember this: you're running away from home. You probably won't have any chance to go to school anymore, so like it or not you'd better absorb whatever you can while you've got the chance. Become like a sheet of blotting paper and soak it all in. Later on you can figure out what to keep and what to unload.

I did what he said, like I almost always do. My brain like a sponge, I focused on every word said in class and let it all sink in, figured out what it meant, and committed everything to memory. Thanks to this, I barely had to study outside of class, but always came out near the top on exams.

My muscles were getting hard as steel, even as I grew more withdrawn and quiet. I tried hard to keep my emotions from showing so that no one--classmates and teachers alike--had a clue what I was thinking. Soon I'd be launched into the rough adult world, and I knew I'd have to be tougher than anybody if I wanted to survive.

My eyes in the mirror are cold as a lizard's, my expression fixed and unreadable. I can't remember the last time I laughed or even showed a hint of a smile to other people. Even to myself.

I'm not trying to imply I can keep up this silent, isolated facade all the time. Sometimes the wall I've erected around me comes crumbling down. It doesn't happen very often, but sometimes, before I even realize what's going on, there I am--naked and defenseless and totally confused. At times like that I always feel an omen calling out to me, like a dark, omnipresent pool of water.

A dark, omnipresent pool of water.

It was probably always there, hidden away somewhere. But when the time comes it silently rushes out, chilling every cell in your body. You drown in that cruel flood, gasping for breath. You cling to a vent near the ceiling, struggling, but the air you manage to breathe is dry and burns your throat. Water and thirst, cold and heat--these supposedly opposite elements combine to assault you.

The world is a huge space, but the space that will take you in--and it doesn't have to be very big--is nowhere to be found. You seek a voice, but what do you get? Silence. You look for silence, but guess what? All you hear over and over and over is the voice of this omen. And sometimes this prophetic voice pushes a secret switch hidden deep inside your brain.

Your heart is like a great river after a long spell of rain, full to the banks. All signposts that once stood on the ground are gone, inundated and carried away by that rush of water. And still the rain beats down on the surface of the river. Every time you see a flood like that on the news you tell yourself: That's it. That's my heart.

Before running away from home I wash my hands and face, trim my nails, swab out my ears, and brush my teeth. I take my time, making sure my whole body's well scrubbed. Being really clean is sometimes the most important thing there is. I gaze carefully at my face in the mirror. Genes I'd gotten from my father and mother--not that I have any recollection of what she looked like--created this face. I can do my best to not let any emotions show, keep my eyes from revealing anything, bulk up my muscles, but there's not much I can do about my looks. I'm stuck with my father's long, thick eyebrows and the deep lines between them. I could probably kill him if I wanted to--I'm sure strong enough--and I can erase my mother from my memory. But there's no way to erase the DNA they passed down to me. If I wanted to drive that away I'd have to get rid of me.

There's an omen contained in that. A mechanism buried inside of me.

A mechanism buried inside of you.

I switch off the light and leave the bathroom. A heavy, damp stillness lies over the house. The whispers of people who don't exist, the breath of the dead. I look around, standing stock-still, and take a deep breath. The clock shows three p.m., the two hands cold and distant. They're pretending to be noncommittal, but I know they're not on my side. It's nearly time for me to say good-bye. I pick up my backpack and slip it over my shoulders. I've carried it any number of times, but now it feels so much heavier.

Shikoku, I decide. That's where I'll go. There's no particular reason it has to be Shikoku, only that studying the map I got the feeling that's where I should head. The more I look at the map--actually every time I study it--the more I feel Shikoku tugging at me. It's far south of Tokyo, separated from the mainland by water, with a warm climate. I've never been there, have no friends or relatives there, so if somebody started looking for me--which I kind of doubt--Shikoku would be the last place they'd think of.

I pick up the ticket I'd reserved at the counter and climb aboard the night bus. This is the cheapest way to get to Takamatsu--just a shade over ninety bucks. Nobody pays me any attention, asks how old I am, or gives me a second look. The bus driver mechanically checks my ticket.

Only a third of the seats are taken. Most passengers are traveling alone, like me, and the bus is strangely silent. It's a long trip to Takamatsu, ten hours according to the schedule, and we'll be arriving early in the morning. But I don't mind. I've got plenty of time. The bus pulls out of the station at eight, and I push my seat back. No sooner do I settle down than my consciousness, like a battery that's lost its charge, starts to fade away, and I fall asleep.

Sometime in the middle of the night a hard rain begins to fall. I wake up every once in a while, part the chintzy curtain at the window, and gaze out at the highway rushing by. Raindrops beat against the glass, blurring streetlights alongside the road that stretch off into the distance at identical intervals like they were set down to measure the earth. A new light rushes up close and in an instant fades off behind us. I check my watch and see it's past midnight. Automatically shoved to the front, my fifteenth birthday makes its appearance.

Hey, happy birthday, the boy named Crow says.

Thanks, I reply.

The omen is still with me, though, like a shadow. I check to make sure the wallaround me is still in place. Then I close the curtain and fall back asleep.

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About the authors

Haruki Murakami

Haruki Murakami

Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many international honors is the Jerusalem Prize, whose previous recipients include J. M. Coetzee, Milan Kundera, and V. S. Naipaul.


Reviews

Customer reviews

4.5 out of 5

19,055 global ratings

Bryan Desmond

Bryan Desmond

5

I’ve met you before. In another land, in another library.

Reviewed in the United States on February 18, 2021

Verified Purchase

Well, this was impressive.

I have read one other Haruki Murakami novel some years ago, that being Hard-Boiled Wonderland and the End of the World, and while I really enjoyed that book, this one I loved. And besides, I can feel echoes of that one in this one, and those kind of connections bring me great joy, whether I am projecting them or not.

What to even say about this book? What to say about Haruki Murakami? His works have the interestingly dichotomous ability to mix feelings of the small and the large, the personal and the sweeping, the banal and the mystical. Often while reading I'll find myself thinking... "What the f***?" And I can answer this only with the mantra: "No idea, it's Murakami." Some people maybe can't get behind that and still enjoy the novel, but I love it. The bizarre occurs without explanation, and the dreamlike is commonplace. He leads you from one question to the next so effectively that even when you don't circle back around for the answers, you're having too much fun to mind.

And Murakami's sheer skill... His prose is excellent by default, and ranges into the beautiful. He paints a vivid picture without being overly descriptive, and he allows you to sink into a sort of flavor of a mood. There seems to be a very human understanding that bleeds through onto the page, and not just in his prose but in his character work. He taps into the heart of things, and reminds you why life's simple pleasures are pleasures in the first place. This is a man who seems to truly live, a man who knows how to take his loves and interests and inject them into a story that sticks with you.

Kafka on the Shore is at its heart the inexorable, tidal pulling of two disparate storylines. That of Kafka Tamura, 15-year-old runaway haunted by a dark prophecy, and that of Satoru Nakata, an old man who suffered a childhood affliction that left him... different. How these two stories interact and interweave will leave you feeling like you're reading a riddle at times. Thematically he is playing with dreams, imagination, and responsibility. The darkness of the human subconscious. Ghosts. Memory. Time. Libraries.... Honestly, I find the book hard to capture in words, futile devices that they are. There were sections of it where I even doubted the reality of what I was reading. I mean, my favorite character in the book was probably Colonel Sanders. Do with that what you will.

So much of this story takes place in that dark, ethereal labyrinth of your mind that it feels like you can only accurately explain half of it. And that second, unexplainable half is where the true magic lies. Which is, I believe, why I'm so drawn to his stories; they leave much to the imagination, and there is plenty leftover to ponder. Nothing is so tantalizing as the unknown, and Murakami understands that deeply. But as strange as the novel is at times, it really is beautiful. Emotionally effective, to say the least. I want to use the word gorgeous, even. The character work feels genuine, borderline romanticized. And the entire work is so intricately interwoven that it feels like the kind of thing you could jump right back into when you finish, which may have even been Murakami's intention.

If you can't tell by the unfiltered praise, I loved this book. It belongs on my favorites shelf, I think. I don't think it's for everyone. It was overtly sexual in a way that caught me off guard, and in a way that I can imagine will make some readers uncomfortable. There are also scenes of overt, sometimes shocking, violence. But I don't fault Murakami for exploring the dark recesses of the human experience, or of stories in general. In fact, I think it would feel strange were those areas of darkness missing.

Having just finished, I have that same sort of melancholic regret that I sometimes have when I finish a Ghibli movie; a long journey well-ended, characters coming full-circle with lessons learned, a strange new world that I want to stay in a little while longer. Needless to say, I'll be reading more of his work.

"Time weighs down on you like an old, ambiguous dream. You keep on moving, trying to slip through it. But even if you go to the ends of the earth, you won’t be able to escape it. Still, you have to go there—to the edge of the world. There’s something you can’t do unless you get there."

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86 people found this helpful

wonderful!!

wonderful!!

5

awesome storytelling!!

Reviewed in the United States on August 29, 2024

Verified Purchase

this book made me go back to reading. i’ve an issue with my attention span and i can never really focus on reading a book. great storytelling, as usual, by murakami!

Patrick ten Brink

Patrick ten Brink

5

It is a tale of love and love lost

Reviewed in the United States on May 18, 2018

Verified Purchase

Kafka on the Shore by Haruki Murakami

An intriguing and profound story of interlaced lives - Kafka Tamura (a highly perceptive 15 year old boy running away from home); Oshima (a superbly erudite and perfectly mannered librarian with a secret), Miss Saeki (the elegant middle-aged library owner whose shadow is only half a rich as it should be), and Nakata (an old man who cannot read but can talk to cats), as well as a rich cast of secondary characters.

It is a tale of love and love lost, an oedipal tragedy in new form, a story of honour and roles in society, and, as often with Murakami’s book, a quest to explore the hidden drivers of people and this world, and what is behind this world. As Haruki Murakami says, there is “a mechanism buried inside you” and it is this mechanism and the deep non-coincidental inter-connections between people that he loves to explore. This exploration is there also in Hard-Boiled Wonderland and the End of the World, A Wild Sheep Chase, 19Q4, and The Windup-Bird Chronical. We edge close to it, we feel it, we cannot fully grasp it and hence are left intrigued.

The language and deep reflections are also marvellous. Following are a few examples of what I liked:

“The more you think about illusions, the more they’ll swell up and take form. And no longer be an illusion.”

“Most great poetry is like that. If the words can’t create a prophetic tunnel connecting them to the reader, then the whole thing no longer functions as a poem.”

“Intolerance, theories cut off from reality, empty terminology, usurped ideals, inflexible systems. Those are the things that really frighten me. What I absolutely fear and loath.”

He has existential insights, deep views on literature (from Kafka himself to Japanese literature across the ages), and social-historical commentary (e.g. on the Japanese student uprising). Only two things bothered me – one is Kafka Tamura’s incredible sensitivity and insight and learning that seemed well beyond his 15 years; but then again one point of the book is that Kafka is not only the 15-year-old boy we see but is connected to other selves – there are more selves to this one self. Identity is a complex issue. The other is his use of sex scenes; these feel slightly as if they are tools to give the whole story a tension and energy, rather than a necessary and integral part of the story. But maybe I’m just being prudish and is probably a question of taste. Anyway, it works.

So, for writers looking for tools of the craft – look at the wonderfully unique voices of Nakata, Oshima and Miss Saeki; see the 3-dimensionality of these characters, and their evolution over the story (notably Nakata and Hoshino who helps him); understand how he creates intrigue and tension (e.g. Nakata’s meeting with the cold blooded cat-killer with other worldly motivation), and of course appreciate the many dozen jewels he leaves among the pages in terms of profound insights.

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23 people found this helpful

Insight1001

Insight1001

5

wonderful read

Reviewed in the United States on August 12, 2024

Verified Purchase

I never thought anything could surpass The Wind Up Bird Chronicle. Kafka on the Shore does just that. It’s Murakami’s finest work.

DaveL

DaveL

5

An original novel, with a complex and intertwined story

Reviewed in the United States on April 27, 2015

Verified Purchase

At its essence, Kafka on the Shore is a beautifully written story of an alienated fifteen-year-old boy, Kafka Tamura, who runs away from home to escape a painful past and ends up on a journey to find a reason to live. But it’s told in an original and fascinating way that challenges the bounds of reality.

This is the second Murakami book I’ve read, after 1Q84. Perhaps two books are too few to establish a pattern, but I’ve noted the following: his main characters have an intense but understated internal life; and he likes to interweave a second story that parallels the ‘real world,’ but has little regard for reality. And this latter world is the more fascinating of the two.

In 1Q84, I became engrossed in the alternate reality, only to find he dropped some of the best characters about two thirds of the way through the book. I don’t expect every thread in magical realism to be tied up neatly with a bow, but it remained frustrating to invest in a character and have them merely vanish.

No such problem exists in Kafka on the Shore. Kafka’s series of encounters and adventures are for the most part real, and the people he meets are well drawn, each with their own issues. But Murakami alternates chapters with a second thread, the story of Nakata, an elderly man, who became a simpleton as a child during World War II, following an extraordinary occurrence that, in effect, erased his mind. Nakata follows a parallel journey that gradually converges with that of Kafka, but in a way far from what we’d think of as reality. Nakata talks to cats and makes fish rain from the sky, but can neither read nor write. Despite his simplicity, he is directed by some unknown force on a journey, where his fate is impacted by an odd array of characters—some real like the young truck driver, Hoshino—but most surreal, like Johnnie Walker, who murders cats to make a magic flute (yes, appearing like the man on the whiskey bottle label) and a pimp that looks like the fried chicken king, Colonel Sanders.

Anything can happen in this second thread. But as the book progresses, we find that Nakata’s story is a metaphor for Kafka’s journey, one that will eventually open the portal for Kafka to find his way from an empty life (the mind erased) to finding the will to live.

While not for those who prefer more straightforward fiction, Kafka on the Shore is an original and beautifully written novel, with a complex and intertwined story that could only be written by a master.

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3 people found this helpful

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