Haruki Murakami, 1Q84

"It's basically the same in all periods of societies. If you belong to the majority, you can avoid thinking about lots of troubling things.''And those troubling things are all you /can/ think about when you're one of the few.''That's about the size of it,' she said mournfully. 'But maybe, if you're in a situation like that, you learn to think for yourself.''Yes, but maybe what you end up thinking for yourself /about/ is all those troubling things."

"A person's last moments are an important thing. You can't choose how you're born but you can choose how you die."

"A person's last moments are an important thing. You can't choose how you're born, but you can choose how to die."

"I still don't know what sort of world this is, she thought, But whatever world we're in now, I'm sure this is where I will stay. Where we will stay. This world must have its own threats, its own dangers, must be filled with its own type of riddles and contradictions. We may have to travel down many dark paths, leading who knows where. But that's okay. It's not a problem. I'll just have to accept it. I'm not going anywhere. Come what may, this is where we'll remain, in this world with one moon."

"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."

"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."

"Of course, reading novels was just another form of escape. As soon as he closed their pages he had to come back to the real world. 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. Why should that have been? After much deep thought, he reached a conclusion. No matter how clear the relationships of things might become in the forest of story, there was never a clear-cut solution. That was how it differed from math. The role of a story was, in the broadest terms, to transpose a single problem into another form. Depending on the nature and direction of the problem, a solution could be suggested in the narrative. Tengo would return to the real world with that suggestion in hand. It was like a piece of paper bearing the indecipherable text of a magic spell. At times it lacked coherence and served no immediate practical purpose. But it would contain a possibility. Someday he might be able to decipher the spell. That possibility would gently warm his heart from within."

"There was just one moon. That familiar, yellow, solitary moon. The same moon that silently floated over fields of pampas grass, the moon that rose--a gleaming, round saucer--over the calm surface of lakes, that tranquilly beamed down on the rooftops of fast-asleep houses. The same moon that brought the high tide to shore, that softly shone on the fur of animals and enveloped and protected travelers at night. The moon that, as a crescent, shaved slivers from the soul--or, as a new moon, silently bathed the earth in its own loneliness. THAT moon."

"The moon had been observing the earth close-up longer than anyone. It must have witnessed all of the phenomena occurring - and all of the acts carried out - on this earth. But the moon remained silent; it told no stories. All it did was embrace the heavy past with a cool, measured detachment. On the moon there was neither air nor wind. Its vacuum was perfect for preserving memories unscathed. No one could unlock the heart of the moon. Aomame raised her glass to the moon and asked, “Have you gone to bed with someone in your arms lately?” The moon did not answer. “Do you have any friends?” she asked. The moon did not answer. “Don’t you get tired of always playing it cool?”The moon did not answer."

"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."

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

"Even if things were the same, people's perception of them might have been very different back then. The darkness of night was probably deeper then, so the moon must have been that much bigger and brighter."

"Perhaps this was the wisdom with which a child in her position survived: by minimizing her wounds—staying as small as possible, as nearly transparent as possible."

"Violence does not always take visible form, and not all wounds gush blood."

"The conclusion of things is the good. The good is, in other words, the conclusion at which all things arrive. Let's leave doubt for tomorrow," Komatsu said. "That is the point."

"She lived frugally, but her meals were the only things on which she deliberately spent her money. She never compromised on the quality of her groceries, and drank only good-quality wines."

"Because you are neither an angel nor a god. I am quite aware that your actions have been prompted by your pure feelings, and I understand perfectly well that, for that very reason, you do not wish to receive money for what you have done. But pure unadultered feelings are dangerous in their own way. It is no easy feat for a flesh-and-blood human being to go on living with such feelings. That is why it is necessary for you to fasten your feelings to the earth – firmly, like attaching an anchor to a balloon. The money is for that. To prevent you from feeling that you can do anything you want as long as it’s the right thing and your feelings are pure."

"Once the ego is born into this world, it has to shoulder morality."

"In this world, there is no absolute good, no absolute evil," the man said. "Good and evil are not fixed, stable entities, but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good."

"Each "way of thinking" has its own shape and color, which wax and wane like the moon."