Tuesday, January 25


I don't want to persuade the reader that it's a real thing; I want to show it as it is. In a sense, I'm telling those readers that it's just a story; it's fake. But when you experience the fake as real, it can be real. It's not easy to explain ...

I'm not pretending it's the real thing. We are living in a fake world; we are watching fake evening news. We are fighting a fake war. Our government is fake. But we find reality in this fake world. So our stories are the same: We are walking through fake scenes, but ourselves, as we walk through these scenes, are real. The situation is real, in the sense that it's a commitment; it's a true relationship. That's what I want to write about.

-- Haruki Murakami, in Paris Review No. 170

either way

"We're not metaphors."

"I know," I say. "But metaphors help eliminate what separates you and me."

A faint smile comes to her as she looks up at me. "That's the oddest pickup line I've ever heard."

"There're a lot of odd things going on -- but I feel like I'm slowly getting closer to the truth."

"Actually getting closer to a metaphorical truth? Or metaphorically getting closer to an actual truth? Or maybe they supplement each other?"

"Either way, I don't think I can stand the sadness I feel right now," I tell her.

"I feel the same way."

-- Haruki Murakami Kafka on the Shore
Translated by Philip Gabriel

discovering the truth


The elevator doors are pried open. It's packed with sad people. Maxine and the sad people climb out. The last to emerge is Malkovich. He is astounded by the squat dimensions of the floor. He turns the corner and sees a long line of crouching depressed-looking people. Maxine goes into the office and closes the door. Malkovich sees 'J.M. Inc.' taped to the door. He turns to the first man in line.

Excuse me, what type of service does this company provide?

You get to be John Malkovich for fifteen minutes. Two hundred clams.

(quietly flipped)
I see.

No cutting, by the way.

Malkovich pounds on the door.

No cutting!

Several people jump on Malkovich, and start beating him. Craig steps out of the office.

Hey! Break it up! Break it up! Everybody gets a chance to be ...

The people climb off Malkovich. His glasses and cap have been knocked off and everyone recognizes him.

It's him! Oh, I'm so sorry, Mr. Malkovich! I hope we didn't hurt you too terribly. It's such a thrill to meet you.

(to Craig)

-- Charlie Kaufman Being John Malkovich