Natalie

“As if to build a fence around the fatal emptiness inside her, she had to create a sunny person that she became. But if you peeled away the ornamental egos that she had built, there was only an abbys of nothingness and the intense thirst that came with it. Though she tried to forget it, the nothingness would visit her periodically - on a lonely rainy afternoon, or at dawn when she woke up from a nightmare. What she needed at such times was to be held by someone, anyone.”
― Haruki Murakami, 1Q84

“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, 1Q84

“According to Chekhov," Tamaru said, rising from his chair, "once a gun appears in a story, it has to be fired."
"Meaning what?"
"Meaning, don't bring unnecessary props into a story. If a pistol appears, it has to be fired at some point. Chekhov liked to write stories that did away with all useless ornamentation.”
― Haruki Murakami, 1Q84

“It's like the Tibetan Wheel of the Passions. As the wheel turns, the values and feelings on the outer rim rise and fall, shining or sinking into darkness. But true love stays fastened to the axle and doesn't move.”
― Haruki Murakami, 1Q84