71 pages • 2 hours read
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Kafka is at peace with the woods and silence. On Monday, Oshima arrives to take Kafka back to the civilization and the library. They eat lunch and close up the cabin. Oshima drives them back to Takamatsu. It’s Monday, so the library is closed.
On the long drive back to the library, Oshima tells Kafka some of Miss Saeki’s history. Miss Saeki has been Oshima’s mother’s closest friend since childhood, so Oshima knows all about her. As children, Miss Saeki and the eldest son of the Komura family were inseparable. They fell in love as young teenagers. Komura decided to go away to college, which split them apart for the first time in their lives.
Miss Saeki wrote and recorded a song about their time apart, called “Kafka on the Shore.” The song became a huge hit. While at college, the young man got caught up in student uprisings on his campus, and one night he was mistaken for a leader of the opposition. He was kidnapped, interrogated as a spy, and tortured to death. He was twenty years old.
Miss Saeki was overwhelmed by grief, dropped out of college, refused to sing again, and eventually disappeared. For twenty-five years no one knew where she was. Presumably she was living off the substantial royalties from “Kafka on the Shore.” After her mother’s death, she reappeared in Takamatsu for her funeral, and the Komura family employed her as the director of the library.
Oshima says that time doesn’t exist for Miss Saeki in the same way it does for everyone else. Because of her wounded heart, she remains aloof and holds everyone at a distance.
Nakata wakes up in the vacant lot he was staking out. Goma and Mimi are licking his face. They are talking to him, but he can no longer understand what they are saying. He has no blood on him, and he is in no pain. He returns Goma to her family, the Koizumis.
Next, Nakata confesses at the nearest police station to the murder of Johnnie Walker. The policeman cannot make sense of Nakata’s story, and seeing that he has no blood on him, refuses to believe him. He sends Nakata away. As he is leaving, Nakata tells the policeman to bring an umbrella to work the next day, because fish will fall from the sky like rain.
The next day when fish fall from the sky in the Nakano Ward, the young policeman realizes that he probably made a mistake. The day after the fish fall from the sky, a famous sculptor is found stabbed to death in his house. The young policeman knows then that he’s probably let a murderer go free. But Nakata has already left town.
Oshima returns with Kafka to the library and helps him to get settled into his room in the library, then leaves. Kafka notices a painting of a young man on the seashore, who looks about 12 years old. Kafka immediately imagines that this painting is of the young man Miss Saeki loved who was beaten to death at age 20 and that he is staying in the room that used to belong to that young man.
Oshima arrives the next morning, Tuesday, to explain Kafka’s duties, such as opening up the library each morning.
During the day, two feminists from a women’s rights organization ask to speak to the management about their opinion of the library. Oshima offers to listen to them. They accuse the library of sexism because they have no separate bathroom facilities for women and the male authors are all listed before the female ones in each section of the library. Oshima tries to be patient and hear them out, but as their accusations continue, and they accuse Oshima of being a “typical sexist patriarchic male” (178), he becomes angry.
Oshima reveals that he cannot be a sexist male because he is biologically and legally a woman. Further, he considers himself a gay man, rather than a lesbian, because he prefers to live as a man and is attracted to men. The women and Kafka are flabbergasted.
Kafka tells Oshima that he doesn’t care what Oshima is, he likes him. Oshima says that he just wants to be treated like a human being, just like everyone else. He continues to say that what he cannot stand are “hollow men” (181), or people who are devoid of imagination, or empathy. He reminds Kafka that people like that murdered Miss Saeki’s boyfriend.
Nakata gets out of a truck at the Fujikawa rest area. He has his canvas bag and umbrella with him. He has been hitchhiking from Tokyo, and now looks in the rest area for another ride. He comes upon a motorcycle gang beating someone up, and tries to intervene. They begin to turn on him, and he becomes emotionally overwhelmed, remembering how he killed Johnnie Walker. He steps back and puts up his umbrella. Leeches rain down from the sky on the rest area. Nakata runs inside to get help for the young man lying on the ground. He gets a ride further west with a young man in his mid-twenties, who is wearing an aloha shirt and a Chunichi Dragons baseball cap.
Kafka’s life starts to change when he arrives to live and work in the library on Monday, June 2nd. He learns more about the mysterious Miss Saeki. His intuition that she has something to say to him is reinforced when he learns more about the painting and the song, both titled “Kafka on the Shore.” He takes it as a sign that his name ties him somehow to Miss Saeki.
Oshima reveals his transgender status, and also that he doesn’t want to be treated like a “monster” (181). The Nakata storyline also includes references to monsters, as people look at Nakata like he’s a “monster” (183) when they discover that he cannot read. Society’s lack of understanding and compassion for difference is exemplified here, through the word monster.
On the same night that Kafka wakes up with blood on his clothes, Wednesday, May 28th, Nakata wakes up after killing Johnnie Walker with no blood on his person. However, Nakata has lost his ability to converse with cats.
Once he leaves the police station, Nakata hitchhikes out of Tokyo, heading west. On the way, he meets up with the young truck driver, Hoshino on Friday, May 30th.
The characters’ constant references to the day of the week help to ground the narratives in reality. Murakami consistently provides those details, along with the minutiae of daily life, such as what the characters are wearing, what they eat, and the chores they perform, to make the magical elements seem more believable, blended in as they are into a narrative full of “facts.” The details of “normal” life stand side by side with waking up bloody with no memory of the last four hours, or talking to cats.
In addition, the constantly shifting narrative, moving from one storyline to another and from one time to another, disorients the reader and forces the reader to be constantly aware of time. The reader does not experience this story in a linear fashion; Murakami deliberately plays with the flow of time.
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By Haruki Murakami