Kafka Best Quotes

Nervous states of the worst sort control me without pause. Everything that is not literature bores me and I hate it. I lack all aptitude for family life except, at best, as an observer. I have no family feeling and visitors make me almost feel as though I were maliciously being attacked.

Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.

My "fear" is my substance, and probably the best part of me.

So perhaps the best resource is to meet everything passively, to make yourself an inert mass, to stare at others with the eyes of an animal, to feel no compunction, with your own hand to throttle down whatever ghostly life remains in you.

Agreement is the best weapon of defense―and the matter would be buried.

The people who build high, strong fences are the ones who survive the best. You deny that reality only at the risk of being driven into the wilderness yourself...

Rolling country, not yet quite mountainous, with woods and lakes, is what I like best.

Anyway, it’s best not to think about them, as if you do it makes the discussions with the other lawyers, all their advice and all that they do manage to achieve, seem so unpleasant and useless, I had that experience myself, just wanted to throw everything away and lay at home in bed and hear nothing more about it. But that, of course, would be the stupidest thing you could do, and you wouldn’t be left in peace in bed for very long either.

Jean-Jacques Rousseau defined civilization as when people build fences. A very perceptive observation. And it’s true—all civilization is the product of a fenced-in lack of freedom. The Australian Aborigines are the exception, though. They managed to maintain a fenceless civilization until the seventeenth century. They’re dyed-in-the-wool free. They go where they want, when they want, doing what they want. Their lives are a literal journey. Walkabout is a perfect metaphor for their lives. When the English came and built fences to pen in their cattle, the Aborigines couldn’t fathom it. And, ignorant to the end of the principle at work, they were classified as dangerous and antisocial and were driven away, to the outback. So I want you to be careful. The people who build high, strong fences are the ones who survive the best. You deny that reality only at the risk of being driven into the wilderness yourself.

You both love Tolstoy and Dostoyevsky, Hawthorne and Melville, Flaubert and Stendahl, but at that stage of your life you cannot stomach Henry James, while Gwyn argues that he is the giant of giants, the colossus who makes all other novelists look like pygmies. You are in complete harmony about the greatness of Kafka and Beckett, but when you tell her that Celine belongs in their company, she laughs at you and calls him a fascist maniac. Wallace Stevens yes, but next in line for you is William Carlos Williams, not T.S. Eliot, whose work Gwyn can recite from memory. You defend Keaton, she defends Chaplin, and while you both howl at the sight of the Marx Brothers, your much-adored W.C. Fields cannot coax a single smile from her. Truffaut at his best touches you both, but Gwyn finds Godard pretentious and you don't, and while she lauds Bergman and Antonioni as twin masters of the universe, you reluctantly tell her that you are bored by their films. No conflicts about classical music, with J.S. Bach at the top of the list, but you are becoming increasingly interested in jazz, while Gwyn still clings to the frenzy of rock and roll, which has stopped saying much of anything to you. She likes to dance, and you don't. She laughs more than you do and smokes less. She is a freer, happier person than you are, and whenever you are with her, the world seems brighter and more welcoming, a place where your sullen, introverted self can almost begin to feel at home.

The people who build high, strong fences are the ones who survive the best. You deny that reality only at the risk of being driven into the wilderness yourself.

The people who build high, strong fences are the ones who survive the best. You deny that reality only at the risk of being driven into the wilderness yourself …

The other day in connection with my uncle’s letter you asked me about my plans and prospects. I was amazed by your question, and am now reminded of it again by this stranger’s question. Needless to say I have no plans, no prospects; I cannot step into the future; I can crash into the future, grind into the future, stumble into the future, this I can do; but best of all I can lie still. Plans and prospects, however—honestly, I have none; when things go well, I am entirely absorbed by the present; when things go badly, I curse even the present, let alone the future! -Franz

That is the definition of truth, it is the thing you must not say. “The miracle into which the child and the poet walk” [Tsvetaeva] as if walking home, and home is there…The thing that is both known and unknown, this is what we are looking for when we write. We go toward the most unknown and the best unknown, this is what we are looking for when we write. We go toward the best known unknown thing, where knowing and not knowing touch, where we hope we will know what is unknown. Where we hope we will not be afraid of understanding the incomprehensible, facing invisible, hearing the inaudible, thinking the unthinkable, which is of course: thinking. Thinking is trying to think the unthinkable: thinking the thinkable is not worth the effort. Painting is trying to paint what you cannot paint and writing is writing what you cannot know before you have written: it is preknowing and not knowing, blindly, with words. It occurs at the point where blindness and light meet. Kafka says—one very small line lost in his writing—“to the depths, to the depths.

To tell the truth, though, I don't think I deserve your kindness. I'm trying my best to be a much better person, but things aren't going so well.

The people who build high, strong fences are the ones who survive the best.

Is there just one single love in a lifetime? Are all our lovers ― from the first to the last, including the most fleeting ― part of that unique love, and is each of them merely an expression of it, a variation, a particular version? In the same way that in literature there is just one true masterpiece to which different writers give a particular form (taking the twentieth century alone: Joyce, who explores everything happening inside his character;s head with microscopic precision; Proust, for whom the present is merely a memory of the past; Kafka, who drifts on the margins between dream and reality; the blind Borges, probably the one I relate to best, etc).

You once said you would like to sit beside me while I write. Listen, in that case I could not write (I can’t do much, anyway), but in that case I could not write at all. For writing means revealing oneself to excess; that utmost of selfrevelation and surrender, in which a human being, when involved with others, would feel he was losing himself, and from which, therefore, he will always shrink as long as he is in his right mind—for everyone wants to live as long as he is alive —even that degree of selfrevelation and surrender is not enough for writing. Writing that springs from the surface of existence— when there is no other way and the deeper wells have dried up—is nothing, and collapses the moment a truer emotion makes that surface shake. This is why one can never be alone enough when one writes, why there can never be enough silence around one when one writes, why even night is not night enough. This is why there is never enough time at one’s disposal, for the roads are long and it is easy to go astray, there are even times when one becomes afraid and has the desire—even without any constraint or enticement—to run back (a desire always severely punished later on), how much more so if one were suddenly to receive a kiss from the most beloved lips! I have often thought that the best mode of life for me would be to sit in the innermost room of a spacious locked cellar with my writing things and a lamp. Food would be brought and always put down far away from my room, outside the cellar’s outermost door. The walk to my food, in my dressing gown, through the vaulted cellars, would be my only exercise. I would then return to my table, eat slowly and with deliberation, then start writing again at once. And how I would write! From what depths I would drag it up! Without effort! For extreme concentration knows no effort. The trouble is that I might not be able to keep it up for long, and at the first failure—which perhaps even in these circumstances could not be avoided—would be bound to end in a grandiose fit of madness.

Kafka, it seems, is at his best when he fails.

That's very important. Very important--to do your best to get stronger.

In passing: may I say that all too often men are betrayed by the word freedom. And as freedom is counted among the most sublime feelings, so the corresponding disillusionment can be also sublime.

You told me that Kafka was not a thinker, and that a "genetic" approach to his work would disclose that much of it was only a kind of very imaginative whining. That was during the period when you were going in for wrecking operations, feeling, I suppose, that the integrity of your own mental processes was best maintained by a series of strong, unforgiving attacks. You made quite an impression on everyone, in those days: you ruffled blouse, you long magenta skirt slit to the knee, the dagger thrust into your boot. "Is that a metaphor?" I asked, pointing to the dagger; you shook your head, smiled, said no.

Apparently it barely crossed his mind to question the morality of what he was doing. All he cared about was how best, in the shortest period of time and for the lowest possible cost, to dispose of the Jews.

Brod was a brilliant intellectual with exceptional energy; a generous man willing to do battle for others; his attachment to Kafka was warm and disinterested. The only problem was his artistic orientation: a man of ideas, he knew nothing of the passion for form; his novels (he wrote twenty of them) are sadly conventional; and above all: he understood nothing at all about modern art. Why, despite all this, was Kafka so fond of him? What about you-do you stop being fond of your best friend because he has a compulsion to write bad verse?

Then, at the last moment, I am forced to admit to myself that I was right after all, and that it was really impossible to go down into the burrow without exposing the thing I love best, for a little while at least, to all my enemies, on the ground, in the trees, in the air.

If you try to write posthumously, however, fashion doesn’t apply. You step off the catwalk, ignoring this season’s trends and resigning yourself to being unfashionable and possibly unnoticed, at least for a while. As Kurt Woolf, Kafka’s first publisher in Germany, wrote to him after Kafka’s book tanked, “You and we know that it is generally just the best and most valuable things that do not find their echo immediately.” Fashion is the attempt to evade that principle: to be the echo of someone else’s success and, therefore, to create nothing that might create an echo of its own.

Today, and let us celebrate this fact, We can eat the light of our beloved, warmed by compassion or cooled by intellectual feeling. And if we are surprised, and some of us disappointed, that the light is now only green - well, such was the vital probability awaiting us. We have, after all, an increase in the energy available for further evolution; we can use the energy of our position relative to the probabilities in the future to reach the future we desire. The full use of this energy is just beginning to be explored, and we have the opportunity open to few generations to create our best opportunities. We must not slacken in our desire now if we desire a future. The pressure of probabilities on the present increases the momentum of evolution, and as the voluble helix turns, and turns us away from our improbable satiation, we can see that the shadow cast on the present from the future is not black but rainbowed, brilliant with lemon yellow, plum-purple, and cherry-red. I have no patience with those who say that their desire for light is satisfied. Or that they are bored. I have myself a still unsatisfied appetite for green: eucalyptus, celadon, tourmaline, and apple. ("Desire")

The most beautiful of your letters (and that means a lot, for as a whole they are, almost in every line, the most beautiful thing that ever happened to me in my life) are those in which you agree with my 'fear' and at the same time try to explain that I don't need to have it. For I too, even though I may sometimes look like a bribed defender of my 'fear', probably agree with it deep down in myself, indeed it is part of me and perhaps the best part. And as it is my best, it is also perhaps this alone that you love. For what else worthy of love could be found in me? But this is worthy of love.

But still, even for a short time, I'd like to be a normal Nakata. Up until now there was never anything in particular I wanted to do. I always did what people told me as best I could. Maybe that just became a habit. But now I want to go back to being normal. I want to be a Nakata with his own ideas, his own meaning.

Certainly I understand Czech. I've meant to ask you several times why you don't ever write to me in Czech. I'm not suggesting that you don't master German. Most of the time you master it surprisingly well and if once in a while you don't, it bows before you of its own accord, and this is particularly pleasing, for this is something a German doesn't dare to expect from his language, he doesn't dare to write so personally. But I wanted to read you in Czech because it is part of you, because only there is the whole Milena (the translation confirms it), whereas here is just the one from Vienna or the one preparing herself for Vienna. So Czech, please. And send the feuilletons you mention, too. Let them be shabby, you have also read your way through the shabbiness of my story, how far I don't know. Perhaps I can do this, too; but if I can't, then I'll remain stuck in the very best of prejudices.

The salvation of art derives in the best of modern times from a celebration of the triumph of the autonomous self—as in Beethoven’s Ninth Symphony—and in the worst of times from naming the unspeakable: the strange and feckless movements of the self trying to escape itself. Exhilaration comes from naming the unnameable and hearing it named. If Kafka’s Metamorphosis is presently a more accurate account of the self than Beethoven’s Ninth Symphony, it is the more exhilarating for being so.

For Delta blueman Robert Johnson and his contemporaries, the train was the eternal metaphor for the travelling life, and it still holds true today. There is no travel like it. Train lines carve through all facets of a nation. While buses stick to major highways and planes reduce the unfolding of lives to a bird's eye view, trains putter through the domains of the rich and the poor, the desperate and the idle, rural and urban, isolated and cluttered. Through train windows you see realities rarely visible in the landscaped tourist areas. Those frames hold the untended jungle of a nation's truth. Despite my shredded emotions, there was still no feeling like dragging all your worldly possessions onto a carriage, alone and anonymous, to set off into the unknown; where any and all varieties of adventures await, where you might meet a new best friend, where the love of your life could be hiding in a dingy cafe. The clatter of the tracks is the sound of liberation.

But I want to get closer to an explanation. My desire to be married forcibly unites two seemingly contradictory things that shape my relationship with you.  Marriage guarantees the highest liberation and independence.  I would have a family, which I believe is the best a man can achieve – it is the best that you have achieved – and I would be your equal, my shame and your tyranny would be at an end.  It would be just like a fairy story; so hard to believe.  It is too much; so it can’t happen.  It is as if a prisoner wanted not only to escape from his prison (which perhaps could be done) but also to convert his prison into a holiday camp for himself.  If he runs away he can’t re-build it, and if he re-builds it he can’t run away.  And I stand in an especially unfortunate relationship with you, for to be independent I must be nothing like you, yet marriage is the best form of independence, but if I were married I would be closer to you.  To try and solve this is madness, and whenever I try I become a little more mad. It

The people who build high, strong fences are the ones who survive the best. You deny that reality only at the risk of being driven into the wilderness yourself' - Oshima, 316 I'm empty-handed now. The can of yellow spray paint, the little hatchet- they're history. The daypack's gone as well. No canteen, no food. Not even the compass. One by one I left these behind. Doing this gives a visible message to the forest: I'm not afraid anymore. That's why I choose to be totally defenseless. Minus my hard shell, ust flesh and bones, I head for the core of the labyrinth, giving myself up to the void. ... But I gradually get better at letting these threats pass me by. This forest is basically a part of me, isn't it? This thought takes hold at a certain point. The journey I'm taking is inside me . Just like blood travels down veins, what I'm seeing is my inner self, and what seems threatening is just the echo of fear in my own heart. The spiderweb stretched taut there is the spiderweb inside me. The birds calling out overhead are birds I've fostered in my mind. These images spring up in my mind and take root. - Kafka, 396-7

On the way home I told Max that on my deathbed provided that the pains are not too great, I will be very content. I forgot to add and later omitted intentionally that the best of what I have written stems from this ability to die contentedly. All those good and strongly convincing passages always deal with the fact that someone is dying, that this is very difficult for him, that in it he experiences an injustice and at least a hardship and that for the reader at least in my opinion this is moving. For me, however, believing as I do in my ability to be content on my deathbed, such depictions are secretly a game, indeed I am happy to die in the dying man, therefore calculatingly take advantage of the attention the reader concentrates on death, am far more clearheaded than he, who I assume will lament on his deathbed, and my lament is therefore as perfect as possible, does not, for example, suddenly break off like a real lament, but rather trails away beautifully and purely. It’s like my perpetual lamenting to my mother over woes not nearly as great as the lament led one to believe. For my mother, to be sure, I didn’t need as much artistic effort as for the reader.

Perhaps most people in the world aren’t trying to be free, Kafka. They just think they are. It’s all an illusion. If they really were set free, most people would be in a real bind. You’d better remember that. People actually prefer not being free.” “Including you?” “Yeah. I prefer being unfree, too. Up to a point. Jean-Jacques Rousseau defined civilization as when people build fences. A very perceptive observation. And it’s true—all civilization is the product of a fenced-in lack of freedom. The Australian Aborigines are the exception, though. They managed to maintain a fenceless civilization until the seventeenth century. They’re dyed-in-the-wool free. They go where they want, when they want, doing what they want. Their lives are a literal journey. Walkabout is a perfect metaphor for their lives. When the English came and built fences to pen in their cattle, the Aborigines couldn’t fathom it. And, ignorant to the end of the principle at work, they were classified as dangerous and antisocial and were driven away, to the outback. So I want you to be careful. The people who build high, strong fences are the ones who survive the best. You deny that reality only at the risk of being driven into the wilderness yourself.

A writer spinning out the manuscript of a book is like a banker generating debts he knows can never be repaid. From one perspective it’s a waste of time, ‘the deliberate pouring of water through a sieve’, in Dostoyevsky’s phrase. The effort will not be repaid. From another, however, it’s an incredibly important process in which cultural charisma – intellectual glamour – is generated via a mechanism of guilt. A bookshelf is a glamorous row of reproaches. We know that there are books we ought to read, and ought to have read, because they are said to be wonderful and capable of making us better people. They sit there on the shelf, seeming to watch us, waiting for our best moment of spiritual preparedness. Yet we fail to read them. As a result we feel guilty. The books seem to say to us: – You are trivial and lazy. Your life could be so much richer and more creative, yet you fritter away your attention on television and Facebook, or idle gossip, or sports, or Olafur Eliasson installations. This guilt is much more wonderful than the contents of the books themselves could ever be, and spiritually much more uplifting. The unreadness of books outstrips their readness in beauty and in utility. It’s tremendously important to believe that there are heights which we’ve failed to attain, mountains we can glimpse in the distance but not climb. It’s almost like believing in heaven. To quote Kafka once more: Theoretically there is a perfect possibility of happiness: believing in the indestructible element in oneself and not striving towards it.

Quite simple,” said the chairman, “you haven’t really come into contact with our authorities. All those contacts are merely apparent, but in your case, because of your ignorance of the situation here, you think they’re real. As for the telephone: look, in my own house, though I certainly deal often with the authorities, there’s no telephone. At inns and in places like that it may serve a useful purpose, along the lines, say, of an automated phonograph, but that’s all. Have you ever telephoned here, you have? Well then, perhaps you can understand me. At the Castle the telephone seems to work extremely well; I’ve been told the telephones up there are in constant use, which of course greatly speeds up the work. Here on our local telephones we hear that constant telephoning as a murmuring and singing, you must have heard it too. Well, this murmuring and singing is the only true and reliable thing that the local telephones convey to us, everything else is deceptive. There is no separate telephone connection to the Castle and no switchboard to forward our calls; when anyone here calls the Castle, all the telephones in the lowest-level departments ring, or all would ring if the ringing mechanism on nearly all of them were not, and I know this for certain, disconnected. Now and then, though, an overtired official needs some diversion—especially late in the evening or at night—and turns on the ringing mechanism, then we get an answer, though an answer that’s no more than a joke. That’s certainly quite understandable. For who can claim to have the right, simply because of some petty personal concerns, to ring during the most important work, conducted, as always, at a furious pace? Nor can I understand how even a stranger can believe that if he calls Sordini, for instance, it really is Sordini who answers. Quite the contrary, it’s probably a lowly filing clerk from an entirely different department. But it can happen, if only at the most auspicious moment, that someone telephones the lowly filing clerk and Sordini himself answers. Then of course it's best to run from the telephone before hearing a sound.

The woman glares at him and, after taking a breath, forges on. "One other issue I'd like to raise is how you have authors here separated by sex." "Yes, that's right. The person who was in charge before us cataloged these and for whatever reason divided them into male and female. We were thinking of recataloging all of them, but haven't been able to as of yet." "We're not criticizing you for this," she says. Oshima tilts his head slightly. "The problem, though, is that in all categories male authors are listed before female authors," she says. "To our way of thinking this violates the principle of sexual equality and is totally unfair." Oshima picks up her business card again, runs his eyes over it, then lays it back down on the counter. "Ms. Soga," he begins, "when they called the role in school your name would have come before Ms. Tanaka, and after Ms. Sekine. Did you file a complaint about that? Did you object, asking them to reverse the order? Does G get angry because it follows F in the alphabet? Does page 68 in a book start a revolution just because it follows 67?" "That's not the point," she says angrily. "You're intentionally trying to confuse the issue." Hearing this, the shorter woman, who'd been standing in front of a stack taking notes, races over. "Intentionally trying to confuse the issue," Oshima repeats, like he's underlining the woman's words. "Are you denying it?" "That's a red herring," Oshima replies. The woman named Soga stands there, mouth slightly ajar, not saying a word. "In English there's this expression red herring. Something that's very interesting but leads you astray from the main topic. I'm afraid I haven't looked into why they use that kind of expression, though." "Herrings or mackerel or whatever, you're dodging the issue." "Actually what I'm doing is shifting the analogy," Oshima says. "One of the most effective methods of argument, according to Aristotle. The citizens of ancient Athens enjoyed using this kind of intellectual trick very much. It's a shame, though, that at the time women weren't included in the definition of 'citizen.'" "Are you making fun of us?" Oshima shakes his head. "Look, what I'm trying to get across is this: I'm sure there are many more effective ways of making sure that Japanese women's rights are guaranteed than sniffing around a small library in a little town and complaining about the restrooms and the card catalog. We're doing our level best to see that this modest library of ours helps the community. We've assembled an outstanding collection for people who love books. And we do our utmost to put a human face on all our dealings with the public. You might not be aware of it, but this library's collection of poetry-related material from the 1910s to the mid-Showa period is nationally recognized. Of course there are things we could do better, and limits to what we can accomplish. But rest assured we're doing our very best. I think it'd be a whole lot better if you focus on what we do well than what we're unable to do. Isn't that what you call fair?

in bed, however, one gets, instead of sleep, the best ideas

he had acted with no thought at all for what might follow and had been made to suffer for it.

he admits he doesn't know the law and at the same time insists he's innocent.

What’s perhaps most surprising, however, is that a science of storytelling is possible. Our narratives almost always conform to certain patterns, which raises the strange possibility that our mental processes have evolved for specific templates best suited to understanding change—a literal physical embodiment of storybook reality, encoded into our minds. Kurt Vonnegut, one of the greatest authors of all time, demonstrated that most human stories could be graphed, with the vertical axis related to whether good or bad things happen to the main character, and the horizontal axis representing time as the story unfolds. The idea came to him when he noticed significant similarities between the “shape” of the story of Cinderella and the New Testament of the Bible. In another story shape, what he called the “Man in the Hole,” a person gets into trouble, then gets out of it to end the story on a happy note. The Wizard of Oz is this kind of story, as is virtually every sitcom episode ever written. If you’re unlucky, you’ll find yourself in a story arc that Vonnegut calls “From Bad to Worse,” in which the character experiences one misfortune after another. (May you never find yourself in this kind of story, as in Kafka’s Metamorphosis.)

The only proper approach is to learn to accept existing conditions. Even if it were possible to improve specific details—which, however, is merely an absurd superstition—one would have at best achieved something for future cases, while in the process damaging oneself immeasurably by having attracted the attention of an always vengeful bureaucracy. Just don’t attract attention!

Certainly I understand Czech. I've meant to ask you several times why you don't ever write to me in Czech. I'm not suggesting that you don't master German. Most of the time you master it surprisingly well and if once in a while you don't, it bows before you of its own accord, and this is particularly pleasing, for this is something a German doesn't dare to expect from his language, he doesn't dare to write so personally. But I wanted to read you in Czech because it is part of you, because there is the whole Milena (the translation confirms it), whereas here is just the one from Vienna or the one preparing herself for Vienna. So Czech, please. And send the feuilletons you mention, too. Let them be shabby, you have also read your way through the shabbiness of my story, how far I don't know. Perhaps I can do this, too; but if I can't then I'll remain stuck in the best of prejudices.

Do you imagine you can appear before the Inspector in your shirt? He'll have you well thrashed, and us too.' "Let me alone, damn you," cried K., who by now had been forced back to his wardrobe. "If you grab me out of bed, you can't expect to find me all dressed up in my best suit,' "This doesn't help you any,' said the warders

Awe of the authorities is innate in all of you here, and then it is also dinned into you throughout your lives in all manner of different ways and from all sides, and you your-selves add to it as best you can.

That Motel Weekend by James Donner, The Srimad Devi Bhagavatam, and The Metamorphosis by Franz Kafka.

Those who choose to despise us find themselves in the best company.

Perhaps if he were to open the door to the next room, or even the door to the hall, the two would not dare stop him, perhaps the best solution would be to bring the whole matter to a head. But then they might indeed grab him, and once subdued he would lose any degree of superiority he might still hold over them. Therefore he preferred the safety of whatever solution would surely arise in the natural course of things and returned to his room without a further word having passed on either side.

there can be no doubt that behind the arrest and today's inquiry, there exists an extensive organization. An organization that not only engages corrupt guards, inane inspectors, and examining magistrates who are at best mediocre, but that supports as well a system of judges of all ranks, including the highest, with their inevitable innumerable entourage of assistants, scribes, gendarmes, and other aides, perhaps even hangmen, I won't shy away from the word. And the purpose of this extensive organization, gentlemen? It consists of arresting innocent people and introducing senseless proceedings against them, which for the most part, as in my case, go nowhere. Given the senselessness of the whole affair, how could the bureaucracy avoid becoming entirely corrupt? It's impossible, even the highest judge couldn't manage it, even with himself. So guards try to steal the shirts of the backs of arrested men, inspectors break into strange apartments, and innocent people, instead of being examined, are humiliated before entire assemblies. The guards told me about depositories to which an arrested man's property is taken; I'd like to see these depository places sometime, where the hard-earned goods of arrested men are rotting away, if they haven't already been stolen by pilfering officials.

The only thing I can do now is preserve my logical understanding to the end. I always wanted to grab at life, and not with the best of intentions either. That was not right; and am I to show now that not even these proceedings lasting a whole year could teach me anything? Am I to depart as an utterly stupid man? Are they going to say when I have gone that I wanted to end the case at the beginning and that now, at the end, I want it to begin again? I don't want people to say that. I'm thankful they've given me these stupid inarticulate companions for this journey and that they've left it to me to say what has to be said to myself.

IN A LETTER FRANZ KAFKA WROTE, “If the book we are reading does not wake us, as with a fist hammering on our skull, why then do we read it? . . . A book must be like an ice-axe to break the sea frozen inside us.

We’ll never see each other again, but I’ll never forget you. Even if I tried to, I don’t think I could…. I think that whenever something happens in the future, I’ll always wonder, ‘what would Mr. Nakata say about this, what would Mr. Nakata do?’ I’ll always have someone to turn to, and that’s kind of a big deal if you think about it. It’s as if part of you will always live inside me - not that I’m the best container you could find, but better than nothing, eh?’ The person he was addressing, though, was no more than a shell of Mr. Nakata. The important part of him had long since left for another place, and Hoshino understood that.

We are not in general a music-loving race. Tranquil peace is the music we love best; our life is hard, we are no longer able, even on occasions when we have tried to shake off the cares of daily life, to rise to anything so high and remote from our usual routine as music.

And people in their Sunday best Stroll about, swaying over the gravel Under this enormous sky Which, from hills in the distance, Stretches to distant hills.

And perhaps he had made no mistake at all, his name really was called, it having been the teacher's intention to make the rewarding of the best student at the same time a punishment for the worst one.

If they could and if they dared, they would long ago have enticed the animal to come yet closer to them, so that they might be more frightened than ever. But in reality the animal is not at all eager to approach them, as long as it is left alone it takes just as little notice of them as of the men, and probably what it would like best would be to remain in the hiding place where it lives in the periods between the services, evidently in some hole in the wall that we have not yet discovered.

Anton Chekhov put it best when he said, ‘If a pistol appears in a story, eventually it’s got to be fired.

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