Kafka on The Shore by Haruki Murakami
Kafka Tamura, anak laki-laki yang kabur
dari rumah dan berharap dapat bertemu dengan ibu dan kakak yang meninggalkannya
ketika kecil. Sementara dalam dunia paralel, Nakata, pria tua yang bisa
berbicara dengan kucing setelah kehilangan sebagian besar memorinya. Keduanya
melakukan perjalanan tanpa tahu harus kemana dan melakukan apa.
“I Know. You’ve never
killed anyone, and don’t want to. But listen to me- there are times in life
when those kinds of excuses don’t cut it anymore. Situation when nobody cares
whether you’re suited for the task at hand or not..” ( Hal 150)
Jangan berharap kenikmatan membaca buku
ini (seperti karya Murakami lainnya) ada pada ketegangan rasa penasaran dan
kelegaan saat rasa penasaranmu terpenuhi. Murakami menjadikan cerita sebagai
pembungkus berbagai metafora yang disajikan dengan sesukanya. Pada Kafka on The Shore, hujan pun bisa menjadi hujan
ikan. Pada beberapa bagian Murakami bisa menjadi sangat detail mendeskripsikan tempat, namun bisa begitu tidak
peduli saat menerangkan waktu.
“…Boundaries between things
are disapearing all the time. Maybe that’s why you cant’t speak to cats
anymore.” (Hal 201)
Tidak ada yang benar dan salah dalam buku
ini. Tidak ada batasan akan apapun. Segala hal bisa sangat berbeda dalam dunia nyata tapi bisa juga sangat serupa dengan apa yang dirasakan pembaca.
“Listen Kafka. What you ‘re
experiencing now is the motif of many Greek tragedies. Man doesn’t choose fate.
Fate chooses man. That’s the basic worldview of Greek drama. And the sense of
tragedy – according to Aristotle – comes, ironically enough, not from the
protagonist’s weak points but from his good qualites…”
(Hal 210)
Seperti bagaimana akhirnya Kafka menyadari, sejauh apapun dia berlari, dia
tidak akan bisa bersembunyi.
Distance won’t solve anything, the
boy named Crow says. (Hal 215)
Dan bagaimana sudut pandang tiap tokoh memberi wacana baru yang boleh
jadi bisa kita terima atau tidak sama sekali.
“My grandpa always said
asking a question is embarrassing for a moment, but not asking is embarrassing
for a lifetime.” (Hal 265)
“Perhaps,” Oshima says, as if fed up. “Perhaps
most people in the world aren’t trying to be free, Kafka. They just think they
would be in a real bind. You’d better remember that. People actually prefer not
being free.” (Hal 328)
Bagaimana semua emosi; rasa amarah, cinta, sesal, takut, nafsu
termanifestasi dalam diri tiap tokoh.
“Anyone who falls in love is searching for the
missing pieces of themselves. So anyone who’s in love gets sad when they think
of their loves. It’s like stepping back inside a room you have fond memories
of, one you haven’t seen in a long time. It’s just a natural feeling. You’re
not the person who discovered the feeling, so don’t go trying to patent it.
Okay?” ( Hal 309)
Bagaimana Kafka dan Nakata mencari memorinya sementara Miss Saeki
mencoba menghilangkannya.
“Memories warm you up from
the inside. But they also tear you apart.” (Hal 408)
Dan itulah berbagai alasan saya membaca hingga selesai karya-karya Murakami. Semua kata-kata indah yang tidak terkesan dipaksakan dan
kebebasan memaknai apapun yang diberikan Murakami. Suka-suka penulis. Suka-suka pembaca.
“Every one of us is losing
something precious to us,” he says after the phone ringing.
“Lost opportuities, lost
possibilities, feeling we can never get back again. That’s part of what it
means to be alive. But inside our heads – at least that’s where I imagine it –
there’s a little room where we store those memories. A room like the stacks in
the library. And to understand the workings of our own heat we have to keep on
making new reference cards. We have to dust things off every once in a while,
let in fresh air, chage the water in the flower vases. In other words, you’ll
live forever in your own private library.”
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