Midori Quotes

I loved Midori. And I had probably known as much for a while. I had just been avoiding the conclusion for a very long time. ~ Haruki Murakami

That does it for me, then. I'm not going to believe in any damned revolution. Love is all I'm going to believe in." "Peace," I said. "Peace," said Midori. ~ Haruki Murakami

How much do you love me?' Midori asked.
'Enough to melt all the tigers in the world to butter,' I said. ~ Haruki Murakami

I have no regrets because I know I did my best - all I could do. ~ Midori Ito

I really like you, Midori. A lot."
"How much is a lot?"
"Like a spring bear," I said.
"A spring bear?" Midori looked up again. "What's that all about? A spring bear."
"You're walking through a field all by yourself one day in spring, and this sweet little bear cub with velvet fur and shiny little eyes comes walking along. And he says to you, "Hi, there, little lady. Want to tumble with me?' So you and the bear cub spend the whole day in each other's arms, tumbling down this clover-covered hill. Nice, huh?"
"Yeah. Really nice."
"That's how much I like you. ~ Haruki Murakami

A true hero is the one who knows that often as not the dragon is in the damsel and not the other way around. ~ Midori Snyder

Again and again I called out for Midori from the dead centre of this place that was no place. ~ Haruki Murakami

You're really cute, Midori," I corrected myself.
"What do you mean really cute?"
"So cute the mountains crumble and the oceans dry up. ~ Haruki Murakami

Girls Who Rocked the World is full of inspiring stories about young women who demonstrate that people of all ages have the power to create change in the world. ~ Midori Goto

But I'm not hte only one to blame,' Midori continued. 'It's ture I've got a cold streak. I recognize that. But if they - my father and mother - had loved me a little more. I would have been able to feel more - to feel real sadness for example.'
'Do you think you weren't loved enough?'
She tilted her head and looked at me. Then she gave a sharp, little nod. 'Somewhere between 'not enough' and 'not at all.' 'I was always hungry for love. Just once, I wanted to know what it was like to get my fill of it - to be fed so much love I couldn't take any more. Just once. But they never gave that to me. Never, not once. ~ Haruki Murakami

You know what I like best about porn cinemas?"
"I couldn't begin to guess."
"Whenever a sex scene starts, you can hear this "Gulp!' sound when everybody swallows all at once," said Midori. "I love that "Gulp!' It's so sweet! ~ Haruki Murakami

I can't forgive myself. You tell me there's nothing I can do about a natural change in feelings, but my relationship with Naoko was not that simple. If you stop and think about it, she and I were bound together at the border between life and death. It was like that for us from the start."

"If you feel some kind of pain with regard to Naoko's death, I would advise you to keep on feeling that pain for the rest of your life. And if there's something you can learn from it, you should do that, too. But quite aside from that, you should be happy with Midori. Your pain has nothing to do with your relationship with her. If you hurt her any more than you already have, the wound could be too deep to fix. So, hard as it may be, you have to be strong. You have to grow up more, be more of an adult. I left the sanatorium and came all the way up here to Tokyo to tell you that---all the way on that coffin of a train. ~ Haruki Murakami

The song was the late Ishihara Yujiro's "Rusty Knife," and Sakaguchi's singing was so bad that it
gave the lyric a strange new pathos and poignancy. Listening to his version, Suzuki Midori was
reminded that no one ever said it would be easy to go on living in this world; Takeuchi Midori
pondered the noble truth that nobody's life consists exclusively of happy times; Henmi Midori
vowed to remember that it's best to keep an open heart and forgive even those who've
trespassed against us; and Tomiyama Midori had to keep telling herself that hitting rock bottom
is in fact the first step to a hopeful new future. ~ Ryu Murakami

Hey, what is it with you? Why are you so spaced out? You still haven't answered me."
I probably still haven't completely adapted to the world," I said after giving it some thought. "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."
Midori rested an elbow on the bar and looked at me. "There was something like that in a Jim Morrison song, I'm pretty sure."
People are strange when you're a stranger. ~ Haruki Murakami

Something presses on a part of the brain and makes people say all kinds of nasty things. You know it's just part of the sickness, but still, it hurts. Wha do you expect? Here I am, working my fingers to the bone for them, and they're saying all this terrible stuff to me. ~ Haruki Murakami

Messengers of Peace such as Midori - and our Goodwill Ambassadors, who work directly with the UN agencies - are dedicated and well-informed and credible advocates on behalf of the United Nations. They help us educate audiences worldwide and rally support on key issues of the United Nations. ~ Ban Ki-moon

I thought of how Midori had once articulated the idea of mono no aware, a sensibility that, though frequently obscured during cherry blossom viewing by the cacophony of drunken doggerel and generator-powered television sets, remains steadfast in one of the two cultures from which I come. She had called it "the sadness of being human." A wise, accepting sadness, she had said. I admired her for the depths of character such a description indicated. For me, sad has always been a synonym for bitter, and I suspect this will always be so. ~ Barry Eisler

The Fiddle Creek Steakhouse [in Stephenville, TX] started selling what they called an 'Alien Secretion' shot: ¾ shot of Malibu rum, ¾ shot of melon or Midori liqueur, ½ ounce of sweet and sour mix, ½ ounce of pineapple juice. ~ Steve Volk

(When asked "Was the model for Midori (a character in Norwegian Wood) modeled after your wife?")
I showed your message to my wife. She got mad and yelled: "What would make them think I was the model for Midori?!" She told me to fix the misunderstanding immediately, so that's why I'm writing this reply now. Please stop causing problems in my household. Thank you. ~ Haruki Murakami

After she had gone through most of the songs she knew, she sang an old one that she said she had written herself. I'd love to cook a stew for you But I have no pot. I'd love to knit a scarf for you But I have no wool. I'd love to write a poem for you But I have no pen. "It's called 'I Have Nothing,'" Midori announced. It was a truly terrible song, both words and music. I listened to this musical mess with thoughts of how the house would blow apart in the explosion if the gas station caught fire. Tired of singing, Midori put her guitar down and slumped against my shoulder like a cat in the sun. "How did you like my song?" she asked. I answered cautiously, "It was unique and original and very expressive of your personality." "Thanks," she said. "The theme is that I have nothing." "Yeah, I kinda thought so. ~ Haruki Murakami

Honesty comes only with sound health, physically and psychologically, and an honest mind cannot be separated from the most genuine acknowledgment of expression. It should be recognized that pure perfection is unobtainable. Therefore, the realization that one's irrevocable faults and deficiencies must be faced guides us toward the first step of learning. We must each accept any situation as it actually is, with dignity. In that fine balance of acceptance of self and the mission to better oneself, compassion, humility, and discipline are nurtured. ~ Midori Goto

The tale of the Monkey Girl gave me wat I needed most at a critical time in my life: the image of the creative and complex woman, unique to herself but willing to share those considerable gifts with a man capable of intuiting the wealth of her worth hidden beneath the skin. But more than that, the Monkey Girl also suggested that I need not be afraid of the fragile happily-ever-after, that I had resources of my own, and that I would not have to contort myself into a restrictive social role for fear of losing that fairytale ending. ~ Midori Snyder

Let me just tell you this, Watanabe," said Midori, pressing her cheek against my neck. "I'm a real, live girl, with real, live blood gushing through my veins. You're holding me in your arms and I'm telling you that I love you. I'm ready to do anything you tell me to do. I may be a little bit mad, but I'm a good girl, and honest, and I work hard, I'm kind of cute, I have nice boobs, I'm a good cook, and my father left me a trust fund. I mean, I'm a real bargain, don't you think? If you don't take me, I'll end up going somewhere else. ~ Haruki Murakami

Ever since I first read Midori Snyder's essay, 'The Armless Maiden and the Hero's Journey' in The Journal of Mythic Arts, I couldn't stop thinking about that particular strand of folklore and the application of its powerful themes to the lives of young women. There are many different versions of the tale from around the world, and the 'Armless Maiden' or 'Handless Maiden' are just two of the more familiar. But whatever the title, we are essentially talking about a narrative that speaks of the power of transformation – and, perhaps more significantly when writing young adult fantasy, the power of the female to transform herself. It's a rite of passage; something that mirrors the traditional journey from adolescence to adulthood.

Common motifs of the stories include – and I am simplifying pretty drastically here – the violent loss of hands or arms for the girl of the title, and their eventual re-growth as she slowly regains her autonomy and independence. In many accounts there is a halfway point in the story where a magician builds a temporary replacement pair of hands for the girl, magical hands and arms that are usually made entirely of silver. What I find interesting is that this isn't where the story ends; the gaining of silver hands simply marks the beginning of a whole new test for our heroine. ~ Karen Mahoney

Oh, don't get me started! I love fantasy, I read it for pleasure, even after all these years. Pat McKillip, Ursula Le Guin and John Crowley are probably my favorite writers in the field, in addition to all the writers in the Endicott Studio group - but there are many others I also admire. In children's fantasy, I'm particularly keen on Philip Pullman, Donna Jo Napoli, David Almond and Jane Yolen - though my favorite novels recently were Midori Snyder's Hannah's Garden, Holly Black's Tithe, and Neil Gaiman's Coraline.

I read a lot of mainstream fiction as well - I particularly love Alice Hoffman, A.S. Byatt, Sara Maitland, Sarah Waters, Sebastian Faulks, and Elizabeth Knox. There's also a great deal of magical fiction by Native American authors being published these days - Louise Erdrich's Antelope Wife, Alfredo Vea Jr.'s Maravilla, Linda Hogan's Power, and Susan Power's Grass Dancer are a few recent favorites.

I'm a big fan of Jane Austen, Charlotte Bronte, Charles Dickens, and Anthony Trollope - I re-read Jane Austen's novels in particular every year.Other fantasists say they read Tolkien every year, but for me it's Austen. I adore biographies, particularly biographies of artists and writers (and particularly those written by Michael Holroyd). And I love books that explore the philosophical side of art, such as Lewis Hyde's The Gift, Carolyn Heilbrun's Writing a Woman's Life, or David Abram's Spell of the Sensuous.

(from a 2002 interview) ~ Terri Windling

I made up my mind I was going to find someone who would love me unconditionally three hundred and sixty five days a year, I was still in elementary school at the time - fifth or sixth grade - but I made up my mind once and for all."

"Wow," I said. "Did the search pay off?"

"That's the hard part," said Midori. She watched the rising smoke for a while, thinking. "I guess I've been waiting so long I'm looking for perfection. That makes it tough."

"Waiting for the perfect love?"

"No, even I know better than that. I'm looking for selfishness. Perfect selfishness. Like, say I tell you I want to eat strawberry shortcake. And you stop everything you're doing and run out and buy it for me. And you come back out of breath and get down on your knees and hold this strawberry shortcake out to me. And I say I don't want it anymore and throw it out the window. That's what I'm looking for."

"I'm not sure that has anything to do with love," I said with some amazement.

"It does," she said. "You just don't know it. There are time in a girl's life when things like that are incredibly important."

"Things like throwing strawberry shortcake out the window?"

"Exactly. And when I do it, I want the man to apologize to me. "Now I see, Midori. What a fool I have been! I should have known that you would lose your desire for strawberry shortcake. I have all the intelligence and sensitivity of a piece of donkey shit. To ~ Haruki Murakami

Now get this straight, Watanabe," said Midori, pointing at me. "I'm warning you, I've got a whole month's worth of misery crammed inside me and getting ready to blow. So watch what you say to me. Any more of that kind of stuff and I'll flood this place with tears. Once I get started, I'm good for the whole night. Are you ready for that? I'm an absolute animal when I start crying, it doesn't matter where I am! I'm not joking. ~ Haruki Murakami