Haruki Murakami Midori Quotes & Sayings

Hey, what is it with you? Why are you so spaced out? You still haven't answered me."
I probably still haven't completely adapted to the world," I said after giving it some thought. "I don't know, I feel like this isn't the real world. The people, the scene: they just don't seem real to me."
Midori rested an elbow on the bar and looked at me. "There was something like that in a Jim Morrison song, I'm pretty sure."
People are strange when you're a stranger. — Haruki Murakami

That does it for me, then. I'm not going to believe in any damned revolution. Love is all I'm going to believe in." "Peace," I said. "Peace," said Midori. — Haruki Murakami

You know what I like best about porn cinemas?"
"I couldn't begin to guess."
"Whenever a sex scene starts, you can hear this "Gulp!' sound when everybody swallows all at once," said Midori. "I love that "Gulp!' It's so sweet! — Haruki Murakami

I really like you, Midori. A lot."
"How much is a lot?"
"Like a spring bear," I said.
"A spring bear?" Midori looked up again. "What's that all about? A spring bear."
"You're walking through a field all by yourself one day in spring, and this sweet little bear cub with velvet fur and shiny little eyes comes walking along. And he says to you, "Hi, there, little lady. Want to tumble with me?' So you and the bear cub spend the whole day in each other's arms, tumbling down this clover-covered hill. Nice, huh?"
"Yeah. Really nice."
"That's how much I like you. — Haruki Murakami

Let me just tell you this, Watanabe," said Midori, pressing her cheek against my neck. "I'm a real, live girl, with real, live blood gushing through my veins. You're holding me in your arms and I'm telling you that I love you. I'm ready to do anything you tell me to do. I may be a little bit mad, but I'm a good girl, and honest, and I work hard, I'm kind of cute, I have nice boobs, I'm a good cook, and my father left me a trust fund. I mean, I'm a real bargain, don't you think? If you don't take me, I'll end up going somewhere else. — Haruki Murakami

What I feel for Naoko is a tremendously quiet and gentle and transparent love, but what I feel for Midori is a wholly different emotion. It stands and walks on its own, living and breathing and throbbing and shaking me to the roots of my being. I don't know what to do. I'm confused. I'm not trying to make excuses for myself, but I do believe that I have lived as sincerely as I knew how. I have never lied to anyone, and I have taken care over the years not to hurt other people. And yet I find myself having been tossed into this labyrinth. How — Haruki Murakami

I think most readers would say the same. Most would choose Midori. And the protagonist, of course, chooses her in the end. But some part of him is always in the other world and he cannot abandon it. It's a part of him, an essential part. All human beings have a sickness in their minds. That space is a part of them. — Haruki Murakami

I loved Midori. And I had probably known as much for a while. I had just been avoiding the conclusion for a very long time. — Haruki Murakami

I have always loved Naoko, and I still loved her. But there is a decisive finality to what exists between Midori and me. — Haruki Murakami

Girls are supposed to be a little more elegant when they put out their cigarettes. You did that like a lumberjack. You shouldn't just cram it down in the ashtray but press it lightly around the edges of the ash. Then it doesn't get all bent up. And girls are never supposed to blow smoke through their noses. And most girls wouldn't talk about how they wore the same bra for three months when they're eating alone with a man."
"I am a lumberjack," Midori said, scratching next to her nose. "I can never manage to be chic. I try it as a joke sometimes, but it never sticks. Any more critiques for me? — Haruki Murakami

How much do you love me?' Midori asked.
'Enough to melt all the tigers in the world to butter,' I said. — Haruki Murakami

Now get this straight, Watanabe," said Midori, pointing at me. "I'm warning you, I've got a whole month's worth of misery crammed inside me and getting ready to blow. So watch what you say to me. Any more of that kind of stuff and I'll flood this place with tears. Once I get started, I'm good for the whole night. Are you ready for that? I'm an absolute animal when I start crying, it doesn't matter where I am! I'm not joking. — Haruki Murakami

You mean, if you knew me better, you'd force stuff on me like everybody else?
Toru: It's possible," I said. "That's how people live in the real world: forcing stuff on each other.
Midori: You wouldn't do that. I can tell. I'm an expert when it comes to forcing stuff and having stuff forced on you. You're just not that type. That's why I can relax with you. Do you have any idea how many people there are in the world who like to force stuff on people and have stuff forced on them? Tons! And then they make a big fuss, like, 'I forced her,' 'You forced me'! That's what they like. But I don't like it. I just do it 'cause I have to. — Haruki Murakami

After she had gone through most of the songs she knew, she sang an old one that she said she had written herself. I'd love to cook a stew for you But I have no pot. I'd love to knit a scarf for you But I have no wool. I'd love to write a poem for you But I have no pen. "It's called 'I Have Nothing,'" Midori announced. It was a truly terrible song, both words and music. I listened to this musical mess with thoughts of how the house would blow apart in the explosion if the gas station caught fire. Tired of singing, Midori put her guitar down and slumped against my shoulder like a cat in the sun. "How did you like my song?" she asked. I answered cautiously, "It was unique and original and very expressive of your personality." "Thanks," she said. "The theme is that I have nothing." "Yeah, I kinda thought so. — Haruki Murakami

But I'm not hte only one to blame,' Midori continued. 'It's ture I've got a cold streak. I recognize that. But if they - my father and mother - had loved me a little more. I would have been able to feel more - to feel real sadness for example.'
'Do you think you weren't loved enough?'
She tilted her head and looked at me. Then she gave a sharp, little nod. 'Somewhere between 'not enough' and 'not at all.' 'I was always hungry for love. Just once, I wanted to know what it was like to get my fill of it - to be fed so much love I couldn't take any more. Just once. But they never gave that to me. Never, not once. — Haruki Murakami

Ok I'm not so smart I'm working class. But it's the working class that keeps the world running and it's the working class that get exploited. What kind revolution is it that just throws out big words that working class people can't understand.
Revolution or not the working class will just keep on scraping a living in the same old shitholes
I'm not going to believe in any damned revolution. Love is all I'm going to believe in.
Midori — Haruki Murakami

(When asked "Was the model for Midori (a character in Norwegian Wood) modeled after your wife?")
I showed your message to my wife. She got mad and yelled: "What would make them think I was the model for Midori?!" She told me to fix the misunderstanding immediately, so that's why I'm writing this reply now. Please stop causing problems in my household. Thank you. — Haruki Murakami

AFTER GERMAN we caught a bus to Shinjuku and went to an underground bar called DUG behind the Kinokuniya bookstore. We each started with two vodka and tonics. "I come here once in a while," she said. "They don't embarrass you about drinking in the afternoon." "Do you drink in the afternoon a lot?" "Sometimes," she said, rattling the ice in her glass. "Sometimes, when the world gets hard to live in, I come here for a vodka and tonic." "Does the world get hard to live in?" "Sometimes," said Midori. "I've got my own special little problems." "Like what?" "Like family, like boyfriends, like irregular periods. Stuff." "So have another drink." "I will." I waved the waiter over and ordered two more vodka and tonics. — Haruki Murakami

Know what I did the other day?" Midori asked. "I got all naked in front of my father's picture. Took off every stitch of clothing and let him have a good, long look. Kind of in a yoga position. Like, 'Here, Daddy, these are my tits, and this is my cunt'."
"Why in the hell would you do something like that?" I asked.
"I don't know, I just wanted to show him. I mean, half of me comes from his sperm, right? Why shouldn't I show him? 'Here's the daughter you made.' I was a little drunk at the time. I suppose that had something to do with it. — Haruki Murakami

Where are you now?'
Where was I now?
Gripping the receiver, I raised my hand and turned to see what lay beyond the telephone booth. Where was I now? I had no idea. No idea at all. Where was this place? All that flashed into my eyes were the countless shapes of people walking by to nowhere. Again and again, I called out for Midori from the dead center of this place that was no place. — Haruki Murakami

You're really cute, Midori," I corrected myself.
"What do you mean really cute?"
"So cute the mountains crumble and the oceans dry up. — Haruki Murakami