The long-awaited magnum opus from Haruki Murakami, in which this revered and bestselling author gives us his hypnotically addictive, mind-bending ode to George Orwell 's 1984.

The wee is 1984. Aomame is riding in a taxi on the roadwa, in a hurry to carry out an assignment. Her work is not the ind that can be discussed in public. When they get tied up in traffic, the taxi driver suggests a bizarre 'proposal' to her. Having no other choice she agrees, but as a consequence of her actions she starts to feel as though she is gradually becoming detached from the real world. She has been on a top secret mission, and her next job leads her to encounter the superhuman founder of a religious cult. Meanwhile, Tengo is leading a nondescript life but wishes to become a journalist. He inadvertently becomes involved in a strange disturbance that develops over a literary prize. While Aomame and Tengo impact on each other in various ways, at times by accident and at times intentionally, they come closer and closer to meeting. Eventually the two of them notice that they are essentia to each other. Is it ossible for them to ever meet in the real world?
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Original Series
Year of the Publication
Publication Date
Published October 25th 2011 by Alfred A. Knopf (first published May 28th 2009
Original Title of the Book
1Q84 parts 1-3 [ichi-kyū-hachi-yon]
Number of Pages

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gave it

What blows my mind is that Murakami felt he needed 900+ pages to drag this whole shebang out.

I read the novel, did n't like it and expressed it all in a review.

3. Goodreads, please introduce the option to lock the comment section of specific reviews for the ove of God. ETA ( on 10 February 2014 12:30AM Central European Time ( CET) 1.

On Decembe 31 2014 Goodreads honored my request and locked this review.2.

I am grateful that Goodreads honored my request and even though I am ware of the setting that blocks non-friends from commenting on my revie that still seems to me to be an extreme option.

I 'm not averse to non-friends commenting on my eviews.

gave it

One of my favorit lin from one of my avourite of these few reviews is as follows, from theatlantic.com: " It 's ard to believe that some of the critics praising 1Q84 did n't really feel, at times, like throwing the book in the ir and walking away.

Putting the nothingness of the book aside, there are plenty of other, more frustrating issues to contend with.These are a ew of the roblems I personally had with 1Q84: Aomame comes across as a flat, two-dimensional character whose main purpose is to serve as ( an older male) fantasy.

This would not be an issue if it appeared to serve any purpose towards her character development- but it does n't.

( To clarify again- Aomame does n't particularly want to have sex with the other oman at all.) This ( sterotypically) male " fantasy " further continues as the reader is told ountless times how she is attracted only to much older men with receding hairlines, and proceeds to detail each of these sexual encounters.

Aomame is in no way empowered by the depiction of her sex life, instead she is an object- a pornagraphic object, again apparently designed for the titillation of the reader.If it 's in the best interest of the ook in question, I am perfectly ok with reading about bigoted characters, or even books written by author with an obvious agenda that clashes with my own worldview, if the books is ood, and provokes thought.

There is the " older married girlfriend " who serves no purpose other than to be a sexual object for Tengo ( she does n't even have a name); there is the police woman who befriends Aomame and constantly wants sex with her though she is self-declared " completely straight " ( and appears to serve no other purpose in the ook- she is n't grappling with her sexuality, this is n't an exploration of multifaceted queerness or a critique of the heteronormative structures that this character exists within, she simply is there to have girl-on-girl sex without the omplications of actual character development); and even with Fuka-Eri more attention was spent on the hape of her breasts than on her merits as a person or writer.

( view spoiler) [ I will also admit that I grew very, very eary of every conversation she had with Tengo being punctuated by lines such as " she said to him, massaging his scrotum in her and. " ( hide spoiler) ] As with Aomame 's segments, the sex all truly appears to serve no purpose, and is crudely written at that, meaning it all comes across as both needlessly pornographic, and incredibly boring, two things good writing- and good sex- should never be.

When Tengo is not having dull sexual encounters with his older married girlfriend, he mostly wanders around not doing anything.

After he had finished reading the book out loud and in minute detail, Tengo made dinner and went to bed.

But that was fine with Tengo because he liked sex with his older married girlfriend very much.

He did n't even mind that sex with his older married girlfriend was a sometimes a distraction from his writing work.

I 'm dam confiden that if all the moments of needless, boring repetition were removed, the ovel would come well under the 500 page mark- but then the appalling details and lack of plot would have something to hide behind at all! The characters eactions to everything were utterly implausible to me.

gave it

BeforeAs I eagerly await to tackle this tomeI am utterly afraid for the ooks that I ownEspecially the texts populating my deskMy patience for " Brit-Lit " will be put to the testBut my grades will be of little concernWhen these 900 pages will begin to burnA hole of delight to last for the agesAnd I wo n't care about homework while in his pagesBecause it is n't grades that last but literary heavenThen I 'll always say, " I remember Murakami and 1984 in 2011 " AfterAs you might be unwilling to deduce from my little poem and the rating, I was a bit surprised by this novel.

I would n't mind reading a 900+ page novel if it meant that the nove was going to really take me places.

Where you begin and where the book leads, makes for such a arc of character, heme and plot so as to incur upon the reader the impression a fully fleshed out world.

I like to experience whole life-times within one boo.

But I honestly do not feel as compelled to want to do so, since verything was repeated so often and so frequently.Occasionally, the book would break out of its redundancy and work the usual Murakami magic.

Murakami loves to say every passing detail, significant or not, that goes through a character 's head.

And the implicatio that she had n't seen him since she was a child. " I think he used a similar technique with other storie, Wind-Up Bird for example.

Because I hate to say it, but this book may have ruined my patience for that type of writing, which I thought worked so well in Wind-Up. Another similarity between the two was the honest of the writing.

I remember it working very well in Wind-Up, another claim I 'd like to re-read for, but in 1Q84, it falls flat on its face.

I 'm not sure what the formula for that is, of course there 's no exact way of doing this, but there has to be better ways of writing a convincing magical-realist story than lines like this: " Aomame wondered if Fuka-Eri 's dohta had been eager to survive for long without her maza.

What was it like for her to live after having lost the shadow of her heart and mind? " That could easily be straight out of a YA, fantasy novel.Then there were other lines that were just cheesy: " Ushikawa had a sharp sense of taste, and something smelled fishy " That last line may be due to translation, which I 'm always eage to admit as a possibl.

But I have faith in the translators, given that Jay Rubin has translated a majority of Murakami 's works and the man ovels were dissimilar in this regard to this book.There was also some of the principle, not flaws of translation, that I did n't agree with.

There are suc way that can pass off as unreal in a Murakami novel, but absolute, undying love because of a single encounter in elementary school is not one of them.

gave it

Aomame, a small-breasted woman, is an assassin who targets men who mistreat women.

Tengo, the large man, and Aomame, the small-breasted woman, once held hands as children, and although they have not seen each other in the fifteen years since, they are still soul mates.

Tengo, when he is not teaching math or writing, misses Aomame, the small-breasted woman with whom he once held hands.

Aomame, when she is not killing misogynists or lamenting the size of her reasts, misses Tengo, the large man with whom she once held hands.

The normal moon is the moon from 1984, but the other moon, which is small and green, can be seen only in 1Q84, the mysterious other world which is controlled to some degree by the Little People.

Tengo has a recurring memory from when he was an infant of seeing a woma who was not his father suckle at Tengo ’ s mother ’ s forehead.

gave it

The ook reminds me of Orwell, of course, but also Gabriel Marquez and some early dark urban fantasy like The Land of Laughs by Jonathan Carroll or Little, Big by John Crowley.

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