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1Q84, by Haruki Murakami
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“Murakami is like a magician who explains what he’s doing as he performs the trick and still makes you believe he has supernatural powers . . . But while anyone can tell a story that resembles a dream, it's the rare artist, like this one, who can make us feel that we are dreaming it ourselves.” —The New York Times Book Review
The year is 1984 and the city is Tokyo.
A young woman named Aomame follows a taxi driver’s enigmatic suggestion and begins to notice puzzling discrepancies in the world around her. She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.
As Aomame’s and Tengo’s narratives converge over the course of this single year, we learn of the profound and tangled connections that bind them ever closer: a beautiful, dyslexic teenage girl with a unique vision; a mysterious religious cult that instigated a shoot-out with the metropolitan police; a reclusive, wealthy dowager who runs a shelter for abused women; a hideously ugly private investigator; a mild-mannered yet ruthlessly efficient bodyguard; and a peculiarly insistent television-fee collector.
A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell’s—1Q84 is Haruki Murakami’s most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers.
- Sales Rank: #43287 in Books
- Published on: 2011-10-25
- Released on: 2011-10-25
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.40" h x 2.10" w x 6.30" l, 2.85 pounds
- Binding: Hardcover
- 944 pages
Amazon.com Review
Amazon Best Books of the Month, October 2011: The year is 1984, but not for long. Aomame, on her way to meet a client--the gravid implications of which only come clear later--sits in a taxi, stuck in traffic. On a lark, she takes the driver's advice, bolts from the cab, walks onto the elevated Tokyo expressway, descends an emergency ladder to the street below, and enters a strange new world.
In parallel, a math teacher and aspiring novelist named Tengo gets an interesting offer. His editor has come upon an entry for a young writer's literary prize, a story that, despite its obvious stylistic drawbacks, strikes a deeply moving chord with those who've read it. Its author is a mysterious 17-year-old, and the editor proposes that Tengo quietly rewrite the story for the final round of the competition.
So begins Haruki Murakami's magnus opus, an epic of staggering proportions. As the tale progresses, it folds in a deliciously intriguing cast of characters: a physically repulsive private investigator, a wealthy dowager with a morally ambiguous mission, her impeccably resourceful bodyguard, the leader of a somewhat obscure and possibly violent religious organization, a band of otherworldly "Little People," a door-to-door fee collector seemingly immune to the limits of space and time, and the beautiful Fuka-Eri: dyslexic, unfathomable, and scarred.
Aomame names her new world "1Q84" in honor of its mystery: "Q is for 'question mark.' A world that bears a question.'" Weaving through it, central motifs--the moon, Janáček's Sinfonietta, George Orwell's 1984--acquire powerful resonance, and Aomame and Tengo's paths take on a conjoined life of their own, dancing with a protracted elegance that requires nearly 1,000 pages to reach its crowning denouement.
1Q84 was a runaway best seller in its native Japan, but it's more instructive to frame the book's importance in other ways. For one, it's hard not to compare it to James Joyce's Ulysses. Both enormous novels mark their respective author's most ambitious undertaking by far, occupy an artificially discrete unit of time (Ulysses, one day; 1Q84, one year), and can be read as having a narrative structure that evinces an almost quantum-mechanical relationship to reality, which is not to say that either author intended this.
More to the point, the English translation of 1Q84--easily the grandest work of world literature since Roberto Bolaño's 2666--represents a monstrous literary event. Now would somebody please award Murakami his Nobel Prize? --Jason Kirk
Review
“A book that . . . makes you marvel, reading it, at all the strange folds a single human brain can hold . . . A grand, third-person, all encompassing meganovel. It is a book full of anger and violence and disaster and weird sex and strange new realities, a book that seems to want to hold all of Japan inside of it . . . Murakami has established himself as the unofficial laureate of Japan—arguably its chief imaginative ambassador, in any medium, to the world: the primary source, for many millions of readers, of the texture and shape of his native country . . . I was surprised to discover, after so many surprising books, that he managed to surprise me again.”
—Sam Anderson, The New York Times Magazine
“Profound . . . A multilayered narrative of loyalty and loss . . . A fully articulated vision of a not-quite-nightmare world . . . A big sprawling novel [that] achieves what is perhaps the primary function of literature: to reimagine, to reframe, the world . . . At the center of [1Q84’s] reality . . . is the question of love, of how we find it and how we hold it, and the small fragile connections that sustain us, even (or especially) despite the odds . . . This is a major development in Murakami’s writing . . . A vision, and an act of the imagination.”
—David L. Ulin, Los Angeles Times
“Murakami is clearly one of the most popular and admired novelists in the world today, a brilliant practitioner of serious, yet irresistibly engaging, literary fantasy . . . Once you start reading 1Q84, you won’t want to do much else until you’ve finished it . . . Murakami possesses many gifts, but chief among them is an almost preternatural gift for suspenseful storytelling . . . Despite its great length, [his] novel is tightly plotted, without fat, and he knows how to make dialogue, even philosophical dialogue, exciting . . . Murakami’s novels have been translated into a score of languages, but it would be hard to imagine that any of them could be better than the English versions by Jay Rubin, partnered here with Philip Gabriel . . . There’s no question about the sheer enjoyability of this gigantic novel, both as an eerie thriller and as a moving love story . . . I read the book in three days and have been thinking about it ever since.”
—Michael Dirda, The Washington Post
“Fascinating . . . A remarkable book in which outwardly simple sentences and situations snowball into a profound meditation on our own very real dystopian trappings . . . One of those rare novels that clearly depict who we are now and also offer tantalizing clues as to where literature may be headed . . . I’d be curious to know how Murakami’s yeoman translators Jay Rubin and Philip Gabriel divided up the work . . . because there are no noticeable bumps in the pristine and deceptively simple prose . . . More than any author since Kafka, Murakami appreciates the genuine strangeness of our real world, and he’s not afraid to incorporate elements of surrealism or magical realism as tools to help us see ourselves for who we really are. 1Q84 is a tremendous accomplishment. It does every last blessed thing a masterpiece is supposed to—and a few things we never even knew to expect.”
—Andrew Ervin, The San Francisco Chronicle
“[1Q84] is fundamentally different from its predecessors. We realize before long that it is a road. And what the writer has laid down is a yellow brick road. It passes over stretches of deadly desert, to be sure, through strands of somniferous poppies, and past creatures that hurl their heads, spattering us with spills of kinked enigma. But the destination draws us: We crave it, and the craving intensifies as we go along (unlike so many contemporary novels that are sampler menus with neither main course nor appetite to follow). More important, the travelers we encounter, odd and wildly disparate as they are, possess a quality hard to find in Murakami’s previous novels: a rounded, sometimes improbable humanity with as much allure as mystery. It is not just puzzlement they present, but puzzled tenderness; most of all in the two leading figures, Aomame and Tengo. Converging through all manner of subplot and peril, they arouse a desire in us that almost mirrors their own . . . Murakami makes us want to follow them; we are reluctant to relinquish them. Who would care about the yellow brick road without Scarecrow’s, Woodman’s and Lion’s freakiness and yearning? What is a road, particularly Murakami’s intricately convoluted road, without its human wayfarers?”
—Richard Eder, The Boston Globe
“1Q84 is one of those books that disappear in your hands, pulling you into its mysteries with such speed and skill that you don’t even notice as the hours tick by and the mountain of pages quietly shrinks . . . I finished 1Q84 one fall evening, and when I set it down, baffled and in awe, I couldn’t help looking out the window to see if just the usual moon hung there or if a second orb had somehow joined it. It turned out that this magical novel did not actually alter reality. Even so, its enigmatic glow makes the world seem a little strange long after you turn the last page. Grade: A.”
—Rob Brunner, Entertainment Weekly
“A 932-page Japanese novel set in Tokyo in which the words ‘sushi’ and ‘sake’ never appear but there are mentions of linguine and French wine, as well as Proust, Faye Dunaway, The Golden Bough, Duke Ellington, Macbeth, Churchill, Janáèek, Sonny and Cher, and, give the teasing title, George Orwell? Welcome to the world of Haruki Murakami . . . A symmetrical and multi-layered yarn, as near to a 19th-century three-decker as it is possible to be . . . The label of fantasy-realism has been stuck to it, but it actually has more of a Dickensian or Trollopian structure . . . Explicit, yet subtle and dream-like, combining viciousness with whimsy . . . this is Murakami’s unflagging and masterful take on the desire and pursuit of the Whole.”
—Paul Theroux, Vanity Fair
“Do you miss the girl with the dragon tattoo? Do you long for the thrill of following her adventures again through three volumes of exciting, intelligent fiction? If so, I have good news for you. She’s got a sort of soul sister in one of the two main characters in Haruki Murakami’s wonderful novel 1Q84 . . . With more than enough narrative and intellectual heft to make it enjoyable for anyone with a taste for moving representations of modern consciousness in the magical realist mode, this story may easily carry you away to a new world and keep you there for a long time . . . The deep and resonant plot . . . unfolds at a leisurely pace but in compelling fashion by luring us along with scenes of homicidal intrigue, literary intrigue, religious fanaticism, physical sex, metaphysical sex and asexual sex. And music . . . Murakami’s main characters find themselves drawn toward each other as irresistibly, magnetically, hypnotically, soulfully and physically as any characters in Western fiction. Given the plain-spoken but appealing nature of the prose (translated by Jay Rubin and Philip Gabriel), most of you will feel that same power as an insinuating compulsion to read on, despite the enormous length, hoping against hope for a happy ending under a sky with either two moons or one. Two moons—two worlds—a girl with—900 pages—1Q84 is a gorgeous festival of words arranged for maximum comprehension and delicious satisfaction.”
—Alan Cheuse, NPR
“Murakami’s new novel is the international literary giant at his uncanny, mesmerizing best . . . The spell cast by Murakami’s fiction is formed in the tension between his grounded accounts of everyday life and the otherworldly forces that keep intruding on that life, propelling the characters into surreal adventures . . . Translation is at the center of what Murakami does; not a translation from one tongue to another, but the translation of an inner world into this, the outer one. Very few writers speak the truths of that secret, inner universe more fluently.”
—Laura Miller, Salon
“Bewitching and extraordinarily unsettling . . . Part noir crime drama, part love story, and part hallucinatory riff on 1984 . . . Murakami paces a story as well as any writer alive. He knows how to tell a love story without getting cute. He understands how to blend realism and fantasy (magical realism if you want to get all literary about it) in just the right proportions. And he has a knack for writing about everyday matters—fixing dinner, going for a walk—in such a way that the events at hand, no matter how mundane, are never boring . . . Most impressive, he knows how to inject the logic and atmosphere of dreams into his fiction without becoming coy or vague. He’s Kafka-esque to the extent that he’s not interested in why or how a man may have turned into an insect overnight, but in how the man deals with his new situation. And like Beckett, he furnishes his dreamscapes with a mere handful of carefully chosen props—a tree, a streetlight, a playground sliding board—specifics that ground a scene but leave room for the reader to fill in details. This is perhaps the key point: he makes you, the reader, his collaborator. What he leaves out is as important as what he includes, because it encourages you to fill in the blanks in the canvas . . . Murakami is one of the very few novelists—Dickens comes most easily to mind—who can make a serious, play-by-the-rules reader cheat and jump ahead to find out what’s happened to a character . . . Even while we are being entertained by the weirdness of the world he’s creating, we feel a gnawing anxiety that this same book is unraveling our own sense of normality. You don’t know where things are going while you read it, and you can’t say exactly where you’ve been when you’re finished, but everything around you looks different somehow. If this is fiction as funhouse, it is very serious fun, and you enter at the risk of your own complacency.”
—Malcolm Jones, Newsweek
“If you haven’t previously read Murakami . . . this is a good introduction to his Lewis-Carroll-meets-Mister-Rogers style, a distinctive blend of the wild and the ordinary that can be as engaging as Wonderland itself. If you’ve read his previous book, you’ll find a lot to enjoy here . . . 1Q84 has a big, romantic heart and deserves to be celebrated on our shores.”
—Josh Emmons, People (3.5/4 stars)
“[1Q84] gets off to a vintage Murakami start: eerie wrinkles in an otherwise ordinary Tokyo day. A woman stuck in traffic decides to get out and walk. A struggling novelist is roped into a shady writing project. But with every page, the ready edges closer to an Orwellian rabbit hole. And when the plunge comes, it brings all the trippy delights of Murakami’s unsettling imagination: a vanishing, a parallel world with two moons, and ‘Little People’ who make Big Brother look like an oaf.”
—Devin Gordon, GQ
“Voracious visionary Haruki Murakami’s 1Q84 mixes down-the-rabbit-hole fantasy with out-there science fiction for a superhefty but accessible adventure.”
—Lisa Shea, Elle
“Powerful . . . In 1Q84, award-winning Japanese novelist Haruki Murakami skips between alternate worlds, offering readers a moving love story in what is perhaps his most ambitious novel yet . . . An unstoppably readable, deeply moving love story that cements Murakami’s reputation as a uniquely compassionate and imaginative novelist who’s among the leading voices of his global generation . . . Murakami likes to blur the boundaries of reality, and in this sense 1Q84 is his most intricate work . . . Aomame and Tengo work their way towards each other and out of the year 1Q84 like divers straining for the surface. Finishing the book I felt as if I, too, were coming to the surface; days later the world still does not feel the way it used to.”
—Kevin Hartnett, The Christian Science Monitor
“1Q84 is extraordinarily ambitious . . . Beguiling and ridiculously entertaining . . . Murakami has created the big, beautiful book so many people have been waiting for. Before it even arrived in this country, 1Q84 was one of the most chattered-about titles of the fall. We got our hopes up—and he didn’t let us down.”
—Kevin Canfield, The Kansas City Star
“Murakami has created his genuine masterpiece, one that reaches out to fans while also satisfying the critics who have called for a more deft use of symbolism and literary worldliness in his work . . . In this book, Murakami simplifies his familiar artistic elements, leaving us with a readable pair of intertwined stories that wind up on the same, enjoyable track. For readers willing to enter Murakami’s literary marathon, the outcome will be one to remember.”
—Jeremy C. Owens, San Jose Mercury News
“Lose yourself in the nearly 1,000 pages of Murakami’s alternately mesmerizing and menacing world, living for large stretches of each day with its characters, and time actually shifts and becomes harder to measure—one of the many themes, as it happens, in this big and brilliant book . . . It’s the quest for such shared experience, between writer and reader in the dream world they inhabit together, that explains why we read fiction—that magical carpet whisking us from the lonely prison of the self into the hearts and minds of others . . . It may not be easy traveling to another world; it’s often hard enough getting around in our own. But what is true for this novel’s determined protagonists will go double for its faithful readers: Take the time to get carried away, and time itself—as well as the way you think about how you spend yours—will take on new dimensions. It’s a mind-blowing experience. Great novels always are.”
—Mike Fischer, Milwaukee Journal Sentinel
“[A] masterwork . . . [Murakami has] crafted what may well become a classic literary rendering of pre-2011 Japan . . . Orwell wrote his masterpiece to reflect a future dystopia through a Cold War lens . . . Similarly, Murakami’s 1Q84 captures attitudes and circumstances that characterize Japanese life before the March earthquake-tsunami-nuclear disaster. Reading 1Q84, once can’t help but sense already how things have changed.”
—Lee Makela, Cleveland Plain Dealer
“Always intriguing . . . 1Q84 is a huge novel in every sense . . . putting it down is not an option . . . The reader who steps into its time flow only reluctantly comes ashore.”
—Sherryl Connelly, New York Daily News
“1Q84 is a tremendous feat and a triumph . . . A must-read for anyone who wants to come to terms with contemporary Japanese culture.”
—Lindsay Howell, Baltimore Examiner
“Perhaps one of the most important works of science fiction of the year . . . 1Q84 does not disappoint . . . [It] envelops the reader in a shifting world of strange cults and peculiar characters that is surreal and entrancing.”
—Matt Staggs, Suvudu.com
“There’s no denying that Haruki Murakami’s 1Q84 . . . is an impressive achievement, both for its already accomplished author and for the two separate translators who took on the not inconsequential task of translating the book from Murakami’s native Japanese into English. Equally impressive is the author’s facility at working in this long form—the story moves, it seems, effortlessly through hundreds of pages, and the reader, too, glides easily from page to page as if the book were a third of its length . . . What’s most remarkable about Murakami’s novel, however, is neither its prose style nor its accompanying emotional distance: it’s its scope. Most so-called doorstopper novels contain multitudes of characters, conflicts, decades, or even footnotes. 1Q84, at its heart, is primarily a story of two separated lovers. It takes place in a short time frame and in a single city, but it’s enriched by Murakami’s philosophical musings and his uniquely visionary form of fantasy.”
—Norah Piehl, BookReporter.com
“Murakami’s dystopian magnum opus . . . 1Q84 unfolds as a science-fiction thriller, and despite the pointed Orwellian reference, it is closer in spirit to the work of Philip K. Dick. Fantastic elements seamlessly integrate with the mundane to create a world much like, if not quite like, our own . . . The supporting cast . . . is lovingly lifted from classic pulp fiction archetypes, and roots the novel in the noir mystery genre as well. Pulp fiction, indeed, but on a grand scale—as ambitious, quirky and imaginative as only Murakami can be.”
—Robert Weibezahl, BookPage
“Murakami’s trademark plainspoken oddness is on full display in this story of lapsed childhood friends Aomame and Tengo, now lonely adults in 1984 Tokyo, whose destinies may be curiously intertwined . . . Murakami’s fans know that his focus has always been on the quiet strangeness of life, the hidden connections between perfect strangers, and the power of the non sequitur to reveal the associative strands that weave our modern world. 1Q84 goes further than any Murakami novel so far, and perhaps further than any novel before it, toward exposing the delicacy of the membranes that separate love from chance encounters, the kind from the wicked, and reality from what people living in the pent-up modern world dream about when they go to sleep under an alien moon.”
—Publishers Weekly (starred review)
“Unquestionably Murakami’s most vividly imagined parallel world . . . Gradually but inexorably, the tension builds, as we root passionately for Tengo and Aomame to find one another and hold hands again, so simple a human connection offering a kind of oasis in the midst of the unexplainable and the terrifying. When Murakami melds fantasy and realism, mystery and epic, it is no simple genre-bending exercise; rather, it is literary alchemy of the highest order.”
—Bill Ott, Booklist (starred review)
“Ambitious, sprawling and thoroughly stunning . . . Orwellian dystopia, sci-fi, the modern world (terrorism, drugs, apathy, pop novels)—all blend in this dreamlike, strange and wholly unforgettable epic.”
—Kirkus Reviews (starred review)
“At the core of this work is a spectacular love story about a girl and a boy who briefly held hands when they were both ten. That said, with the fiercely imaginative Murakami as author, the story’s exposition is gloriously labyrinthine . . . Originally published in Japan as three volumes, each of which were instant best sellers, this work—perhaps Murakami’s finest—will surely have the same success in its breathlessly anticipated all-in-one English translation. Murakami aficionados will delight in recognizing traces of earlier titles, especially A Wild Sheep Chase, Norwegian Wood, and even Underground.”
—Terry Hong, Library Journal (starred review)
About the Author
Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages, and the most recent of his many international honors is the Jerusalem Prize, whose previous recipients include J. M. Coetzee, Milan Kundera, and V. S. Naipaul.
Most helpful customer reviews
468 of 513 people found the following review helpful.
Review from a long time fan
By las cosas
I am rushing this review to warn other Murakami fans (fanatics?) that this one starts out surprisingly slow. It wasn't until Part 2 that the pace started approaching a typical Murakami. I am also warning those who have never read Murakami before that that is NOT the novel to start with.
As always with his novels, it is of little value to attempt a plot summary. Cults and Little People and two moons? Yep, sounds like Murakami. In fact you can open the book to any section and after a few minutes know that you can be reading no author other than Murakami. It is a highly unusual voice, and comes through as distinctively in this as in his other books.
There are two main characters, a man and a woman who knew each other as children. Both had typically Murakami odd lonely childhoods, and though they haven't seen each other since they were young, both continue to remember the other with a particular intensity. In alternating chapters we follow the lives of these two, and soon we figure out that their stories are slowly (oh so slowly) leading towards each other.
As always, I am immensely enjoying reading this book. But I do have reservations. The book is too long, maybe 1/3rd too long. A typical feature in his books is to present an idea, an object, a reference from one perspective, and then repeat it, often multiple times, from other perspectives. Only through these repeated narrow views does the reader begin to piece together the true import of what is being presented. This layering of perspectives, added to the unusual nature of what is being seen, is core to the world Murakami unveils to us in his fiction. The problem in this book is that the perspectives are over-layered and at some point lose their power. I was thoroughly sick of the Little People, two moons, 1Q84... the entire "other" world way before it even really appears. There are insufficient ideas for the size of the book, and this increasingly claustrophobic duality of the 2 worlds and 2 characters coming increasingly close simply gets old after a few hundred pages.
I've read every single book by Murakami, including the non-fiction cult and running books, but this is the only one that has not 100% engaged me. His characters are usually somewhat flat, and it works well for the hyper-active worlds these characters inhabit. But that same flatness continued for almost 1,000 pages is tough. Without the characters as a strong focus for the readers, you are forced to concentrate on the events as the main focus of the book, and following flat characters through a dizzying world of ever accelerating events left this reader exhausted. I expect to have my reactions mediated through the characters actually living those events. But because these two characters are emotionally stunted I found myself almost ignoring their responses as my mind leapt straight into the events themselves.
I realize this is a less than coherent review, but I am trying to explain how this book by one of my favorite authors has so far left me alternately bored and exhausted, yet I can still recommend it to fans of Murakami, since we've been without a novel from him for too long.
378 of 429 people found the following review helpful.
"Don't think too hard about this stuff. This is the magnificent world of a picaresque novel"
By Shashank Singh
The above is a quote from this book, and well worth taking to heart. I take Jung's advice on dream images when reading a Murakami novel: don't try to unravel the underlying/hidden meaning, just stay with the images and let them move you and revel their meaning/feeling slowly.
There are images in this novel that will stay with me for years.
I'm a big fan and this is certainly one of his best novels, right there with works like The Wind Up Bird Chronicle, Norwegian Wood, and Hard Boiled Wonderland and the End of the World. Like all those works, reading the novel felt like slowly sinking into a well of dreams, and being enveloped in a mood of curiosity and off hand beauty/absurdity.
Some of the early reviews seem to be complaining about the book being repetitious, and the characters being too passive. All I can say is, this must be the first Murakami books you've read. This describes many of his books.
The passivity of the characters is actually essential to this book which deals with a world bereft of meaningful stories, and people susceptible to meaning that gives the false impression of depth [cults in this case].
Repetition is a form of making real in Murakami. The meanings are in the images, the images often begin as shadows, the novel takes those shadows and through echoes like a jazz song it breaths life into them: sometimes quite literally as in his book Hard Boiled Wonderland. I love it, but someone not used to it might find it odd.
As far as the more fantastic elements, I'll let Murakami speak for himself:
"I don't want to persuade the reader that it's a real thing; I want to show it as it is. In a sense, I'm telling those readers that it's just a story--it's fake. But when you experience the fake as real, it can be real. It's not easy to explain.
In the nineteenth and early twentieth centuries, writers offered the real thing; that was their task. In War and Peace Tolstoy describes the battleground so closely that the readers believe it's the real thing. But I don't. I'm not pretending it's the real thing. We are living in a fake world; we are watching fake evening news. We are fighting a fake war. Our government is fake. But we find reality in this fake world. So our stories are the same; we are walking through fake scenes, but ourselves, as we walk through these scenes, are real. The situation is real, in the sense that it's a commitment, it's a true relationship. That's what I want to write about." - 2004
To me this captures what I resonate with in Murakami's fiction: finding reality in simple things[cooking, having a bear, off hand conversations, relationships, music, art, thinking] in a world that is surreal or hyperreal much of the time. Even the surreal when followed deeper always leads to more reality not less in Murakami, you just can't cop out along the way, like how so many other postmodern writers do, you got to go deep into the well to use a often repeated Murakami image.
So overall, if you enjoy his works like me, this is a must read and a good time : If you've never read him, you might want to start with something shorter[I'd recommend Hard boiled wonderland].
P.S. The initial review was based on the first two books[UK edition], and now just having finished the third part [US edition] I can honestly say I felt satisfied with the ending. Murakami is very hit and miss with endings in my book, but this one worked for me. Also there are some great secondary characters here, my favorite overall might well be the private detective who shows up more prominently in the third book.
678 of 841 people found the following review helpful.
Cue Over-dramatic Self-realization...
By Chris Fiorillo
Imagine everything you love about your favorite cocktail; the way the ingredients intermingle, often with hints of flavors that, while unbearable on their own, blend magnificently with others to create a mixed concoction to stimulate even the most nether regions of the human tongue. Now dump your glass into a gallon jug. Fill the jug to the 3/4 mark with water. Then add clam juice, tabasco sauce, maple syrup, nutmeg, and vanilla extract til you get to the top. Voila! You've got 1Q84. Drink it down, consumers.
I'm currently 720 pages in and have resorted to skipping whole paragraphs. Why I feel the need to continue despite a blossoming blase could perhaps best be explained by my previous Murakami experience- I first read all of his books within a span of 10 days using a flood light outside of my hotel in Singapore. Despite this I just can't see the point of 1Q84 (other than length, of course). Put simply, 1Q84 is a meandering odyssey to nowhere in particular.
Reading 1Q84, you'll find that many of Murakami's "trademarks" are present: the contrast of an ultra-sentimental/nostalgic (natsukashii -_-) love story to its surreal sci-fiesque backdrop; minute details of each character's appearance and daily routine to make up for an otherwise flat individual; allusions to Western artists galore. What 1Q84 fails to provide is something to tie everything together into a neat little package to make me care what happens. The two main characters are eternally and subliminally united by troubled youths, voided personalities, and a single hand grab decades prior to the events of the story. My advice to Murakami is that when you're building a love story on such a thin and unrealistic connection, no matter how many times you recite their devotion to finding one another, having little people coming out of goats' mouths saying "ho ho" at random intervals throughout the book is enough to distract me from the central plot. Never mind all the other random and unresolved "supernatural" events that take place and there are many. In other words- it takes such a large extension of my "benefit of the doubt" to buy into this nearly unbelievable love connection (the pursuit of which is the closest thing to a unifying plot you'll find here) that the inclusion of such random and jolting distractions just made me abandon any wish to connect to or identify with any element of the story. Ho ho!
A few other things I found disagreeable:
- Question: How many times per chapter can a character come to some sort of "OHHH... I thought things were THIS way, but it turns out they're THAT way" conclusion? Answer: At least 3-7 on average. Factor this out over 920ish pages and you have a very very annoying method of character and plot development. I reckon there are about 100 of these sentences with barely any variation. Ho ho! This is not an exaggeration.
- The same criticism holds true of the characters' thoughts on whatever world they might be in at a given time. Let's just all agree that something odd is going on and just do away with these OMG moments. Hard Boiled did this bluntly; Kafka was the ideal subdued approach. 1Q84 is just awkward in the same way as my first criticism. Paraphrased sample: "And then Tengo finally realized that at some point, the world he had known had become this new and different world, like a train switching tracks." There. I summarized about 60 pages of text. Ho ho!
- The sex scenes are just terrible. Superfluous breast descriptions probably amount to 6 pages of text. I remember reading a review on here that described these segments as being "borderline pornographic." I assure you, if they were anything close to being borderline pornographic I would have been far more interested. However if the reviewer meant that in the sense that they are contrived and artificial then I would agree 100%. And Murakami is usually so capable when it comes to meaningful sexual moments! Alas, it pains me to say that 1Q84 fails miserably in this respect. I recall better examples, such as those with Kafka and his maybe sister (the one on the bus sticks out (pun intended *teehee*)- tasteful and poignant). Ho ho! Ayn Rand would make for a better writer of erotic fiction than the Murakami of 1Q84, and that makes me cry a little inside.
- Unbearably redundant at times. Case in point: How many pages do we need to explain the same physical characteristics of Ushikawa? Probably about 14, but I don't care enough to go back and count. These useless details just thump into you. Ho ho! After a while I found myself just skipping pages of the same descriptions. This is filler, not literature.
These are not the only flaws present, but are such that they will remain flaws no matter how the rest of the book turns out.
Bottom line? If you really want to read 900+ pages of Murakami, read Norwegian Wood, Kafka on the Shore, and maybe Wind-up Bird Chronicle. If it were less than 600 pages I'd have given it a second star. I'm off to make myself a pot of coffee and finish this turd so I can move on to greener pastures.
UPDATE: Finished the book. I give the ending a "Meh +" but my relief at finally being done may have colored that. For some reason it feels as if there were no middle of the book... like the middle of the book and first and last parts were in some totally different WORLD. Get it? I'm mocking an oft-used phrase. Ho ho! Remember that sentence format because you will encounter it dozens of times. (Maybe the little people and I were just from an entirely different WORLD. Something something THIS world, compared to something something THAT world. Look at me trying to figure things out. I'm a character in 1Q84, which is like 1984 but in a different WORLD.)
Looking back on the experience, it seems like 1Q84 parallels my own writing style when it comes to longer school papers: 1) Start with a quirky thesis/topic in which readers can see potential for enjoyment and profoundness; 2) Realize that this is a 25 page paper, that I have only one page done, and that it's due tomorrow; 3) Write 20 pages or so of gibberish that loosely develops some kind of discussion, leading readers meandering down meaningless tangents never to be resolved (Ho ho!); 4) See that it's already 4 A.M. and wrap things up (for the most part) in a page in 15 minutes.
In summation- This book is arbitrary and ****ing long. Like I said before: if you're after good Murakami (ESPECIALLY if you're from the WORLD of new readers) here is not the place to start. And this is coming from a very big fan of his. I wonder if Knopf kept hectoring reviewers until they said something nice about it. Oh, and Chip Kidd is an excellent graphic designer. But please do not let 1Q84 turn you off to one of the world's best authors of contemporary fiction.
I'm glad that at least The New York Times agrees with me. Ho ho!
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