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Graham Jaeger

Mrs. Mann

AP Literature and Composition Block 3

14 November 2018

In Dreams Begin Classics

When Mr. Van Velzer told my ninth grade English class that ​To Kill a Mockingbird

would make more sense the second time around reading, we burst out into laughter. Why would

we, being the freshmen that we were, intentionally read the same book again, especially one that

wasn’t particularly riveting? Despite our mocking, Mr. Van Velzer persisted in his stance,

claiming that re-reading a novel allows readers to discover new or enhanced meaning each

revisit. Unbeknownst to us at the time, Mr. Van Velzer had actually revealed an important

quality of literature; some novels are so rich they never stop offering new insight—such novels

are often referred to as “classics.” While most readers agree that works of literary merit must

stand the test of time to earn this prestigious title, some novels resonate particularly strongly with

readers and inherently possess the qualities of a classic. Haruki Murakami’s ​Kafka on the Shore​,

in which a fifteen-year-old boy runs away from home to escape his father’s ominous Oedipal

prophecy, is one such novel. Though its content​ ​can be convoluted and confusing, ​Kafka on the

Shore e​ xemplifies several of the defining characteristics of a classic novel and immerses readers

in a truly unique experience, warranting it inclusion in the literary canon.

Kafka on the Shore r​ elates a valuable message, as all classics should, about the human

experience; Murakami suggests that despite our attempts to exercise free will, destiny is

inescapable. From the beginning of the novel, Kafka, the main protagonist, emphasizes the heavy
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presence of destiny he feels in his life as well as his desire to escape it. When he was in just

elementary school, his father imparted upon him an unsettling prophecy, claiming that Kafka

would one day kill his father and have sex with his mother and sister (​Kafka ​202).

Unsurprisingly, Kafka opposes his father’s ominous curse and runs away from his home in

Tokyo in order to escape it. However, as the novel progresses, it becomes apparent that Kafka’s

attempt to circumvent destiny is fruitless; shortly after arriving in Takamatsu, Kafka loses

consciousness at the same time his father is murdered, waking up with blood on his clothes

(​Kafka 7​ 0-71). Kafka recognizes that it should be physically impossible that he killed his father,

but at the same time wonders, “‘...maybe I did kill my father with my own hands...I really get the

feeling that I ​did​…’” (​Kafka ​204). Even though Murakami never confirms Kafka’s guilt in the

murder, Kafka’s father still ends up dead, in accordance with the prophecy. By indicating that

Kafka’s attempt to escape destiny by running away is inconsequential, Murakami implies that

destiny cannot be defied, even by distance. Indeed, despite his best wishes, Kafka ultimately

fulfills the rest of the prophecy, reinforcing Murakami’s claim. In fact, at the end of the novel,

Kafka states that he will return to Tokyo. Thus, Murakami asserts that all of his efforts to escape

destiny were futile; Kafka is back where he started. According to Italo Calvino, a distinguished

author, “​In a classic we sometimes discover something we have always known...this...is a

surprise that gives a lot of pleasure, such as we always gain from the discovery of an origin, a

relationship, an affinity.” Calvino indicates that works worthy of the title “classic” present a

universal truth, often in a unique, refreshing way. ​Kafka on the Shore​ certainly accomplishes

this, as supports the supremacy of fate over free will. Since these competing ideas have figured

prominently in society for centuries, ​Kafka on the Shore​ makes a bold statement about the human
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experience. ​However, Murakami doesn’t simply regurgitate these well-worn ideas. Although the

plot and themes of ​Kafka on the Shore a​ re similar to those of Sophocles's ​Oedipus Rex,​

Murakami writes in his own voice. Indeed, ​Kafka on the Shore i​ s far from a modern retelling of

Oedipus Rex​, as “from the start [Murakami] planned to write about a fifteen-year-old boy....”

(“Questions’).​ By subjecting a teenager to the struggle with destiny, Murakami adds a twist to

this ancient debate; fate spares no one. Still, Murakami admits that “when we write a story on

our own it can’t help but link up with all sorts of myths” (“Questions”). In this way, Murakami’s

novel captures the age-old question of fate versus free will in a unique way. Regardless,

Murakami clearly delineates a perennial aspect of the human experience, demonstrating the

novel’s relevance.

Kafka on the Shore​ is innovative; it challenges literary norms and encourages readers to

think critically. To most readers, ​Kafka on the Shore ​doesn’t make sense. And understandably so,

as Murakami creates a world where ghosts exist, cats talk, and fish rain from the sky. These

instances stand out in the novel, leading many readers to reason that these events must have

significance. However, quite the opposite is true. For example, Murakami reveals that cats play

such a large role in the novel because of his personal affinity for them, not because “...they have

any other significance” (“Questions”). In fact, the lack of significance of certain recurring

images, such as cats, reinforces Murakami’s theme; just as Kafka’s attempts to escape his destiny

are futile, so are readers’ efforts to glean meaning from Murakami’s symbols. This lack of

meaning doesn’t only contribute to the novel’s theme, however. By upending our expectations as

readers, Murakami defies established literary conventions by contradicting the popular formalist

notion that most elements of a novel carry literary significance. Instead, ​Kafka on the Shore
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likens to the Postmodern movement, where a general disregard for convention is the standard

(Matteo). When Murakami illustrates Colonel Sanders working as a pimp in a back alley of

Takamatsu, he is doing just that--there is no method behind Colonel Sander’s madness. In fact,

Murakami explains that Colonel Sanders is “just an icon...” (Ellis and Hirabayashi). In this way,

Kafka on the Shore​ exemplifies Postmodernist values. Although Murakami claims that he didn’t

write his novel to be a Postmodernist work, he acknowledges that he does “have the sense that

what I’m doing is slightly different...I [Murakami] want to be a writer who tells stories unlike

other writers’” (“Questions”). Regardless of whether he purposefully emulated Postmodernism

in ​Kafka on the Shore,​ Murakami strove to create something entirely different and thus

encourage readers to expand their concept of literature. In fact, this creativity and irreverence for

convention make ​Kafka on the Shore ​an extremely unique and innovative novel. According to

Calvino, this ingenuity qualifies ​Kafka on the Shore f​ or inclusion in the literary canon: “Classics

are books which, the more we think we know them through hearsay, the more original,

unexpected, and innovative we find them when we actually read them.” In essence, Calvino

suggests that classic novels are always surprising--a trait that ​Kafka on the Shore ​undeniably

possesses. By both ignoring literary convention and immersing readers in a counterintuitive

fantasy world, Murakami consistently defies our expectations in ​Kafka on the Shore,​

demonstrating its literary merit.

Although many critics claim that ​Kafka on the Shore ​is singularly Japanese or Western

and thus inaccessible to a wide audience, the novel is universally identifiable. The novel seems

to occupy a space between both Japanese and American culture that makes it accessible to

readers worldwide. Murakami’s frequent allusions to Western pop culture, politics, and
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corporations in his depictions of Japan demonstrate this multiculturalism. When Kafka seeks

refuge at Sakura’s apartment after passing out, she offers him various foods and drinks, including

Pepsi and Cup Noodles (​Kafka​ 74). Murakami includes something for everyone to connect with.

While some readers may not be familiar with Cup Noodles, they may recognize Pepsi. Murakami

essentially covers all his bases; he creates a sense of familiarity that allows any reader, no matter

their background, to be comfortable. Laura Miller, a columnist for ​the New York Times’ Sunday

Book Review​, concurs. According to Miller, “...when Murakami tells us that a character drinks

Diet Pepsi or wears a New Balance cap it's not to sketch a withering little portrait of this person's

social class and taste, but to describe exactly what he or she drinks and wears, creating a small

tether to a shared reality.” As a result, Murakami’s scattered allusions not only provide

familiarity for foreign readers but also humanize his characters and plot, making the novel more

relatable. Readers don’t have to be experts in the culture and history of Japan because ​Kafka on

the Shore​ reflects habits and characteristics that we all share. Oshima’s signature sharpened

pencils, for instance, bring him down to Earth. Even though readers may not comprehend

Oshima as a character entirely, they can understand his quirk, and thus zero in on their

similarities rather than differences. In this way, readers can relate to the novel even if they don’t

understand every aspect. In fact, Murakami claims that “...if the story is appealing it doesn’t

matter much if you don’t catch all the detail. I’m not too familiar with the geography of

nineteenth century London, for instance, but I still enjoy reading Dickens” (“Questions”). As

long as they find the story interesting, readers unacquainted with Japan can still feel right at

home. Thus, ​Kafka on the Shore​ transcends cultural barriers and is identifiable with readers

around the world, as attested by the “record-breaking sales garnered in over twenty languages”
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(Chozick 71). Moreover, since ​Kafka on the Shore t​ raverses cultures while still retaining a

“universal compatibility” (Chozick 71), the novel demonstrates literary excellence, and deserves

inclusion in the literary canon.

Kafka on the Shore, l​ ike all classics, offers new and deeper meaning each time it is read;

in fact, understanding the novel necessitates several readings. According to Miller, ​“A lot of

things happen in Murakami's novels, but what lingers longest in the memory is this distinctive

mood, a stillness pregnant with . . . what? Some meaning that's forever slipping away.” Indeed,

Kafka on the Shore​ is confusing, even chaotic at times, and all the while the significance of a

certain scene seems so close yet just out of reach. Nowhere is this more evident than when Kafka

questions Miss Saeki about her song:

‘Where did you come up with those two chords?’

‘Chords?’

‘The ones in the bridge in 'Kafka on the Shore.’

She looks at me. ‘You like them?’

I nod.

‘I found those chords in an old room, very far away. The door to the room was open

then,’ she says quietly. ‘A room that was far, far away.’ (​Kafka ​295)

Miss Saeki’s vague answer conveys her longing and regret, and creates a feeling of

incompletion. Readers can deduce that the song is linked to her past, but it is much more difficult

to decipher the chords’ significance. The unfinished mood, as well as the confusion surrounding

Miss Saeki’s song, exemplify the complicated nature of ​Kafka on the Shore​. As a result, multiple
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readings are necessary to fully capture this elusive meaning. In fact, Murakami himself suggests

“reading the novel more than once. Things should be clearer the second time around”

(“Questions”). Thus, ​Kafka on the Shore ​requires several readings in order to grasp the novel’s

meaning in entirety, reflecting an important quality of a classic: “A classic is a book which has

never exhausted all it has to say to its readers” (Calvino). Similarly, since multiple readings are

essential to understanding the novel, each re-reading reveals something new or supplements

previous interpretations of the novel. ​Kafka on the Shore n​ ever stops offering new meaning and

ideas to readers.

Kafka on the Shore p​ ossesses a dream-like quality that captivates and resonates with

readers, setting it apart from other novels. For example, in the beginning of the novel, Nakata

meets a man named Johnnie Walker who creates flutes out of cats’ souls. In order to do this,

however, he “made an incision straight down the stomach...Still to the accompaniment of

‘Heigh-Ho,’ he thrust his hand inside the cat’s body and with a small scalpel skillfully cut loose

the tiny heart” (​Kafka ​144). Such a grisly scene, in which a British whiskey icon removes cat

hearts in order to make a flute of souls, all to the tune of an upbeat Disney song, only seems

possible in a nightmare. However, most of the novel takes on this form. Whether Murakami is

describing the simultaneous collapse of 16 children in a forest or the nightly visit of a forlorn

ghost, ​Kafka on the Shore​ immerses readers in a truly unique, surreal atmosphere, where the

boundary between reality and dreams is not well defined. Indeed, the novel’s distinctiveness

derives itself from Murakami’s ability to expose readers to this dream world. In an interview

with Jonathan Ellis and Mitoko Hirabayashi, Murakami explains, “It [Fiction] comes from my

own inner world. Readers can share that world.” Murakami implies that ​Kafka on the Shore ​is a
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manifestation of his own dreams and emotions, which readers can experience by reading. Miller

suggests that this is no easy feat: “While anyone can tell a story that resembles a dream, it's the

rare artist, like this one, who can make us feel that we are dreaming it ourselves.” Murakami

doesn’t just offer readers a glimpse into his imagination; he fully immerses readers in it. Thus,

Kafka on the Shore’​ s one-of-a-kind interactivity attests to its literary merit. The novel’s unique

ability to engross readers in its dream-like atmosphere is perhaps its most distinctive feature,

demonstrating literary prowess and creativity.

If my ninth grade class had read ​Kafka on the Shore​ instead of ​To Kill a Mockingbird, I​

wouldn’t have hesitated to follow Mr. Van Velzer’s recommendation. Though both are excellent

books, ​Kafka on the Shore ​resonates with readers especially strongly. Despite its confusing

content, and though it has yet to stand the test of time, ​Kafka on the Shore ​is a captivating novel

that possesses many characteristics of the perpetually lauded classics. Its uniqueness and depth

warrant the novel inclusion in the literary canon. In fact, as our definition of the literary canon

continues to evolve, including ​Kafka on the Shore ​is increasingly important. Because of its

success as such a fantastical and mesmerizing book, the novel may influence literature for years

to come.
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Works Cited

Amitrano, Giorgio. “Books within Books: Literary References in Murakami Haruki’s Fiction.”

Japanese Language and Literature,​ vol. 49, no. 1, 2015, pp. 201-220. ​JSTOR​,

https://www.jstor.org/stable/24615100. Accessed 23 Oct. 2018.

​ ranslated by Patrick
Calvino, Italo. “Why Read the Classics?” ​The New York Review of Books, T

Creagh, The New York Review of Books, 9 Oct. 1986, https://www.nybooks.com/articles

/1986/10/09/why-read-the-classics/?pagination=false. Accessed 29 Oct. 2018.

Chozick, Matthew R. “De-Exoticizing Haruki Murakami’s Reception.” ​Comparative Literature

Studies,​ vol. 45, no. 1, 2008, pp. 62-73. ​JSTOR​, https://www.jstor.org/stable/25659633.

Accessed 22 Oct. 2018.

Ellis, Jonathan, and Mitoko Hirabayashi. “‘In Dreams Begin Responsibility’: An Interview with

Haruki Murakami.” ​The Georgia Review​, vol. 59, no. 3, 2005, pp. 548-567​. ​JSTOR,​

https://www.j stor.org/stable/41402632. Accessed 22 Oct. 2018.

Matteo, Virginia. “What’s the Difference between Modernism and Postmodernism in

Literature?” ​Owlcation,​ HubPages, ​https://owlcation.com/humanities/Whats-The-Diffe

rence-Between-Modernism-and-Postmodernism. Accessed 29 Oct. 2018.

Miller, Laura. “Crossing Over.” ​Sunday Book Review,​ The New York Times, 6 Feb. 2005,

https://www.nytimes.com/2005/02/06/books/review/kafka-on-the-shore-realitys-culdesac

s.html. Accessed 29 Oct. 2018.

Murakami, Haruki. ​Kafka on the Shore.​ Translated by Philip Gabriel, Vintage International,

2005.
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​ aruki
Murakami, Haruki. “Questions for Murakami about Kafka on the Shore.” ​Conversations, H

Murakami, http://www.harukimurakami.com/resource_category/q_and_a/questions-for-h

aruki-murakami-about-kafka-on-the-shore. Accessed 22 Oct. 2018.