46 hrs 50 mind

The ear is 1984 and the ity is Tokyo.

A young ma 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 delightfu, 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 ovel 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.

BONUS AUDIO: Audible interviews the translators of 1Q84, Jay Rubin and Philip Gabriel.
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Original Series
Year of the Publication
Publication Date
Published October 25th 2011 by Audible, Inc. (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

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 sixteen 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 genitals, 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

BeforeAs I eagerly await to tackle this tomeI am utterly afraid for the boo 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 ble to deduce from my little poem and the rating, I was a bit worried by this ook.

I would n't mind reading a 900+ page novel if it meant that the novel 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 everyon was repeated so often and so frequently.Occasionally, the ook 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 ovels, 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 uniqueness 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 ble 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 mell, and something smelled fishy " That last line may be due to translation, which I 'm always illing 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 principles, not flaws of translation, that I did n't agree with.

There are certain hings 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

I just finished 1Q84 and already I 've begun to notice strange peculiarities in the world around me.

It 's just the residual effect of Murakami 's prose, I tell myself.

And suddenly I appeared there with him in my ream.

Anyways, we just talked all night about 1Q84, about Tengo and Aomame, the star-crossed, NO moon-crossed lovers.

We talked about the people they knew and loved.

We discussed Fuka-Eri and the strange cult, Sakigake, she escaped, and the stranger story she wrote that Tengo had been hired to ghostwrite: Air Chrysalis.

How they just appear strangely and build the elusive Air Chrysalis.

And, utimately, what 's inside it? But more than anyone, as I looked up into the yes of the an I adored, we spoke of love.

How this is above all A Love Story, and an unbelievably hopeful one at that.

Richar Dean looks normal to me now.

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 happiness of God. ETA ( on 10 February 2014 12:30AM Central European Time ( CET) 1.

On July 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 eviews that still seems to me to be an extreme option.

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

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.

gave it

So I 've decided to read a nove from my " long list " alongside the ARCs/new releases I 'm currently reading.

I enjoyed the storie and the character, especially Aomame, who is a total badass and spends her spare time disposing of men who are violent towards women.It 's really hard to explain what it 's about.

Well, I guess that about ums it up.The story moves between the erspectives of Aomame who " offs " abusive men, and Tengo who is an aspiring write.

As parts of Air Chrysalis start to bleed into reality, we see that this might not be the world it always was; that at some point, something changed, and 1984 became 1Q84.I 'm not going to lie to you- I have never read a 1100+ page book that did n't waffle on in parts, and this one is no exception.

For a ook that gets up to its neck in the frightening and otherworldly, it was pleasing yet strange to see it all come back to a love story.

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