A Quote by Haruki Murakami

Adults need more complex narratives. They have their own narratives. The main characters are themselves. — © Haruki Murakami
Adults need more complex narratives. They have their own narratives. The main characters are themselves.
Generally, I start by observing the existing and popular narratives in my social spheres and media, and the pressures I face in my own life experiences. As someone who is "newly" trans, I am constantly thinking about what the dominant narratives are around transness, how my work can push against these narratives, and how it already falls into these traps.
North Korea aside, most authoritarian governments have already accepted the growth of the Internet culture as inevitable; they have little choice but to find ways to shape it in accord with their own narratives - or risk having their narratives shaped by others.
Everybody's always living in fiction just as much as children, but the way our stories are faked is curtailed by all sorts of narratives we take into our own lives about what are the true narratives and what's not.
In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
The media doesn't create narratives, really. They're not that powerful. What they do is they tap into narratives that are already bubbling amongst their viewership or readership.
There are certain types of slightly hysterical human characters who, rather than creating, walk around with a sense of their own potential - it's as if they themselves were art objects. They feel as if their lives are written narratives, or pieces of music.
'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
I think we all are born inside of our parents' narratives. We stay there for a good while. We are taught their narratives about everything: their marriage, the world, God, gender, identity, etcetera. Then, at some point, our own narrative develops too much integrity to live inside that story. We don't ever fully escape it, but we move into our own stories.
My role in the government was not to think about narratives and consistency with narratives, but think of the human consequences of rules.
I studied African American studies, and I read these slave narratives and the escape narratives of people that were able to escape slavery and always found those stories intriguing and powerful and inspiring.
Even within single sentences, there are sudden changes of register. And when the travellers go to Venice, they see a play by Voltaire! This is a novel [Candid] which has narratives within narratives, such as when Cunégonde recounts her story.
I have had issues in the past with the characters and the limitations of the characters and the structure of the narratives given to me as a woman of color.
We all have different narratives; all of our narratives are at different stages of development.
Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.
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