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.

In real life things don’t go so smoothly. At certain points in our lives, when we really need a clear-cut solution, the person who knocks at our door is, more likely than not, a messenger bearing bad news.

It's just a feeling I have. What you see with your eyes is not necessarily real. My enemy is, among other things, the me inside me.

Maybe the star doesnt even exist any more.Yet sometimes that light seems more real to me than anything.

People have their own reasons for dying. It might look simple, but it never is. It's just like a rock. What's above ground is only a small part of it. But if you start pulling, it keeps coming and coming. The human mind dwells deep in darkness. Only the person himself knows the real reason, and maybe not even then.

I don't think jealousy has much of a connection with real, objective conditions. Like if you're fortunate you're not jealous, but if life hasn't blessed you, you are jealous. Jealousy doesn't work that way. It's more like a tumor secretly growing inside us that gets bigger and bigger, beyond all reason. Even if you find out it's there, there's nothing you can do to stop it.

All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.

The good thing about writing books is that you can dream while you are awake. If it’s a real dream, you cannot control it. When writing the book, you are awake; you can choose the time, the length, everything. I write for four or five hours in the morning and when the time comes, I stop. I can continue the next day. If it’s a real dream, you can’t do that.

In dreams you don't need to make any distinctions between things. Not at all. Boundaries don't exist. So in dreams there are hardly ever collisions. Even if there are, they don't hurt. Reality is different. Reality bites. Reality, reality.

There are symbolic dreams-- dreams that symbolize some reality. Then there are symbolic realities -- realities that symbolize a dream. Symbols are what you might call the honorary town councillors of the worm universe. In the worm universe, there is nothing unusual about a dairy cow seeking a pair of pliers. A cow is bound to get her pliers sometime. It has nothing to do with me.

I have these realistic dreams and snap wide awake in the middle of the night. And for a while I can't work out what's real and what isn't... That kind of feeling. Do you have any idea what I'm saying?

What we needed were not words and promises but a steady accumulation of small realities.

We're both looking at the same moon, in the same world. We're connected to reality by the same line. All I have to do is quietly draw it towards me.

The facts and techniques or whatever they teach you in class isn't going to be veryuseful in the real world, that's for sure.

It's the real world, full of gaps and inconsistencies and anticlimaxes.

Wasn't it better if they kept this desire to see each other hidden within them, and never actually got together? That way, there would always be hope in their hearts. That hope would be a small, yet vital flame that warmed them to their core-- a tiny flame to cup one's hands around and protect from the wind, a flame that the violent winds of reality might easily extinguish.

It's hard to tell the difference between sea and sky, between voyager and sea. Between reality and the workings of the heart.

Then I noticed that my shadow was crying too, shedding clear, sharp shadow tears. Have you ever seen the shadows of tears, Mr. Wind-Up Bird? They’re nothing like ordinary shadows. Nothing at all. They come here from some other, distant world, especially for our hearts. Or maybe not. It struck me then that the tears my shadow was shedding might be the real thing, and the tears that I was shedding were just shadows. You don’t get it, I’m sure, Mr. Wind-Up Bird. When a naked seventeen-year-old girl is shedding tears in the moonlight, anything can happen. It’s true.

Nothing in the real world is as beautiful as the illusions of a person about to lose consciousness.

At any rate, that’s how I started running. Thirty three—that’s how old I was then. Still young enough, though no longer a young man. The age that Jesus Christ died. The age that Scott Fitzgerald started to go downhill. That age may be a kind of crossroads in life. That was the age when I began my life as a runner, and it was my belated, but real, starting point as a novelist.

When I am writing, I do not distinguish between the natural and supernatural. Everything seems real. That is my world, you could say.

I probably still haven’t completely adapted to the world. I don’t know, I feel like this isn’t the real world. The people, the scene: they just don’t seem real to me.

That's how people live in the real world: forcing stuff on each other.

I realize now that the reality of things is not something you convey to people but something you make.