Kudia 1

Mahum Kudia

Mrs. Mann

AP LiteratureBlock 2

10 November 2017

Is it a Classic?

That book is a classic! is a phrase commonly used for many books, but what does one

mean by a classic? For a book to be considered a classic--for it to be part of the literary

canon--it must meet several criteria. First and foremost, the book must have a timeless, universal

theme that reveals something about society. It must resonate with readers, have a deeper meaning

that can be understood and interpreted by all, have an influential presence and impact on society,

and have literary elements that add to the meaning of the work. Finally, the book as a whole must

make readers think deeply and question their surroundings--only then can it be a classic. The

novel Kafka on the Shore by Haruki Murakami is a classic because not only does it do all of

these things, but it also does them in a way that makes the novel itself quite enjoyable.

The single most important thing that makes a book a classic is its relevance and

timelessness. These concepts are apparent in Kafka on the Shore as it explores the journey of

finding ones personal identitya timeless, relevant, and universal theme. Drawing heavily on

human experiences and emotions to create a deeper meaning that can be felt by all, the novel

explores the struggles of Kafka Tamura, a 15 year-old boy who runs away from home in order to

escape an Oedipal prophecy, find his mother and sister, and hopefully find who he truly is, rather

than what others want him to be. Kafka is further motivated by the fact that he doesnt have any

world to go back to. No ones ever really loved [him], or wanted [him], [his] entire life. [He]
 Kudia 2

dont know who to count on other than [himself]. For [him], the idea of a life [he] left is

meaningless (Murakami 324). His struggle with himself is driven by his desire to find meaning

and a feeling of belonging in his life, which are things he most definitely hasnt gotten from his

father, who was either cruel to him, or never around. This cruelty is evident with the dark,

disturbing future he prophesied for Kafka: Someday you will murder your father and be with

your mother (Murakami 147). Kafkas home was filled with darkness and loneliness, and the

lack of any real, meaningful, relationships, essentially stunted his emotional growth. As a result,

he is unable to move on, both because he doesnt want to, and also because he cant let go of his

painful childhood. Even though Kafka escaped his messed-up home, it was still affecting and

influencing him because he was unable to let it go. The memories, pain, and suffering stayed at

the forefront of his mind, and so as much as he wanted to evade his fathers dark prophesy for

him, he ended up fulfilling it. This is simply because he doesnt know what it means to live

(Murakami 327). If all somebody knows is pain and loneliness, it is very difficult for them to

heal from that and find a better way to live, especially if they are still holding on to problems

from the past. In the novel, Crow, Kafkas shadowy alter-ego, tells Kafka, Lift the burden from

your shoulders and live-not caught up in someone else's schemes, but as you. That's what you

want (Murakami 348). Crow is essentially guiding and pushing him towards moving on with

this advice. In the book, Magical Realism: Theory, History, Community, author Zamora argues

that The surreal and absurd world of Murakamis characters is a universal one, suggesting that

the problems of identity for contemporary Japan are ones shared throughout the modern world

(473). Kafkas journey of self-discovery to find meaning and purpose in life is a universal

onea journey that everyone takes at some point in their life, making this story relevant and
 Kudia 3

relatable to all those who read it. This idea of a struggle to come to terms with ones past, and to

find ones identity, meaning, and purpose in life, is a struggle that humanity has faced since the

dawn of its creation, which makes this book relevant regardless of the time period. Kafka needs

to come to terms with his past and learn to accept his problems, fears, and

insecuritiessomething that everyone struggles with. He needs to learn to forgive himself, as

well as those who abandoned him, like his mother. Lastly, he needs to find his own place in the

world. This classic, relatable, and universal struggle to find oneself amid the influence of outside

forces is what makes Kafka on the Shore a contender to be a classic. However, the fact that

Kafka on the Shore has a message that is relatable, universal, and timeless, does not

automatically make it a classicmore is needed.

If theres one thing that all classics have, its complexity. This complexity is found in

authorial design through the use of literary elements, which contribute a deeper meaning to the

novel, and allow for its deeper interpretation. Murakami readily makes use of literary elements in

Kafka on the Shore to add complexity and meaning. The central metaphor of the novel

established by Murakami is that of a sandstorm, one with both mental and physical effects.

Building the metaphor at the beginning of the book, Murakami establishes that 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 (2). What makes this metaphor so complex is that it ties the

meaning of the entire book together. This metaphor both illustrates how people cannot run from

their fate, and foreshadows what happens when they do. No matter how much someone wants to

evade their fate, no matter how many times they change directions, the most they can do is
 Kudia 4

delay it. Eventually, just like the sandstorm readjusts so it can continue chasing its target, fate

will catch up to us. Later in the novel, Kafka tries to run from his fatehe tries to escape his

Oedipal prophecy. However, it catches up with him, and he unwittingly ends up fulfilling it,

regardless of whether or not he wanted to. His other half, Nakata, ends up killing his father, and

he ends up sleeping with his mother and sister. This is because 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 doesnt get in, and walk through it, step by step (Murakami

3). In other words, everyone has their own version of the sandstorm. Kafka, who symbolizes

humanity, cant escape the storm, which symbolizes fate, because its a part of him. The only

thing he can do is hunker down, fight through it and hope to survive, because it will be painful. It

is for precisely this reason that the metaphor of the sandstorm is so complex. Right at the

beginning, Murakami illustrates the entire plot of the book through the metaphorhowever, the

meaning is not understood until the end of the book. Towards the end of the book, readers begin

to understand the significance of the sandstorm, which is a metaphor for fateor in Kafkas

case, his prophesied destiny. Fate is a violent, metaphysical, symbolic storm that will cut

through flesh like a thousand razor blades. People will bleed there, and you will bleed too. When

you come out of the storm you wont be the same person who walked in. Thats what this

storms all about (Murakami 3). In other words, the storm is the futureeveryone is fated to

endure it, and its not going to be easyit will be painful and difficult. All one has to do is get

through it somehow, and survive. The only thing that matters is how one comes out of the

storm--either changed for the better and stronger than ever, or weak and damaged, destroyed by

the might of the storm. That is the decision people must make. It is the decision that Kafka
 Kudia 5

makes--instead of letting himself be destroyed by the storm of his fate, he writes his own ending,

a better, happier ending, by accepting and then letting go of his painful past and moving forward

with his life. Essentially, our world and our life is what we make of it. As Murakami says in the

novel, The world is a metaphor (Murakami). Everyone finds different meanings in a

metaphor--similarly, everyone finds a different meaning in their life. The fact that Kafka on the

Shore has such a deep and powerful central metaphor only further supports the argument that it is

a classic. However, the fact that book is complex is still not enough to make it a classic.

Every book that has been considered a classic is rich and insightful by design. In the

novel Kafka on the Shore, this rich and insightful nature is clearly evident by the authors style as

he creates the story and structures the novel. The structure of the book is built so that every

chapter alternatesthe odd and even chapters are split between the two separate but connected

storylines of Kafka and his other half, Nakata. The divergent yet parallel development of the two

protagonists is a very sophisticated and complex way to order a book, and as previously

mentioned, complexity only adds to a novels merit as a classic. Furthermore, the book is part of

the postmodern genre, which is typically literature that relies on narrative techniques such as

paradoxes, unreliable narrators, and fragmentation. Within this genre, Murakami effectively uses

magical realism as a device to further enrich the meaning of the bookwhich once again, only

adds to its merit as a classic. In the essay "The Question of the Other: Cultural Critiques of

Magical Realism" the writer argues that a critical aspect of magical realism is the existence of

an irreducible element that is unexplainable according to the laws of the universe as they have

been formulated by modern, post-enlightenment empiricism, with its heavy reliance on sensory

data, together with a preponderance of realistic event, character, and description that conform to
 Kudia 6

the conventions of literary realism (Faris). The word unexplainable is a very accurate way to

discuss the happenings of the book, as much of it is quite perplexing, especially when

considering that the book is written in a way that makes readers expect it to be realistic. Of

course, this confusion is no accidentMurakami most definitely intended to make his book

anomalous. The New Yorker describes Kafka on the Shore as being a real page-turner, as well

as an insistently metaphysical mind-bender (Updike). This is apparent with the character

Nakata, who can talk to cats and make sardines and leeches rain from the sky, and the

complicated dream versus reality struggle that Kafka undergoes. This conflict between dream

and reality is an important aspect of magical realism, as One of magic realisms crucial

features is its duality, the provocative and unsettling tension between real and unreal. (Zamora

455). In the novel, Kafka struggles to comprehend whats real, and whats not. Murakami

purposefully and insightfully creates this confusion as a method of character development, as

most of Kafkas growth as a character is when hes in a dream-like state, or in a dreamscape--this

struggle that straddles both the real world and the dreamworld, is a part of the metaphorical

sandstorm of destiny that everyone must face at some point. The New Yorker echoes this idea

when in its Subconscious Tunnels article, it is mentioned that At the center of this particular

novelistic storm is the idea that our behavior in dreams can translate to live action; our dreams

can be conduits back into waking reality (Updike). In a classic book, everything serves a

purpose towards reaching and understanding the greater meaning behind a work. Murakamis

conscious decision to use magical realism in Kafka on the Shore enabled him to create a more

meaningful story, as it opened up many unique ways to explore and develop the character of

Kafka. The lessons and experiences Kafka gains from his extremely vivid and realistic dreams
 Kudia 7

seep into his real life, establishing that the subconscious has great power over ones conscious. In

the novel, Kafka holds onto his painful past within his subconscious--a past that surfaces in his

present actions. Once he deals with the problems buried in his subconscious by journeying into

the spirit forest, Kafka is finally able to find peace in the real world. The fact that Murakami

chose magical realism to create such a phenomenal struggle between the real and unreal is very

clearly complexity through authorial intent. If theres one thing thats evident, its that this book

is definitely not simplistic and random. Like a classic, it is very concise and insightful within its

plot and structure.

The last piece needed to finalize a books place within the ranks of a classic, is its lasting

influence and impact on the world. Kafka on the Shore, does precisely that--with its unique style

and references to pop culture and other literature, the novel has had a lasting impact on its

readers. Murakamis work has led to the rise of a Haruki culture, in which Haruki has become

the young generations common desire (Baik). Any book that is widely desired and liked by the

public has to be good. However, that is not the only reason why it has become so popular. The

Haruki phenomenon was created through satisfying the publics desire for something not

national but universal (Baik). In other words, having a meaningful, universal message is vital to

the success and popularity of any book. How successful and popular that book turns out to be

however, determines whether or not it is a classic. Kafka on the Shore has been nothing if not

successful--with readers and fans worldwide, from East Asia to the Americas, the novel has seen

international popularity and has been translated into dozens of languages.

All things considered, Kafka on the Shore is undoubtedly a classic--not only because it

fulfills all the requirements: a timeless, universal theme, complexity in its structure and style, and
 Kudia 8

deeper meaning, but because it is a good, thought-provoking, and meaningful book. It reiterates

the classic themes of accepting oneself, finding ones identity, and forgiving and coming to terms

with ones past. Furthermore, the novel is groundbreaking as a postmodern book with magical

surrealism, as it is one of the most influential books of its kind. A book with such a deep,

meaningful, and relatable message about human nature portrayed in such a beautiful way can be

nothing if not a classic.

 Kudia 9

Works Cited

Baik, Jiwoon. "Murakami Haruki and the Historical Memory of East Asia." Inter-Asia Cultural

Studies, (vol. 11, no. 1), Inha University, Mar. 2010, pp. 64-72. EBSCOhost,

doi:10.1080/14649370903403603.

http://content.ebscohost.com/ContentServer.asp?T=P&P=AN&K=48644225&S=R&D=a

ph&EbscoContent=dGJyMMTo50SeqK44zdnyOLCmr0%2BeprBSrq64Sq6WxWXS&C

ontentCustomer=dGJyMPGtsFCurLRMuePfgeyx44Dt6fIA.

This article written by research professor Jiwoon Baik in the Inter-Asia Cultural

Studies, an academic journal published through the Inha University, discusses the

impact of the Haruki Phenomenon--especially in East Asia. Baik elaborates on

Harukis groundbreaking work, explaining how it filled a gap in the literary

canon, ushering in a new type of literature: one that transcended cultural

boundaries and sensitivities. She argues that the overarching theme of Harukis

works is reconciliation with the past through nostalgia--specifically by healing the

60s Complex caused by WWII. Baik explains that Haruki created his works to

help the Sixties Kids of Japan--people like himself. The source really

emphasizes the overarching purpose of Kafka on the Shore--reconciliation and

dealing with the past. Baiks article operates under the assumption that her

audience is familiar with the works and style of Haruki, and so any plot-level

descriptions of his books are barely present. The author appears very supportive

of Harukis works, and therefore may be biased towards him. This source is

extremely helpful to me because it explicitly gives me the impact of the work,

 Kudia 10

which is something I have been looking for to prove that Kafka on the Shore is a

classic. I will use this source to discuss the overall meaning and universal theme

of the work.

Faris, Wendy. "The Question of the Other: Cultural Critiques of Magical Realism." Janus Head,

(Vol. 5, No. 2), 2002, 101-119, http://www.janushead.org/5-2/faris.pdf.

This source is an article written by Wendy Faris, from the Janus Head, a scholarly

journal. This source explains what exactly constitutes magical realism: something

that cant be explained according to the laws of the universe, as well as the

presence and prevalence of magical realism in postmodern texts, such as Kafka on

the Shore. In her article, Faris is trying to explain to audiences the phenomenon of

magical realism in modern literature. The source really focuses on getting

audiences to understand the phenomenon, the whole concept of magical realism,

as well as how its been used in more current works of literature. She does a

pretty good job of balancing the analysis with other sources of information, giving

a balanced viewpoint on the topic. This source was fairly helpful, as it does a

good job with explaining the whole concept and presence of magical realism,

which is a vital part of Kafka on the Shore, and so understanding it will help me

better understand the book. Having more understanding would enable me to more

effectively argue my case of whether or not the book should be considered a

classic.

Murakami, Haruki. Kafka on the Shore. Vintage International, 2006.

 Kudia 11

Updike, John. Subconscious Tunnels. The New Yorker, 24 January 2005,

https://www.newyorker.com/magazine/2005/01/24/subconscious-tunnels.

Zamora, Lois, and Wendy Faris, editors. Magical Realism: Theory, History, Community. Duke
Press, 1995,
https://books.google.com/books?hl=en&lr=&id=Zzs_cLhfd9wC&oi=fnd&pg=PR10&ots
=Tj2LnvP1lT&sig=sUzb16tNgnHbymXKIua9ZNjOqGQ#v=snippet&q=murakami&f=fa
lse.