Ein wunderbarer Liebes- und Entwicklungsroman von Japans Kultautor Haruki Murakami, voller Märchen und Mythen und schwebend zwischen Traum und Wirklichkeit.

Zusatztext As powerful as The Wind-Up Bird Chronicle . . . . Reading Murakami . . . is a striking experience in consciousness expansion. The Chicago Tribune An insistently metaphysical mind-bender. The New Yorker If he has not achieved that status already! Haruki Murakami is on course to becoming the most widely read Japanese writer outside Japan! past or present. New York Times Informationen zum Autor HARUKI MURAKAMI was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many honors is the Yomiuri Literary Prize, whose previous recipients include Yukio Mishima, Kenzaburo Oe, and Kobo Abe. Klappentext Kafka on the Shore displays one of the world's great storytellers at the peak of his powers. Here we meet a teenage boy, Kafka Tamura, who is on the run, and Nakata, an aging simpleton who is drawn to Kafka for reasons that he cannot fathom. As their paths converge, acclaimed author Haruki Murakami enfolds readers in a world where cats talk, fish fall from the sky, and spirits slip out of their bodies to make love or commit murder, in what is a truly remarkable journey.Cash isn't the only thing I take from my father's study when I leave home. I take a small, old gold lighter--I like the design and feel of it--and a folding knife with a really sharp blade. Made to skin deer, it has a five-inch blade and a nice heft. Probably something he bought on one of his trips abroad. I also take a sturdy, bright pocket flashlight out of a drawer. Plus sky blue Revo sunglasses to disguise my age. I think about taking my father's favorite Sea-Dweller Oyster Rolex. It's a beautiful watch, but something flashy will only attract attention. My cheap plastic Casio watch with an alarm and stopwatch will do just fine, and might actually be more useful. Reluctantly, I return the Rolex to its drawer. From the back of another drawer I take out a photo of me and my older sister when we were little, the two of us on a beach somewhere with grins plastered across our faces. My sister's looking off to the side so half her face is in shadow and her smile is neatly cut in half. It's like one of those Greek tragedy masks in a textbook that's half one idea and half the opposite. Light and dark. Hope and despair. Laughter and sadness. Trust and loneliness. For my part I'm staring straight ahead, undaunted, at the camera. Nobody else is there at the beach. My sister and I have on swimsuits--hers a red floral-print one-piece, mine some baggy old blue trunks. I'm holding a plastic stick in my hand. White foam is washing over our feet. Who took this, and where and when, I have no clue. And how could I have looked so happy? And why did my father keep just that one photo? The whole thing is a total mystery. I must have been three, my sister nine. Did we ever really get along that well? I have no memory of ever going to the beach with my family. No memory of going anywhere with them. No matter, though--there is no way I'm going to leave that photo with my father, so I put it in my wallet. I don't have any photos of my mother. My father had thrown them all away. After giving it some thought I decide to take the cell phone with me. Once he finds out I've taken it, my father will probably get the phone company to cut off service. Still, I toss it into my backpack, along with the adapter. Doesn't add much weight, so why not. When it doesn't work anymore I'll just chuck it. Just the bare necessities, that's all I need. Choosing which clothes to take is the hardest thing. I'll need a couple sweaters and pairs of underwear. But what about shirts and trousers? Gloves, mufflers, shorts, a coat? There's no end to it. One thing I do know, though. I don't want to wander around some strange place with a huge backpack that screams out, Hey, everybody, ...

8220;As powerful as The Wind-Up Bird Chronicle. . . . Reading Murakami . . . is a striking experience in consciousness expansion.” –*The Chicago Tribune

*“An insistently metaphysical mind-bender.”
–*The New Yorker

“If he has not achieved that status already, Haruki Murakami is on course to becoming the most widely read Japanese writer outside Japan, past or present.”
–*New York Times

Auteur

HARUKI MURAKAMI was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many honors is the Yomiuri Literary Prize, whose previous recipients include Yukio Mishima, Kenzaburo Oe, and Kobo Abe.

Texte du rabat

Kafka on the Shore displays one of the world's great storytellers at the peak of his powers.

Here we meet a teenage boy, Kafka Tamura, who is on the run, and Nakata, an aging simpleton who is drawn to Kafka for reasons that he cannot fathom. As their paths converge, acclaimed author Haruki Murakami enfolds readers in a world where cats talk, fish fall from the sky, and spirits slip out of their bodies to make love or commit murder, in what is a truly remarkable journey.

Résumé
*NATIONAL BESTSELLER • From the acclaimed author of *The Wind-Up Bird Chronicle and one of the world’s greatest storytellers comes “an insistently metaphysical mind-bender” (The New Yorker) about a teenager on the run and a deceptively simple old man.

Now with a new introduction by the author.

Here we meet fifteen-year-old runaway Kafka Tamura and the elderly Nakata, who is drawn to Kafka for reasons that he cannot fathom. As their paths converge, acclaimed author Haruki Murakami enfolds readers in a world where cats talk, fish fall from the sky, and spirits slip out of their bodies to make love or commit murder, in what is a truly remarkable journey.

“As powerful as The Wind-Up Bird Chronicle.... Reading Murakami ... is a striking experience in consciousness expansion.”—Chicago Tribune

Échantillon de lecture
Cash isn't the only thing I take from my father's study when I leave home. I take a small, old gold lighter--I like the design and feel of it--and a folding knife with a really sharp blade. Made to skin deer, it has a five-inch blade and a nice heft. Probably something he bought on one of his trips abroad. I also take a sturdy, bright pocket flashlight out of a drawer. Plus sky blue Revo sunglasses to disguise my age.

I think about taking my father's favorite Sea-Dweller Oyster Rolex. It's a beautiful watch, but something flashy will only attract attention. My cheap plastic Casio watch with an alarm and stopwatch will do just fine, and might actually be more useful. Reluctantly, I return the Rolex to its drawer.

From the back of another drawer I take out a photo of me and my older sister when we were little, the two of us on a beach somewhere with grins plastered across our faces. My sister's looking off to the side so half her face is in shadow and her smile is neatly cut in half. It's like one of those Greek tragedy masks in a textbook that's half one idea and half the opposite. Light and dark. Hope and despair. Laughter and sadness. Trust and loneliness. For my part I'm staring straight ahead, undaunted, at the camera. Nobody else is there at the beach. My sister and I have on swimsuits--hers a red floral-print one-piece, mine some baggy old blue trunks. I'm holding a plastic stick in my hand. White foam is washing over our feet.

Who took this, and where and when, I have no clue. And how could I have looked so happy? And why did my father keep just that one photo? The whole thing is a total mystery. I must have been three, my sister nine. Did we ever really get along that well? I have no memory of ever going to the beach with my family. No memory …