Finally, not every question begs an answer before we proceed. Murakami’s novels often move through dreamlike corridors where meaning arrives obliquely—think Kafka on the Shore (2002) or The Wind-Up Bird Chronicle (1994–95). Likewise, your next line need not resolve the whole plot; it need only advance it. By leaving a margin for mystery, we make space for serendipity to collaborate with intention. The page may still tremble, but the story moves, and with it, so do we. [...]
