Murakami Moon Quotes

Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That's the kind of sandstorm you need to imagine. And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You'll catch that blood in your hands, your own blood and the blood of others. And once the storm is over you won't remember how you made it through, how you managed to survive. You won't even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won't be the same person who walked in. That's what this storm's all about.

We're both looking at the same moon, in the same world. We're connected to reality by the same line. All I have to do is quietly draw it towards me.

The moon had been observing the earth close-up longer than anyone. It must have witnessed all of the phenomena occurring - and all of the acts carried out - on this earth. But the moon remained silent; it told no stories. All it did was embrace the heavy past with a cool, measured detachment. On the moon there was neither air nor wind. Its vacuum was perfect for preserving memories unscathed. No one could unlock the heart of the moon. Aomame raised her glass to the moon and asked, “Have you gone to bed with someone in your arms lately?” The moon did not answer. “Do you have any friends?” she asked. The moon did not answer. “Don’t you get tired of always playing it cool?” The moon did not answer.

You sit at the edge of the world, I am in a crater that's no more. Words without letters Standing in the shadow of the door. The moon shines down on a sleeping lizard, Little fish rain from the sky. Outside the window there are soldiers, steeling themselves to die. (Refrain) Kafka sits in a chair by the shore, Thinking for the pendulum that moves the world, it seems. When your heart is closed, The shadow of the unmoving Sphinx, Becomes a knife that pierces your dreams. The drowning girl's fingers Search for the entrance stone, and more. Lifting the hem of her azure dress, She gazes -- at Kafka on the shore

There was just one moon. That familiar, yellow, solitary moon. The same moon that silently floated over fields of pampas grass, the moon that rose--a gleaming, round saucer--over the calm surface of lakes, that tranquilly beamed down on the rooftops of fast-asleep houses. The same moon that brought the high tide to shore, that softly shone on the fur of animals and enveloped and protected travelers at night. The moon that, as a crescent, shaved slivers from the soul--or, as a new moon, silently bathed the earth in its own loneliness. THAT moon.

Overhead, the two moons worked together to bathe the world in a strange light.

Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that has nothing to do with you, This storm is you. Something inside you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up the sky like pulverized bones.

I watched the moon alone, unable to share his cold beauty with anyone.

This is no honky-tonk parade. 1Q84 is the real world, where a cut draws real blood, where pain is real pain and fear is real fear. The moon in the sky is no paper moon.

How can the mind be so imperfect?" she says with a smile. I look at my hands. Bathed in the moonlight, they seem like statues, proportioned to no purpose. "It may well be imperfect," I say, "but it leaves traces. And we can follow those traces, like footsteps in the snow." "Where do the lead?" "To oneself," I answer. "That's where the mind is. Without the mind, nothing leads anywhere." I look up. The winter moon is brilliant, over the Town, above the Wall. "Not one thing is your fault," I comfort her.

The moon had been observing the earth close-up longer than anyone. It must have witnessed all of the phenomena occurring - and all of the acts carried out - on this earth. But the moon remained silent; it told no stories.

April ended and May came along, but May was even worse than April. In the deepening spring of May, I had no choice but to recognize the trembling of my heart. It usually happened as the sun was going down. In the pale evening gloom, when the soft fragrance of magnolias hung in the air, my heart would swell without warning, and tremble, and lurch with a stab of pain. I would try clamping my eyes shut and gritting my teeth, and wait for it to pass. And it would pass....but slowly, taking its own time, and leaving a dull ache behind. At those times I would write to Naoko. In my letters to her, I would describe only things that were touching or pleasant or beautiful: the fragrance of grasses, the caress of a spring breeze, the light of the moon, a movie I'd seen, a song I liked, a book that had moved me. I myself would be comforted by letters like this when I would reread what I had written. And I would feel that the world I lived in was a wonderful one. I wrote any number of letters like this, but from Naoko or Reiko I heart nothing.

Aomame raised her glass to the moon and asked, “Have you gone to bed with someone in your arms lately?” The moon did not answer. “Do you have any friends?” she asked. The moon did not answer. “Don’t you get tired of always playing it cool?” The moon did not answer.

Like a blind dolphin, the night of the new moon silently drew near.

Nobody would take the time and effort to hang a fake moon in a real sky.

Each "way of thinking" has its own shape and color, which wax and wane like the moon.

I was desperately clinging to a scrap of wood that had been swept away. In pitch-black darkness, not a single star, or the moon, visible in the sky. As long as I clung to that piece of wood I wouldn’t drown, but I had no clue where I was, where I was heading.

Even if things were the same, people's perception of them might have been very different back then. The darkness of night was probably deeper then, so the moon must have been that much bigger and brighter.

I lie here by myself in the dark at two o'clock in the morning and think about that cell in the library. About how it feels to be alone, and the depth of the darkness surrounding me. Darkness as pitch black as the night of the new moon.

We're both looking at the same moon, in the same world. We'e connected to reality by the same line. All I have to do is quietly draw it toward me.

He could well imagine what the moon had given her: pure solitude and tranquillity. That was the best thing the moon could give a person.

As always, we sit on the narrow steps that lead from the Old Bridge down to the sandbar. A pale silver moon trembles on the face of the water. A wooden boat lashed to a post modulates the sound of the current. Sitting with her, I feel her warm against my arm.

Anyhow, I took every stitch of clothing off and got out of bed. And I got down on my knees on the floor in the white moonlight. The heat was off and the room must have been cold, but I didn’t feel cold. There was some kind of special something in the moonlight and it was wrapping my body in a thin, skintight film. At least that’s how I felt. I just stayed there naked for a while, spacing out, but then I took turns holding different parts of my body out to be bathed in the moonlight. I don’t know, it just seemed like the most natural thing to do. The moonlight was so absolutely, incredibly beautiful that I couldn’t not do it. My head and shoulders and arms and breasts and tummy and bottom and, you know, around there: one after another, I dipped them in the moonlight, like taking a bath.

Still, the moon stood out clearly against the sky. It hung up there faithfully, without a word of complaint concerning the city lights or the noise or the air pollution.

In the same way that people stare up at the sky to see the moon every night, yet understand next to nothing about it.

Things are so convenient for us these days, our perceptions are probably that much duller. Even if its the same moon hanging in the sky, we may be looking at something quite different. Four hundred years ago, we might have had richer spirits that were closer to nature.

He’s got five rings in his ear, eighteen gauge to ten gauge, but when I told him to get one in his nipple to match mine, and to get a Sailor Moon tattoo - because I like Sailor Moon? - or if not that, a skull, he stopped calling me.

It was just the same old familiar moon. The one and only satellite that has faithfully circled the earth, at the same speed, from before human memory.

Tengo had no idea, of course, what Aomame had offered to the mood that time, but he could well imagine what the moon had given her: pure solitude and tranquility. That was the best thing the moon could give a person.

Maybe I’m trying to write about essence, rather than the truth. But writing about an essence that isn’t true is like trying to rendezvous with someone on the dark side of the moon. It’s dim and devoid of landmarks. And way too big.

I get up out of bed. I pull back the old, faded curtain and open the window. I stick my head out and look up at the sky. Sure enough, a mouldy-coloured half-moon hangs in the sky. Good. We’re both looking at the same moon, in the same world. We’re connected to reality by the same line. All I have to do is quietly draw it towards me.

Soft and silent as a new moon, a smile drifted across her face.

Everything was bathed in the white, unreal light of the moon, the yard like the wet bottom of a sea from which the water has just been suddenly removed.

You sit at the edge of the world, I am in a crater that's no more.   Words without letters   Standing in the shadow of the door.   The moon shines down on a sleeping lizard, Little fish rain down from the sky.   Outside the window there are soldiers, steeling themselves to die.   (Refrain)   Kafka sits in a chair by the shore, Thinking of the pendulum that moves the world, it seems.   When your heart is closed, The shadow of the unmoving Sphinx, Becomes a knife that pierces your dreams.   The drowning girl's fingers   Search for the entrance stone, and more.   Lifting the hem of her azure dress, She gazes—at Kafka on the shore.

Your readers have seen a sky with one moon in it any number of times, right? But I doubt they've seen a sky with two moons in it side by side. When yoy introduce things that most readers have never seen before into a piece of fiction, you have to describe them with as much precision and in as much detail as possible. What you can eliminate from fiction is the description of what most readers have seen.

Even memory though, can hardly be relied on. Can anyone say for certain what really happened to us back then? If we’re blessed though, a few words might remain by our side. They climb to the top of the hill during the night, crawl into small holes dug to fit the shape of their bodies, stay quite still, and let the stormy winds of time blow past. Dawn finally breaks, the wild wind subsides, and the surviving words quietly peek out from the surface. For the most part they have small voices—they are shy and only have ambiguous ways of expressing themselves. Even so, they are ready to serve as witnesses. As honest, fair witnesses. But in order to create those long enduring, long-suffering words, or else to find them and leave them behind, you must sacrifice, unconditionally, your own body, your very own heart. You have to lay down your neck on a cold stone pillow illuminated by the winter moon.

I still don't know what sort of world this is, she thought, But whatever world we're in now, I'm sure this is where I will stay. Where we will stay. This world must have its own threats, its own dangers, must be filled with its own type of riddles and contradictions. We may have to travel down many dark paths, leading who knows where. But that's okay. It's not a problem. I'll just have to accept it. I'm not going anywhere. Come what may, this is where we'll remain, in this world with one moon.

The best thing would be to break your neck, but you'd probably just break your leg and then you couldn't do a thing. You'd yell at the top of your lungs, but nobody;d hear you, and you couldn't expect anybody to find you, and you'd have centipedes and spiders crawling all over you, and the bones of the ones who died before are scattered all around you, and it's dark and soggy, and way overhead there's this tiny, tiny circle of light like a winter moon. You die there in this place, little by little, all by yourself.

But the moon remained silent; it told no stories. All it did was embrace the heavy past with cool, measured detachment. On the moon there was neither air nor wind. Its vacuum was perfect for preserving memories unscathed. No one could unlock the heart of the moon.

It was a cruel world though. More than half of all children died before they could reach maturity, thanks to chronic epidemics and malnutrition. People dropped like flies from polio and tuberculosis and smallpox and measles. There probably weren't many people who lived past forty. Women bore so many children, they became toothless old hags by the time they were in their thirties. People often had to resort to violence to survive. Tiny children were forced to do such heavy labor that their bones became deformed, and little girls were forced to become prostitutes on a daily basis. Little boys too, I suspect. Most people led minimal lives in worlds that had nothing to do with richness of perception or spirit. City streets were full of cripples and beggars and criminals. Only a small fraction of the population could gaze at the moon with deep feeling or enjoy a Shakespeare play or listen to the beautiful music of Dowland.

Things are so convenient for us these days, our perceptions are probably that much duller. Even if it's the same moon hanging in the sky, we may be looking at something quite different. Four hundred years ago, we might have had richer spirits that were closer to nature.

Before humans beings possessed fire or tools or language, the moon had been their ally. It would calm people's fears now and then by illuminating the dark world like a heavenly lantern. Its waxing and waning gave people an understanding of the concept of time. Even now, when darkness had been banished from most parts of the world, there remained a sense of human gratitude toward the moon and its unconditional compassion.

There were two moons in the sky – a small moon and a large one. They were floating there side by side. The large one was the usual moon that she had always seen. It was nearly full, and yellow. But there was another moon right next to it. It had an unfamiliar shape. It was somewhat lopsided, and greenish, as though thinly covered with moss.

it's a fine moon', she repeated

The same crescent moon is floating there. Strange that, viewed from one spot in the pre-dawn city, such a big solid object could be hanging there free of charge.

The library was even more hushed than usual. Darkness as pitch black as the night of the new moon.

The moon hangs there, pale and bright, and if I look closely it’s like I can make out individual crags on the surface. I don’t form any coherent thoughts, just gaze, enthralled, at the sky.

Before human beings possessed fire or tools or language, the moon had been their ally. It would calm people's fears now and then by illuminating the dark world like a heavenly lantern. Its waxing and waning gave people an understanding of the concept of time. Even now, when darkness had been banished from most parts of the world, there remained a sense of human gratitude toward the moon and its unconditional compassion.

Tengo had no idea, of course, what Aomame had offered to the moon that time, but he could well imagine what the moon had given her: pure solitude and tranquillity. That was the best thing the moon could give a person.

the ten-year-old girl cannot, of course, give a logical explanation of the opposition of the two groups, nor does she understand the difference between 'rev-a-loo-shun' and 'peese.' She has only the vague impressions that 'rev-a-loo-shun' is a kind of pointed way of thinking, while 'peese' has a rather more rounded shape. Each 'way of thinking' has its own shape and colour, which wax and wane like the moon. That is about all she understands.

All around him, for as far as he could see, lay a rough land strewn with rocks, with not a drop of water, nor a blade of grass. Colorless, with no light to speak of. No sun, no moon or stars. No sense of direction, either. At a set time, a mysterious twilight and a bottomless darkness merely exchanged places. A remote border on the edges of consciousness. At the same time, it was a place of strange abundance. At twilight birds with razor-sharp beaks came to relentlessly scoop out his flesh. But as darkness covered the land, the birds would fly off somewhere, and that land would silently fill in the gaps in his flesh with something else, some other indeterminate material.

The moon was so bright, I turned the lights off and stretched out on the sofa to listen to Bill Evans' piano. Streaming through the window, the moonlight cast long shadows and splashed the walls with a touch of diluted Indian ink.

The moon had been observing the earth close-up longer than anyone. It must have witnessed all of the phenomena occurring—and all of the acts carried out—on this earth. But the moon remained silent; it told no stories. All it did was embrace the heavy past with cool, measured detachment. On the moon there was neither air nor wind. Its vacuum was perfect for preserving memories unscathed. No one could unlock the heart of the moon. Aomame raised her glass to the moon and asked, “Have you gone to bed with someone in your arms lately?” The moon did not answer. “Do you have any friends?” she asked. The moon did not answer. “Don’t you get tired of always playing it cool?” The moon did not answer.

It is a Barnum and Bailey world, just as phony as it can be, But it would not be make-believe if you believed in me ............................It is Only a Paper Moon Billy Rose and E. Y. "Yip" Harburg.....(opening page of 1Q84 by Haruki Murakami)

Aomame raised her glass to the moon and asked, “Have you gone to bed with someone in your arms lately?” The moon did not answer. “Do you have any friends?” she asked. The moon did not answer. “Don’t you get tired of always playing it cool?” The moon did not answer.

He depicted a world in which two moons hung side by side in the evening eastern sky, the people living in that world, and the time flowing through it. “Wherever this gospel is preached in the whole world, what this woman has done will also be told as a memorial to her.

At the time I felt as if every night I, too, were gazing out of a porthole at the moon made of ice. A transparent, eight-inch-thick, frozen moon. But no one was beside me. I watched the moon alone, unable to share its cold beauty with anyone. Yesterday Is two days before tomorrow, The day after two days ago. I hope that in Denver (or some other faraway town) Kitaru is happy. If it's too much to ask that he's happy, I hope at least that today he has his health, and all his needs met. For no one knows what kind of dreams tomorrow will bring.

Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside you. [...] There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones.

At times Komatsu’s eyes would take on a sharp glow, like stars glittering in the winter night sky. And if something caused him to clam up, he would maintain his silence like a rock on the far side of the moon. All expression would disappear from his face, and his body seemed to go cold. Tengo

She quietly stretched out a hand, and Tengo took it. The two of them stood there, side by side, as one, wordlessly watching the moon over the buildings. Until the newly risen sun shone upon it, robbing it of its nighttime brilliance. Until it was nothing more than a gray paper moon, hanging in the sky.

Insane’ probably means to have an innate mental problem, something that calls for professional treatment, while ‘lunatic’ means to have your sanity temporarily seized by the luna, which is ‘moon’ in Latin. In nineteenth-century England, if you were a certified lunatic and you committed a crime, the severity of the crime would be reduced a notch. The idea was that the crime was not so much the responsibility of the person himself as that he was led astray by the moonlight. Believe it or not, laws like that actually existed. In other words, the fact that the moon can drive people crazy was actually recognized in law.

La luna guardava la terra da vicino da più tempo di chiunque altro. Probabilmente era stata testimone di tutti i fenomeni accaduti e di tutte le azioni compiute quaggiù. Ma manteneva il silenzio e non raccontava nulla. Lassù non c’era aria né vento; il vuoto era adatto a conservare i ricordi. Nessuno era mai riuscito a sciogliere il cuore della luna.

But when I look back at myself at age twenty what I remember most is being alone and lonely. I had no girlfriend to warm my body or my soul, no friends I could open up to. No clue what I should do every day, no vision for the future. For the most part, I remained hidden away, deep within myself. Sometimes I’d go a week without talking to anybody. That kind of life continued for a year. A long, long year. Whether this period was a cold winter that left valuable growth rings inside me, I can’t really say. At the time I felt as if every night I, too, were gazing out a porthole at a moon made of ice. A transparent, eight-inch-thick, frozen moon. But I watched that moon alone, unable to share its cold beauty with anyone.

You, after all, are well aware of what it is to become one of the men without women. You are a faintly colored Persian carpet, and loneliness is the indelible stain of Bordeaux. And so your loneliness is brought in from France, and the pain of your wounds from the Middle East. For the men without women, the world is a vast and keen mixture, it is just exactly the far side of the moon.

In my letters to her, I would describe only things that were touching or pleasant or beautiful: the fragrance of grasses, the caress of a spring breeze, the light of the moon, a film I'd seen, a song I liked, a book that had moved me. I myself would be comforted by letters like this when I would reread what I had written. And I would feel that the world I lived in was a wonderful one.

It’s a terrible story. We worked so hard, so hard, building our world one brick at a time. And when it fell apart, it happened just like that. Everything was gone before you knew it.” Reiko stood up and thrust her hands in her pants pockets. “Let’s go back. It’s late.” The sky was darker, the cloud cover thicker than before, the moon invisible. Now, I realized, like Reiko I could smell the rain. And with it mixed the fresh smell of the grapes in the bag I was holding in my hand. “That’s why I can’t leave this place,” she said. “I’m afraid to leave and get involved with the outside world. I’m afraid to meet new people and feel new feelings.” “I understand,” I said. “But I think you can do it. I think you can go outside and make it.” Reiko smiled, but she didn’t say a thing.

I’m not trying to excuse my actions, but at the time I really didn’t have the mental wherewithal to decide whether I was right or wrong. I was desperately clinging to a scrap of wood that had been swept away. In pitch-black darkness, not a single star, or the moon, visible in the sky. As long as I clung to that piece of wood I wouldn’t drown, but I had no clue where I was, where I was heading.

They stood out sharply—the big, yellow moon and the small, green one—vivid in outline but their distance impossible to grasp. In their light, the ocean's tiny ripples shone mysteriously like scattered shards of glass. As the train continued around the curve, the two moons moved slowly across the window, leaving those delicate shards behind, like wordless hints, until they disappeared from view.

Still dark out, of course. Innocent goats have slipped into their peaceful, collective sleep. The line of olive trees outside in the field is sipping at the nourishment the darkness provides. And the moon, like some melancholy priest, rests above the rooftop, stretching out its hands to the barren sea. No matter where I find myself, this is the time of day I love the best. The time that’s mine alone.

I could actually see and hear my tears dripping down into the white pool of moonlight, where they were sucked in as if they had always been part of the light. As they fell, the tears caught the light of the moon and sparkled like beautiful crystals. Then I noticed that my shadow was crying too, shedding clear, sharp shadow tears. Have you ever seen the shadows of tears, Mr. Wind-Up Bird? They’re nothing like ordinary shadows. Nothing at all. They come here from some other, distant world, especially for our hearts. Or maybe not. It struck me then that the tears my shadow was shedding might be the real thing, and the tears that I was shedding were just shadows. You don’t get it, I’m sure, Mr. Wind-Up Bird. When a naked seventeen-year-old girl is shedding tears in the moonlight, anything can happen. It’s true.

As if sensing something from his silence, Fuka-Eri asked, “Are you okay.” “I’m fine. Just ignore the NHK person, okay?” “The crow said the same thing.” “Glad to hear it,” Tengo said. Ever since he saw two moons in the sky, and an air chrysalis materializing on his father’s bed in the sanatorium, nothing surprised Tengo very much. Fuka-Eri and the crow exchanging opinions by the windowsill wasn’t hurting anybody.

She thought of waking Ayumi to ask if there really were two moons up there, but she decided against it. Ayumi might say, “Of course there are two moons in the sky. They increased in number last year.” Or then again, she might say, “What are you talking about? There’s only one moon up there. Something must be wrong with your eyes.” Neither response would solve the problem now facing her. Both would only deepen it. Aomame

The moon had been observing the earth close-up longer than anyone. It must have witnessed all of the phenomena occurring-and all of the acts carried out-on this earth. But the moon remained silent; it told no stories. All it did was embrace the heavy past with cool, measured detachment. On the moon there was neither air nor wind. Its vacuum was perfect for preserving memories unscathed. No one could unlock the heart of the moon.

The ten-year-old girl cannot, of course, give a logical explanation of the opposition of the two groups, nor does she understand the difference between “rev-a-loo-shun” and “peese.” She has only the vague impression that “rev-a-loo-shun” is a kind of pointed way of thinking, while “peese” has a rather more rounded shape. Each “way of thinking” has its own shape and color, which wax and wane like the moon. That is about all she understands.

The wind rushed between the branches of the zelkova tree, making a piercing howl, like the coldhearted breath leaking out between the teeth of a person who has lost all hope. Tengo gazed at the moons, not paying much attention to the sound of the wind, sitting there until his whole body was chilled to the bone. It must have been around fifteen minutes. No, maybe more. His sense of time had left him. His body, initially warmed by the whiskey, now felt hard and cold, like a lonely boulder at the bottom of the sea. The clouds continued to scud off toward the south. No matter how many were blown away, others appeared to take their place. There was an inexhaustible source of clouds in some land far to the north. Decisive people, minds fixed on the task, clothed in thick, gray uniforms, working silently from morning to night to make clouds, like bees make honey, spiders make webs, and war makes widows.

Ushikawa always saw himself as a realist, and he actually was. Metaphysical speculation wasn't his thing. If something really existed you, had to except it as a reality whether or not it made sense or was logical. That was his basic way of thinking. Principles Logic didn't give birth to a reality. Reality came first and the principles of logic followed. So, he decided, he would have to begin by accepting this reality: that there were two moons in the sky.

while ‘lunatic’ means to have your sanity temporarily seized by the luna, which is ‘moon’ in Latin. In nineteenth-century England, if you were a certified lunatic and you committed a crime, the severity of the crime would be reduced a notch. The idea was that the crime was not so much the responsibility of the person himself as that he was led astray by the moonlight. Believe it or not, laws like that actually existed. In other words, the fact that the moon can drive people crazy was actually recognized in law.

I often have the same dream,” she said. “Aki-kun and I are on a ship. A long journey on a large ship. We’re together in a small cabin, it’s late at night, and through the porthole we can see the full moon. But that moon is made of pure, transparent ice. And the bottom half of it is sunk in the sea. ‘That looks like the moon,’ Aki-kun tells me, ‘but it’s really made of ice and is only about eight inches thick. So when the sun comes out in the morning it all melts. You should get a good look at it now, while you have the chance.

There was just one moon. That familiar, yellow, solitary moon. The same moon that silently floated over fields of pampas grass, the moon that rose—a gleaming, round saucer—over the calm surface of lakes, that tranquilly beamed down on the rooftops of fast-asleep houses. The same moon that brought the high tide to shore, that softly shone on the fur of animals and enveloped and protected travelers at night. The moon that, as a crescent, shaved slivers from the soul—or, as a new moon, silently bathed the earth in its own loneliness. That moon.

The city's earthly lights blotted out the stars as always. The sky was nice and clear, but only a few stars were visible, the very bright ones that twinkled as pale points here and there. Still, the moon stood out clearly against the sky. It hung up there faithfully, without a word of complaint concerning the city lights or the noise or the air pollution. It he focused hard on the moon, he could make out the strange shadows formed by its gigantic craters and valleys. Tengo's mind emptied as he stared at the light of the moon. Inside him, memories that had been handed down from antiquity began to stir. Before human beings possessed fire or tools or language, the moon had been their ally. It would calm people's fears now and then by illuminating the dark world like a heavenly lantern. Its waxing and waning gave people an understanding of the concept of time. Even now, when darkness had been banished from most parts of the world, there remained a sense of human gratitude toward the moon and its unconditional compassion. It was imprinted upon human genes likes a warm collective memory.

read it in the paper the other day. I meant to tell you about it, but I forgot. It was an interview with some veterinarian. Apparently, horses are tremendously influenced by the phases of the moon—both physically and emotionally. Their brain waves go wild as the full moon approaches, and they start having all kinds of physical problems. Then, on the night itself, a lot of them get sick, and a huge number of those die. Nobody really knows why this happens, but the statistics prove that it does. Horse vets never have time to sleep on full-moon nights, they’re so busy.

Sometimes fate is like a small sandstrom that keeps changing direction, You change direction, but the sandstorm chases you. You turn again,but the storm adjusts, Over and over you play this out,like some omnious dance with death just before dawn.Why? Because this storm isn't something that blew in from far away,something that has nothing to do with you.This storm is you.Something inside you.So all you cando is give in to it,step right inside the storm,closing your eyes and pluging up your ears so the sand doesn't get in and walk through it, step by step.There's no sun there,no moon,no direction,no sense of time.

Aomame said, “Even if things were the same, people’s perception of them might have been very different back then. The darkness of night was probably deeper then, so the moon must have been that much bigger and brighter. And of course people didn’t have records or tapes or CDs. They couldn’t hear proper performances of music anytime they liked: it was always something special.” “I’m sure you’re right,” the dowager said. “Things are so convenient for us these days, our perceptions are probably that much duller. Even if it’s the same moon hanging in the sky, we may be looking at something quite different. Four hundred years ago, we might have had richer spirits that were closer to nature.

One was the moon that had always been there, and the other was a far smaller, greenish moon, somewhat lopsided in shape, and much less bright. It looked like a poor, ugly, distantly related child that had been foisted on the family by unfortunate events and was welcomed by no one. But it was undeniably there, neither a phantom nor an optical illusion, hanging in space like other heavenly bodies, a solid mass with a clear-cut outline. Not a plane, not a blimp, not an artificial satellite, not a papier-mâché moon that someone made for fun. It was without a doubt a chunk of rock, having quietly, stubbornly settled on a position in the night sky, like a punctuation mark placed only after long deliberation or a mole bestowed by destiny.

Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That's the kind of sandstorm you need to imagine.

If we’re blessed, though, a few words might remain by our side. They climb to the top of the hill during the night, crawl into small holes dug to fit the shape of their bodies, stay quite still, and let the stormy winds of time blow past. The dawn finally breaks, the wild wind subsides, and the surviving words quietly peek out from the surface. For the most part they have small voices—they are shy and only have ambiguous ways of expressing themselves. Even so, they are ready to serve as witnesses. As honest, fair witnesses. But in order to create those enduring, long-suffering words, or else to find them and leave them behind, you must sacrifice, unconditionally, your own body, your very own heart. You have to lay down your neck on a cold stone pillow illuminated by the winter moon.

It was a cruel world, though. More than half of all children died before they could reach maturity, thanks to chronic epidemics and malnutrition. People dropped like flies from polio and tuberculosis and smallpox and measles. There probably weren’t very many people who lived past forty. Women bore so many children, they became toothless old hags by the time they were in their thirties. People often had to resort to violence to survive. Tiny children were forced to do such heavy labor that their bones became deformed, and little girls were forced to become prostitutes on a daily basis. Little boys, too, I suspect. Most people led minimal lives in worlds that had nothing to do with richness of perception or spirit. City streets were full of cripples and beggars and criminals. Only a small fraction of the population could gaze at the moon with deep feeling or enjoy a Shakespeare play or listen to the beautiful music of Dowland.

Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That's the kind of sandstorm you need to imagine. And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You'll catch that blood in your hands, your own blood and the blood of others. And once the storm is over you won't remember how you made it through, how you managed to survive. You won't even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won't be the same person who walked in. That's what this storm's all about.

For the five months after he returned to Tokyo, Tsukuru lived at death’s door. He set up a tiny place to dwell, all by himself, on the rim of a dark abyss. A perilous spot, teetering on the edge, where, if he rolled over in his sleep, he might plunge into the depth of the void. Yet he wasn’t afraid. All he thought about was how easy it would be to fall in. All around him, for as far as he could see, lay a rough land strewn with rocks, with not a drop of water, nor a blade of grass. Colorless, with no light to speak of. No sun, no moon or stars. No sense of direction, either. At a set time, a mysterious twilight and a bottomless darkness merely exchanged places. A remote border on the edges of consciousness. At the same time, it was a place of strange abundance. At twilight birds with razor-sharp beaks came to relentlessly scoop out his flesh. But as darkness covered the land, the birds would fly off somewhere, and that land would silently fill in the gaps in his flesh with something else, some other indeterminate material. Tsukuru couldn’t fathom what this substance was. He couldn’t accept or reject it. It merely settled on his body as a shadowy swarm, laying an ample amount of shadowy eggs. Then darkness would withdraw and twilight would return, bringing with it the birds, who once again slashed away at his body. He was himself then, but at the same time, he was not. He was Tsukuru Tazaki, and not Tsukuru Tazaki. When he couldn’t stand the pain, he distanced himself from his body and, from a nearby, painless spot, observed Tsukuru Tazaki enduring the agony. If he concentrated really hard, it wasn’t impossible. Even now that feeling would sometimes spring up. The sense of leaving himself. Of observing his own pain as if it were not his own.

Ο Τένγκο δεν είχε ιδέα τι είχε προσφέρει η Αομάμε στο φεγγάρι εκείνη τη στιγμή, μπορούσε όμως να φανταστεί πάνω κάτω τι της είχε δώσει εκείνο: αγνή μοναξιά και ηρεμία. Ό,τι καλύτερο έχει να δώσει το φεγγάρι σ'έναν άνθρωπο.

A razor-thin crescent of white moon floated in the night sky.

The new moon will shape our destinies.

The new moon will shape our destinies.