Tengo Quotes & Sayings

Grasping the doorknob, Tengo turned around one last time and was shocked to see a single tear running down from his father's eye. It shone a dull silver color under the ceiling's fluorescent light. To release that tear, his father must have squeezed every bit of strength from what little emotion he still had left. — Haruki Murakami

His mind floated in the amniotic fluid of memory, listening for echoes of the past. His father, meanwhile, had no idea that such a vivid scene was burned into Tengo's brain or that, like a cow in the meadow, Tengo was endlessly regurgitating fragments of the scene to chew on, a cud from which he obtained essential nutrients. Father and son: each was locked in a deep, dark embrace with his secrets. — Haruki Murakami

Her partially open lips now opened wide, and her soft, fragrant tongue entered his mouth, where it began a relentless search for unformed words, for a secret code engraved there. Tengo's own tongue responded unconsciously to this movement and soon their tongues were like two young snakes in a spring meadow, newly wakened from their hibernation and hungrily intertwining, each led on by the other's scent. — Haruki Murakami

What Tengo would have to do, it seemed, was take a hard, honest look at the past while standing at the crossroads of the present. Then he could create a future, as thought he were rewriting the past.It was the only way — Haruki Murakami

I don't think it's a question of liking or disliking it," Tengo said ... "It was the one thing he was best at." "Hmm. I see," Kumi said. She pondered this. "But that might very well be the best way to live your life. — Haruki Murakami

Tengo made a point of asking people how old they were at the time of their first memory. — Haruki Murakami

He was no Hitchcockian protagonist, embroiled in a conspiracy before he knew what was happening. He had embroiled himself, knowing full well that it contained an element of risk. The machine was already in motion, gaining too much forward momentum for him to stop it. Tengo himself was one of its gears - and an important one at that. He could hear the machine's low groaning, and feel its implacable motion. — Haruki Murakami

I hope I don't have an erection, Tengo thought. — Haruki Murakami

Tengo's lectures took on uncommon warmth, and the students found themselves swept up in his eloquence. He taught them how to practically and effectively solve mathematical problems while simultaneously presenting a spectacular display of the romance concealed in the questions it posed. Tengo saw admiration in the eyes of several of his female students, and he realized that he was seducing these seventeen- or eighteen-year-olds through mathematics. His eloquence was a kind of intellectual foreplay. Mathematical functions stroked their backs; theorems sent warm breath into their ears. — Haruki Murakami

I've been lonely for so long. And I've been hurt so deeply. If only I could have met you again a long time ago, then I wouldn't have had to take all these detours to get here.'
Tengo shook his head. 'I don't think so. This way is just fine. This is exactly the right time. For both of us. [ ... ] We needed that much time ... to understand how lonely we really were. — Haruki Murakami

Tengo did not know for certain whether he wanted to be a professional novelist, nor was he sure he had the talent to write fiction. What he did know was that he could not help spending a large part of every day writing fiction. To him, writing was like breathing. — Haruki Murakami

During the writers' strike in 2007, we put on our own SNL episode there with old sketches. Michael Cera hosted, our musical guest was Yo La Tengo, and we gave Lorne a birthday cake as he sat in the audience. — Amy Poehler

Let me get someone to drive you home," I say before my fucked-up mind thinks of a million ways I could violate her tonight. I'm buzzed from alcohol and high, too. When I have sex with this girl, I want all my faculties.
She purses her lips and pouts like a kid. "No. I don't want to go home. Anywhere but home."
Oh, man.
I'm in trouble. Tengo un problema grande.
She looks up at me, her eyes in the moonlight sparking like rare, expensive jewels. "Colin thinks I want you, you know. He says our bickering is foreplay."
"Is it?" I ask, holding my breath to hear her response. Please, please let me remember the answer in the morning. — Simone Elkeles

Around the borders of the flat, lopsided area of his head clung thick, black, curly hair that had been allowed to grow too long, hanging down shaggily over the man's ears. Ninety-eight people out of a hundred would probably be reminded by it of pubic hair. Tengo had no idea what the other two would think. — Haruki Murakami

Tengo chopped a lot of ginger to a fine consistency. Then he sliced some celery and mushrooms into nice-sized pieces. The Chinese parsley, too, he chopped up finely. He peeled the shrimp and washed them at the sink. Spreading a paper towel, he laid the shrimp out in neat rows, like troops in formation. When the edamame were finished boiling, he drained them in a colander and left them to cool. Next he warmed a large frying pan and dribbled in some sesame oil and spread it over the bottom. He slowly fried the chopped ginger over a low flame. — Haruki Murakami

Tengo stood by the window and looked at the scene outside. Beyond the garden and lawn was the dark line of the pine windbreak, through which came the sound of waves. The rough waves of the Pacific. It was thick, darkish sound, as if many souls were gathered, each whispering his story. They seemed to be seeking more souls to join them, seeking even more stories to be told. — Haruki Murakami

He laughs. "Put some clothes on so you don't scare poor Kiara with your morning hard-on."
I look down at my shorts. Sure enough, I've got la tengo dura in front of Kiara and Tuck. Shit. I reach out for the first thing I can grab and put it in front of me to shield myself from view. It happens to be one of Kiara's stuffed animals, but I don't have much choice right now.
"That's Kiara's Mojo," Tuck says, laughing. "Get it? Mojo? — Simone Elkeles

Wherever you go, whatever you do, you can never escape the pressure of this water. This memory defines who you are, shapes your life, and is trying to send you to a place that has been decided for you. You can writhe all you want, but you will never be able to escape from this power
Tengo — Haruki Murakami

Tengo had a gift for such work. He was a born technician, possessing both the intense concentration of a bird sailing through the air in search of prey and the patience of a donkey hauling water, playing always by the rules of the game. — Haruki Murakami

He followed his daily routine, and she followed hers. But without her there, Tengo noticed a human-shaped void she had left behind. — Haruki Murakami

No matter how clear things might become in the forest of story, there was never a clear-cut solution, as there was in math. The role of a story was, in the broadest terms, to transpose a problem into another form. Depending on the nature and the direction of the problem, a solution might be suggested in the narrative. Tengo would return to the real world with that solution in hand. It was like a piece of paper bearing the indecipherable text of a magic spell. It served no immediate practical purpose, but it contained a possibility. — Haruki Murakami

Twenty years was a long time. But Tengo knew that if he were to meet Aomame in another twenty years, he would feel the same way he did now. Even if they were both over fifty, he would still feel the same mix of excitement and confusion in her presence. His heart would be filled with the same joy and certainty. — Haruki Murakami

Mi Corazon. Mi alma. Son tuyos." My heart. My soul. They are yours, he whispered against the generous curve of her breast as a million sensations, all of them hot, all of them rich, all of them straddling the razor-sharp edge of pain, ripped through his loins like a flash fire and stripped him of everything but consciousness.
"Tuyo. Todo que tengo es tuyo." Yours. Everything I have is yours. — Cindy Gerard

I don't get it," Tengo said. "You'd think they'd take special care of a kid with asthma, not bully her." "It's never that simple in the kids' world," she said with a sigh. "Kids get shut out just for being different from everyone else. The same kind of thing goes on in the grown-up world, but it's much more direct in the children's world. — Haruki Murakami

But still, he reflected, I ought to wash my pajamas more often. Life is so uncertain: you never know what could happen. One way to deal with that is to keep your pajamas washed.
Tengo, IQ84 — Haruki Murakami

But at some point Tengo noticed that returning to reality from the world of a novel was not as devastating a blow as returning from the world of mathematics. — Haruki Murakami

My friend Phil Morrison directed a lot of my favorite videos back in the mid- to late-90s - all the Yo La Tengo videos that were funny, a Juliana Hatfield video. He was such an influence with me, and I wanted to do a video the way Phil used to do videos. I did that for Phil. — Tom Scharpling

Blurring the line between possible and impossible, linear and non-linear time, fiction and reality, fate and free will, 1Q84 is both a metaphysical mind-teaser and a fast-paced thriller where the stakes for Tengo and Aomame couldn't be any higher. Murakami's most ambitious novel to date, 1Q84 is also an extraordinary love story, a story about the power of a single moment of deep connection to transcend time and space - and justify even the greatest of risks. — Haruki Murakami

Who knows? If there is in fact, a heaven and a hell, all we know for sure is that hell will be a viciously overcrowded version of Phoenix - a clean well lighted place full of sunshine and bromides and fast cars where almost everybody seems vaguely happy, except those who know in their hearts what is missing ... And being driven slowly and quietly into the kind of terminal craziness that comes with finally understanding that the one thing you want is not there. Missing. Back-ordered. No tengo. Vaya con dios. Grow up! Small is better. Take what you can get ... — Hunter S. Thompson

I was reborn," she said, her hot breath brushing his ear.
"You were reborn," Tengo said.
"Because I died once."
"You died once," Tengo repeated.
"On a night when there was a cold rain falling," she said.
"Why did you die?"
"So I would be reborn like this."
"You would be reborn," Tengo said.
"More or less," she whispered quietly. "In all sorts of forms. — Haruki Murakami

As he watched his father, Tengo started to have doubts about the difference between a person being alive and being dead. Maybe there really wasn't much of a difference to begin with, he though, maybe we just decided, for convenience's sake, to insist on a difference. — Haruki Murakami

Tengo had no idea, of course, what Aomame had offered to the mood that time, but he could well imagine what the moon had given her: pure solitude and tranquility. That was the best thing the moon could give a person. — Haruki Murakami

As he made his morning coffee, Tengo found himself silently wishing that this peaceful time could go on forever. If he said it aloud, some keen-eared demon somewhere might overhear him. And so he kept his wish for continued tranquility to himself. But things never go the way you want them to, and this was no exception. The world seemed to have a better sense of how you wanted things not to go. — Haruki Murakami

Tengo gazed for a while at this scene outside. Things that are living and things that are not. Things that move and things that don't. What he saw out the window was the usual scenery. There was nothing new about it. The world has to move forward. Like a cheap alarm clock, it does a halfway decent job of fulfilling its assigned role. — Haruki Murakami

I'm certified as an instructor and I do teach courses at a cram school, but I'm not exactly a teacher. I write fiction, but I've never been published, so I'm not a writer yet, either." "You're nothing." Tengo nodded. "Exactly. For the moment, I'm nothing. — Haruki Murakami

It is very simple, actually. It is because you and Tengo were so powerfully drawn to each other. — Haruki Murakami

Tengo was about to say something when he heard the connection cut. Everybody was hanging up on him. Like chopping down a rope bridge. — Haruki Murakami

As a teacher, Tengo pounded into his students' heads how voraciously mathematics demanded logic. Here things that could not be proven had no meaning, but once you had succeeded in proving something, the world's riddles settled into the palm of your hand like a tender oyster. — Haruki Murakami

Tengo had no particular desire for other women. What he wanted most of all was uninterrupted free time. If he could have sex on a regular basis, he had nothing more to ask of a woman. He did not welcome the unavoidable responsibility that came with dating a woman his own age, falling in love, and having a sexual relationship. The psychological stages through which one had to pass, the hints regarding various possibilities, the unavoidable collisions of expectations: Tengo hoped to get by without taking on such burdens.
The concept of duty always made Tengo cringe. He had lived his life thus far skillfully avoiding any position that entailed responsibility, and to do so, he was prepared to endure most forms of deprivation. — Haruki Murakami

Inside him, twenty years dissolved and mixed into one complex, swirling whole. Everything that had accumulated over the years
all he had seen, all the words he has spoken, all the values he had held
all of it coalesced into one solid, thick pillar in his heart, the core of which was spinning like a potter's wheel. Wordlessly, Tengo observed the scene, as if watching the destruction and rebirth of a planet. — Haruki Murakami

This lady has deep feelings for Tengo, Ushikawa thought admiringly. Almost a kind of unconditional love. What would it feel like to be loved that deeply by someone else? — Haruki Murakami

Tengo could hardly believe it
that in this frantic, labyrinth-like world, two people's hearts
a boy's and a girl's
could be connected, unchanged, even though they hadn't seen each other for twenty years. — Haruki Murakami

I am hyper vigilant and would be dangerous if threatened ... If someone broke into my house or attacked me in the street, it's THEM I would fear for ... But as Yo La Tengo recently put it so succinctly: I am not afraid of you and I will beat your ass. — Haven Kimmel

To Tengo, sexual desire was fundamentally an extension of a means of communication. And so, to look for sexual desire in a place where there was no possibility of communication seemed inappropriate to him. — Haruki Murakami

All he wanted from the girl was for her to hold his hand again if possible. He wanted her to squeeze his hand again someplace where the two of them could be alone. And he wanted her to tell him something - anything - about herself, to whisper some secret about what it meant to be Aomame, what it meant to be a ten-year-old girl. He would try hard to understand it, and that would be the beginning of something, though even now, Tengo still had no idea what that "something" might be. — Haruki Murakami

Tengo has an innate knack for precision in all realms, including correct punctuation and discovering the simplest possible formula necessary to solve a math problem. — Haruki Murakami

Tengo knew that time could become deformed as it moved forward. Time itself was uniform in composition, but once consumed, it took on a deformed shape. One period of time might be terribly heavy and long, while another could be light and short. Occasionally the order of things could be reversed, and in the worst cases order itself could vanish entirely. Sometimes things that should not be there at all might be added onto time. By adjusting time this way to suit their own purposes, people probably adjusted the meaning of their existences. In other words, by adding such operations to time, they were able - but just barely - to preserve their own sanity. Surely, if a person had to accept the time through which he had just passed uniformly in the given order, his nerves could not bear the strain. Such a life, Tengo felt, would be sheer torture. — Haruki Murakami

She quietly stretched out a hand, and Tengo took it. The two of them stood there, side by side, as one, wordlessly watching the moon over the buildings. Until the newly risen sun shone upon it, robbing it of its nighttime brilliance. Until it was nothing more than a gray paper moon, hanging in the sky. — Haruki Murakami

Tengo realized this was the first time he had ever heard anything resembling polite language from Fuka-Eri's mouth. No, it might not have been the first time, but he could not recall when he might have heard it before. — Haruki Murakami

Cooking was not a chore for Tengo. He always used it as a time to think - about everyday problems, about math problems, about his writing, or about metaphysical propositions. He could think in a more orderly fashion while standing in the kitchen and moving his hands than while doing nothing. — Haruki Murakami

A child should learn from early on what kind of activity supported his daily life, and he should appreciate the importance of labor. Tengo — Haruki Murakami

Tell me, Tengo, as a novelist, what is your definition of reality?" "When you prick a person with a needle, red blood comes out - that's the real world," Tengo replied. — Haruki Murakami

I'm a slow learner. When people are so talented or facile at picking up an instrument and playing covers, like Yo La Tengo, I admire that. But I could never do that. — Kim Gordon

I don't have a thing,Tengo said, except my soul. — Haruki Murakami

His father said nothing. Instead, he looked straight at Tengo as if he were reading a bulletin written in a foreign language.
1Q84, Murakami — Haruki Murakami

You don't get it" she said
'Don't get what?"
'We are one"
'We are one?" Tengo asked with a shock.
'We wrote the book together"
Tengo felt the pressure of Fuka-Eri's fingers against his palm.
...
'That's true. We wrote Air Crysalis together. And when we are eaten by the tiger, we'll be eaten together. — Haruki Murakami

Komatsu's view is that there are always two sides to everything," Tengo said. "A good side and a not-so-bad side. — Haruki Murakami

I've got to get Brittany alone if I'm gonna have any chance of saving face and saving my Honda. Does her freakout session mean she really doesn't hate me? I've never seen that girl do anything not scripted or 100 percent intentional. She's a robot. Or so I thought. She's always looked and acted like a princess on camera every time I've seen her. Who knew it'd be my bloody arm that would crack her.
I look over at Brittany. She's focused on my arm and Miss Koto's ministrations. I wish we were back in the library. I could swear back there she was thinking about getting it on with me.
I'm sporting la tengo dura right here in front of Miss Koto just thinking about it. Gracias a Dios the nurse walks over to the medicine cabinet. Where's a large chem book when you need one? — Simone Elkeles

I don't really listen to the radio anymore, but some of the more contemporary people I like are Stereolab, Spiritualize, Yo La Tengo and Bedhead. There are other things too, like Pavement. They're a great band, with really good lyrics. But generally, I'm not overwhelmed by the state of indie-rock. — Dean Wareham

For some reason all the middle-aged women he knew were very efficient. — Haruki Murakami

As dangerous as Komatsu's plan might be, he could not possibly stop rewriting the novella at this point. He might have been able to give up on the idea before he started working on it, but that was out of the question now. He was up to his neck in it. He was breathing the air of its world, adapting to its gravity. The story's essence had permeated every part of him, to the walls of his viscera. Now the story was begging him to rework it: he could feel it pleading with him for help. This was something that only Tengo could do. It was a job well worth doing, a job he simply had to do. — Haruki Murakami