Behind all this, some great happiness is hiding.
We’re not supposed to be perfect. We’re supposed to be complete.
-Jane Fonda, 69
In his seminal essay, “Why We Travel,” Pico Iyer writes, “All good trips are, like love, about being carried out of yourself and deposited in the midst of terror and wonder.” Travel stretches us so that our mental clothes don’t fit anymore; it reminds us over and over that the anchoring assumptions of our youth lose their hold in the global sea. Travel to strange places can make us strangers to ourselves, but it can also introduce us to all the exhilarating possibilities of a new self in a new world.
When we travel, we connect the external world with the one inside. On the best trips, these connections can become so complete that a kind of samadhi (union) is achieved: We transcend not just the barriers of language, custom, geography, and age but the very barriers of self, those illusory isolations of body and mind.
These moments do not last. We exit Notre-Dame, buy our ticket in Calcutta, climb back into our minivan in the Himalayas. But we come back from those moments—like the Japanese pilgrim I met—lighter and energized, with a refreshed sense of the meaning of life.
What I relearned on my circuit of Shikoku is that every journey is a pilgrimage. Every sojourn offers the chance to connect with a sacred secret: that we are all precious pieces of a vast and interconnected puzzle, and that every trip we take, every connection we make, helps complete that puzzle—and ourselves.
When I turned 29, all of a sudden out of nowhere I got this feeling that I wanted to write a novel — that I could do it. I couldn’t write anything that measured up to Dostoyevsky or Balzac, of course, but I told myself it didn’t matter. I didn’t have to become a literary giant. Still, I had no idea how to go about writing a novel or what to write about. I had absolutely no experience, after all, and no ready-made style at my disposal. I didn’t know anyone who could teach me how to do it, or even friends I could talk with about literature. My only thought at that point was how wonderful it would be if I could write like playing an instrument.
I had practiced the piano as a kid, and I could read enough music to pick out a simple melody, but I didn’t have the kind of technique it takes to become a professional musician. Inside my head, though, I did often feel as though something like my own music was swirling around in a rich, strong surge. I wondered if it might be possible for me to transfer that music into writing. That was how my style got started.
Whether in music or in fiction, the most basic thing is rhythm. Your style needs to have good, natural, steady rhythm, or people won’t keep reading your work. I learned the importance of rhythm from music — and mainly from jazz. Next comes melody — which, in literature, means the appropriate arrangement of the words to match the rhythm. If the way the words fit the rhythm is smooth and beautiful, you can’t ask for anything more. Next is harmony — the internal mental sounds that support the words. Then comes the part I like best: free improvisation. Through some special channel, the story comes welling out freely from inside. All I have to do is get into the flow. Finally comes what may
be the most important thing: that high you experience upon completing a work — upon ending your “performance” and feeling you have succeeded in reaching a place that is new and meaningful. And if all goes well, you get to share that sense of elevation with your readers (your audience). That is a marvelous culmination that can be achieved in no other way.
Practically everything I know about writing, then, I learned from music. It may sound paradoxical to say so, but if I had not been so obsessed with music, I might not have become a novelist. Even now, almost 30 years later, I continue to learn a great deal about writing from good music. My style is as deeply influenced by Charlie Parker’s repeated freewheeling riffs, say, as by F. Scott Fitzgerald’s elegantly flowing prose. And I still take the quality of continual self-renewal in Miles Davis’s music as a literary model.
One of my all-time favorite jazz pianists is Thelonious Monk. Once, when someone asked him how he managed to get a certain special sound out of the piano, Monk pointed to the keyboard and said: “It can’t be any new note. When you look at the keyboard, all the notes are there already. But if you mean a note enough, it will sound different. You got to pick the notes you really mean!”
I often recall these words when I am writing, and I think to myself, “It’s true. There aren’t any new words. Our job is to give new meanings and special overtones to absolutely ordinary words.” I find the thought reassuring. It means that vast, unknown stretches still lie before us, fertile territories just waiting for us to cultivate them.
-Haruki Murakami, from “Jazz Messenger”, an essay published in the NYTimes Sunday Book Review, 8 July 2007; translated by Jay Rubin