| | |  | Security Jobs | Home » » 1Q84 | | | | | | | Description: | | “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. | | | Product Details: | | | Author:
| Haruki Murakami | | Hardcover:
| 944 pages | | Publisher:
| Knopf | | Publication Date:
| October 25, 2011 | | Language:
| English | | ISBN:
| 0307593312 | | Product Length:
| 6.42 inches | | Product Width:
| 1.82 inches | | Product Height:
| 9.4 inches | | Product Weight:
| 2.76 pounds | | Package Length:
| 9.29 inches | | Package Width:
| 6.14 inches | | Package Height:
| 1.97 inches | | Package Weight:
| 2.78 pounds | | Average Customer Rating:
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186 of 209 found the following review helpful:
Review from a long time fanOct 25, 2011
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.
263 of 304 found the following review helpful:
"Don't think too hard about this stuff. This is the magnificent world of a picaresque novel"Oct 25, 2011
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.
304 of 358 found the following review helpful:
Cue Over-dramatic Self-realization...Nov 23, 2011
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!
99 of 118 found the following review helpful:
What happened?Nov 14, 2011
By briefingforadescentintoliterature I have also read all of Murakami's books, including the short story collections, Pinball, and his book on running. As I read through all of his previous books, I was mesmerized, unable to put the book(s) down, often reading or re-reading them in a single day. Frequently, I have had the rather strange experience of feeling like my mind was being opened, not merely creatively, but physically, even feeling like I was losing my grip on this world - and no, that isn't a normal experience for me. However, almost immediately, as I began IQ84, I was disappointed.
The beginning of the book hardly even seemed like Murakami and I had the distinct feeling that he was pushing himself to write rather than being internally driven to expression as in all of his prior books. Instead of the book flowering creatively and dynamically from some unconscious well into a new world, this one seemed crafted logically, and philosphers (Camus excepted) are rarely great fiction writers. Because of this predetermined path that Murakami seems to have for this novel, he apparently failed to realize some rather silly mistakes, particularly in places where he was attempting to move the plot forward, using artifical means to get to where he wanted the plot to be.
The initial conversation with Fuka-Eri's guardian is a great example. The guardian is talking about how concerned he was for Fuka-Eri's parents who had seemingly disappeared within the religious cult of Sakigake and how he was attempting to find out more about them but hitting a brick wall. The problem is those parents had apparently abandoned their 10 year old daughter, and the parents last known whereabouts are within Sakigake, as founding members. Wouldn't the easiest thing, and most logical thing, be to simply go to the police and say, "Hey this is the 10 year old daughter of some close friends of mine who were running Sakigake, who just came mysteriously to my house and we need to find out what happened to her parents." I don't know how it works in Japan, but here in the U.S. the parents would be found and charged with abandonment if their 10 year old just ran off and they didn't try to find her, or have any idea where she was at. Instead, the Professor did all this other ridiculous stuff, from the outside, never telling the police anything...huh? It makes no sense. Then, at the end of the conversation with the Professor, Tengo asks him if he has permission to re-write Air Chrysalis... Uhm...he's not the legal guardian of Fuka-Eri, as the Professor pointed out in detail since he never went to the police and created any sort of legal guardianship, so how can he give any kind of permission that matters?
Another problem, in a similar vein, had to do with the discussions between Ayumi and Aomame. The sexual conversations between Aomame and Ayumi seemed ridiculous. I think Murakami is much better at observing women through the eyes of a main male character than creating an authentic female voice through a female character, at least he doesn't do a good job here. In fact, in some of his past novels his female characters have poked fun at the main male character for knowing nothing about women...I think this might be accurate in some sense for Murakami. I kind of felt like I was reading an article from a guy, pretending to be a girl, writing about a lesbian experience to Penthouse magazine. Maybe Japanese women are different than American women, but it just didn't ring through as authentic with me, so it stuck out like a sore thumb. Women are generally more protective of each other and sensitive than Murakami portrayed Ayumi, particularly when she was a woman who had been sexually abused in her childhood. "It was like a porno", Ayumi says after her night of having a foursome with Aomame with two strange men, where Aomame doesn't even remember what happens but realizes from the mornings physical sensations, that she had anal sex with one of the men...that strikes me as what a guy would say after a night like that, not what a woman would say. As I was reading this passage, my first thought was that Aomame had been dropped GHB, or some similar drug and raped. That was certainly a reasonable concern and given that Aomame didn't know Ayumi that well, she should have been concerned that this "friend" might somehow have been involved in getting her raped. Instead, she takes it all in stride like it was no big deal.
There were parts where the usual best Murakami was still shining through, enough of them to get me to read the book to the end, but there were way too many spots where he was taking liberties with the characters to move the plot in the direction he wanted rather than letting the story grow naturally. the character Ushikawa is a great example of this. Basically, out of thin air Ushikawa figures out everything that has happened to the Sakigake Leader, then he starts looking for evidence of what he already knows and only because he figured it out in a flash of brilliant insight was he able to start uncovering the pieces that link the Leader's fate back to the other characters. That isn't how things really happen, but Murakami apparently couldn't figure out another way of getting where he wanted the story to go.
Having read all of Murakami's prior novels, I was always left with the feeling that Murakami was a truly and unique and amazing writer. The best writers hit foul balls from time to time, but Murakami never seemed to. Every novel was amazing in its own right, and each novel was casually and creatively linked to all the others in various ways. It almost seemed to me as if Murakami was putting together a series of linked islands that collectively explained the workings of the mind, consciously and unconsciously, and thus the world itself, as it appears and as it may be behind those appearances. More importantly, I felt that through his novels he was opening up the reader's mind, quieting our conscious desires, that our everyday world invigorates, and encouraging us to look within, rather than without. This novel, however, doesn't belong in the archipelago he has been creating. This is Murakami's first foul ball, and for the first time he may have been looking without, rather than within.
I have always thought that fame, or the desire for it (and the desire for money, which are really kissing cousins), kills creativity. Murakami seemed to understand that, both in his life and his works, and I believe it was for that reason that he has been such a beautifully successful writer. But this novel struck me as his first attempt to create a magnum opus, a crowning acheivement that might push him Nobel Prize conversations; when all he really needed to do was to continue to let his natural creativity spill out into the world without concern for the results. The soul shrinks from the conscious mind's desires, whether it is the conscious desire for fame or anything else, and it seems to have given Murakami a slap on the hand. I hope he realizes it, and the authentic Murakami returns again with a new novel.
27 of 32 found the following review helpful:
Repetitive NightmareNov 06, 2011
By Patricia R. Ketola I usually enjoying reading long books and I usually enjoy reading Murakami, unfortunately, 1Q84 failed to capture my interest. At around page 646 I was ready to throw the book out the window. This novel is desperately in need of an editor, but apparently Mr. Murakami is such a well regarded author that nobody dared suggest any cuts. The continuous repetitions made the novel grotesquely simplistic and without meaning. If this is supposed to be a novel of ideas, or an updated version of Orwell it fails.
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