Haruki Murakami Quote
If you lose your ego, you lose the thread of that narrative you call your Self. Humans, however, can't live very long without some sense of a continuing story. Such stories go beyond the limited rational system (or the systematic rationality) with which you surround yourself; they are crucial keys to sharing time-experience with others. Now a narrative is a story, not a logic, nor ethics, nor philosophy. It is a dream you keep having, whether you realize it or not. Just as surely as you breathe, you go on ceaselessly dreaming your story. And in these stories you wear two faces. You are simultaneously subject and object. You are a whole and you are a part. You are real and you are shadow. Storyteller and at the same time character. It is through such multilayering of roles in our stories that we heal the loneliness of being an isolated individual in the world. Yet without a proper ego nobody can create a personal narrative, any more than you can drive a car without an engine, or cast a shadow without a real physical object. But once you've consigned your ego to someone else, where on earth do you go from there?At this point you receive a new narrative from the person to whom you have entrusted your ego. You've handed over the real thing, so what comes back is a shadow. And once your ego has merged with another ego, your narrative will necessarily take on the narrative created by that ego.Just what kind of narrative?It needn't be anything particularly fancy, nothing complicated or refined. You don't need to have literary ambitions. In fact, the sketchier and simpler the better. Junk, a leftover rehash will do. Anyway, most people are tired of complex, multilayered scenarios-they are a potential letdown. It's precisely because people can't find any fixed point within their own multilayered schemes that they're tossing aside their own self-identity.
If you lose your ego, you lose the thread of that narrative you call your Self. Humans, however, can't live very long without some sense of a continuing story. Such stories go beyond the limited rational system (or the systematic rationality) with which you surround yourself; they are crucial keys to sharing time-experience with others. Now a narrative is a story, not a logic, nor ethics, nor philosophy. It is a dream you keep having, whether you realize it or not. Just as surely as you breathe, you go on ceaselessly dreaming your story. And in these stories you wear two faces. You are simultaneously subject and object. You are a whole and you are a part. You are real and you are shadow. Storyteller and at the same time character. It is through such multilayering of roles in our stories that we heal the loneliness of being an isolated individual in the world. Yet without a proper ego nobody can create a personal narrative, any more than you can drive a car without an engine, or cast a shadow without a real physical object. But once you've consigned your ego to someone else, where on earth do you go from there?At this point you receive a new narrative from the person to whom you have entrusted your ego. You've handed over the real thing, so what comes back is a shadow. And once your ego has merged with another ego, your narrative will necessarily take on the narrative created by that ego.Just what kind of narrative?It needn't be anything particularly fancy, nothing complicated or refined. You don't need to have literary ambitions. In fact, the sketchier and simpler the better. Junk, a leftover rehash will do. Anyway, most people are tired of complex, multilayered scenarios-they are a potential letdown. It's precisely because people can't find any fixed point within their own multilayered schemes that they're tossing aside their own self-identity.
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About Haruki Murakami
Growing up in Ashiya near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.