In Chapter 37 of Murakami's Kafka on the Shore, Upon arriving at the cabin, Oshima reemphasizes his belief that it is in the best interest of both Kafka and Miss Saeki to spend some time apart. Kafka concedes, albeit reluctantly, admitting that the uncertainty of seeing her again and not knowing if she reciprocates his intense feelings is difficult. Oshima points out that love involves embracing these doubts individually while also experiencing the joy it brings, requiring one to "wander through the dark" alone.

Before leaving, Oshima reminds Kafka once more to avoid venturing into the forest. He shares a story about soldiers who disappeared in these woods just prior to World War II, their fate unknown—whether they became lost or deserted. Oshima elaborates that the forest represents a parallel world to their own, easy to enter but challenging to exit, and likens it to a labyrinth. He mentions that ancient Mesopotamians studied the intricate, labyrinth-like patterns of animal and human intestines to predict the future, suggesting that the concept of a labyrinth exists both within Kafka and the surrounding woods. Entering the forest would be akin to stepping into Kafka's inner labyrinth. Oshima then takes his leave.

That night, Kafka's thoughts turn to Miss Saeki. Crow highlights that while Kafka is still a young boy full of curiosity and misunderstandings about the world, Miss Saeki possesses experiences and emotions beyond his comprehension. This realization causes Kafka to resent his youth. He longs to surpass the limitations of his age and body, wishing he could soar like a crow to her side, or have her appear—real or ghostly—in the cabin. However, Kafka remains alone and eventually succumbs to sleep.