What do you think?
Rate this book
1Q84 #1-2
1Q84: Libro 1 e 2. Aprile-Settembre
1984, Tokyo. Aomame è bloccata in un taxi nel traffico. L'autista le suggerisce, come unica soluzione per non mancare all'appuntamento che l'aspetta, di uscire dalla tangenziale utilizzando una scala di emergenza, nascosta e poco frequentata. Ma, sibillino, aggiunge di fare attenzione: «Non si lasci ingannare dalle apparenze. La realtà è sempre una sola».
Negli stessi giorni Tengo, un giovane aspirante scrittore dotato di buona tecnica ma povero d'ispirazione, riceve uno strano incarico: un editor senza scrupoli gli chiede di riscrivere il romanzo di un'enigmatica diciassettenne così da candidarlo a un famoso premio letterario. Ma La crisalide d'aria è un romanzo fantastico – o almeno così dovrebbe essere – tanto ricco di immaginazione quanto sottilmente inquietante: la descrizione della realtà parallela alla nostra e di piccole creature che si nascondono nel corpo umano come parassiti turbano profondamente Tengo. L'incontro con l'autrice non farà che aumentare la sua vertigine: chi è veramente Fukada Eriko?
Intanto Aomame (che pure non è certo una ragazza qualsiasi: nella borsetta ha un affilatissimo rompighiaccio con cui deve uccidere un uomo) osserva perplessa il mondo che la circonda: sembra quello di sempre, eppure piccoli, sinistri particolari divergono da quello a cui era abituata. Finché un giorno non vede comparire in cielo una seconda luna e sospetta di essere l'unica persona in grado di attraversare la sottile barriera che divide il 1984 dal 1Q84.
Ma capisce anche un'altra cosa: che quella barriera sta per infrangersi.
1Q84 è stato accolto, alla sua uscita in Giappone, come il capolavoro di Murakami Haruki e immediatamente elevato a oggetto di un autentico culto, tanto che sono comparsi libri e riviste che provano a indagare i misteri e rispondere agli interrogativi che solleva questo romanzo fluviale, ricco di storie (e storie dentro storie), personaggi, idee.
Un Murakami al suo meglio che riesce come non mai a centrifugare le suggestioni più diverse (dal folklore giapponese all'immaginario manga, dalla fantascienza occidentale alla tradizione letteraria orientale) e a esplorare le nostre ossessioni per dare vita a un mondo del tutto personale, onirico e malinconico, in cui nessuna realtà parallela ripaga per la nostalgia di un'amicizia d'infanzia, per un amore mancato.
Negli stessi giorni Tengo, un giovane aspirante scrittore dotato di buona tecnica ma povero d'ispirazione, riceve uno strano incarico: un editor senza scrupoli gli chiede di riscrivere il romanzo di un'enigmatica diciassettenne così da candidarlo a un famoso premio letterario. Ma La crisalide d'aria è un romanzo fantastico – o almeno così dovrebbe essere – tanto ricco di immaginazione quanto sottilmente inquietante: la descrizione della realtà parallela alla nostra e di piccole creature che si nascondono nel corpo umano come parassiti turbano profondamente Tengo. L'incontro con l'autrice non farà che aumentare la sua vertigine: chi è veramente Fukada Eriko?
Intanto Aomame (che pure non è certo una ragazza qualsiasi: nella borsetta ha un affilatissimo rompighiaccio con cui deve uccidere un uomo) osserva perplessa il mondo che la circonda: sembra quello di sempre, eppure piccoli, sinistri particolari divergono da quello a cui era abituata. Finché un giorno non vede comparire in cielo una seconda luna e sospetta di essere l'unica persona in grado di attraversare la sottile barriera che divide il 1984 dal 1Q84.
Ma capisce anche un'altra cosa: che quella barriera sta per infrangersi.
1Q84 è stato accolto, alla sua uscita in Giappone, come il capolavoro di Murakami Haruki e immediatamente elevato a oggetto di un autentico culto, tanto che sono comparsi libri e riviste che provano a indagare i misteri e rispondere agli interrogativi che solleva questo romanzo fluviale, ricco di storie (e storie dentro storie), personaggi, idee.
Un Murakami al suo meglio che riesce come non mai a centrifugare le suggestioni più diverse (dal folklore giapponese all'immaginario manga, dalla fantascienza occidentale alla tradizione letteraria orientale) e a esplorare le nostre ossessioni per dare vita a un mondo del tutto personale, onirico e malinconico, in cui nessuna realtà parallela ripaga per la nostalgia di un'amicizia d'infanzia, per un amore mancato.
700 pages, Kindle Edition
First published May 29, 2009
2845 people are currently reading
14530 people want to read
About the author
Haruki Murakami
598 books132k followersHaruki Murakami (村上春樹) is a Japanese writer. His novels, essays, and short stories have been best-sellers in Japan and internationally, with his work translated into 50 languages and having sold millions of copies outside Japan. He has received numerous awards for his work, including the Gunzo Prize for New Writers, the World Fantasy Award, the Tanizaki Prize, Yomiuri Prize for Literature, the Frank O'Connor International Short Story Award, the Noma Literary Prize, the Franz Kafka Prize, the Kiriyama Prize for Fiction, the Goodreads Choice Awards for Best Fiction, the Jerusalem Prize, and the Princess of Asturias Awards.
Growing up in Ashiya, near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for his use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.
Growing up in Ashiya, near Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002) and 1Q84 (2009–10); the last was ranked as the best work of Japan's Heisei era (1989–2019) by the national newspaper Asahi Shimbun's survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for his use of magical realist elements. His official website cites Raymond Chandler, Kurt Vonnegut and Richard Brautigan as key inspirations to his work, while Murakami himself has named Kazuo Ishiguro, Cormac McCarthy and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including First Person Singular (2020), and non-fiction works including Underground (1997), an oral history of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a memoir about his experience as a long distance runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 2,221 reviews
August 6, 2015
1Q84 is not a good book. At all.
I cannot understand the hype surrounding this book. The storyline wasn't bad in itself but…1Q84 reads like the fantasy of a sad, balding (you'll understand) ageing man.
Leaving to one side Murakami's breast obsession-and, in fact, I don't think there's a single female character who's breasts I couldn't give you a detailed account of-it was the author's handling of female characters that truly bothered me.
Aomame, the female protagonist, an assassin who in her free time prowls around looking for men to have casual sex with. Not just any men though;
Aomame herself did not know why, but ever since the time she was twenty, she had been attracted to men with thinning hair.
Right.
Do you get the balding thing now? Or, even more revealing;
She was dying to run her fingers through the few strands he had left
Yes Murakami, yes. That is absolutely and 100% realistic, don't let a bit of thinning hair get you down.
That in itself though, fine. It takes all kinds, and Murakami's little fantasy woman is more humorous than anything. He could have being trying for humor-and the book did have me laughing for the first few chapters-but the more the book progressed, the more objectionable the author's portrayal of women became until it really, really bothered me.
By the end of book one, no curiosity about the 'Little People' or interest in seeing the actual coming together of Tengo and Aomame could compell me to stiff-upper-lip my way through another volume.
To be fair, much of what bothered me with this book could be to a simple clashing of cultures. Not even getting into how wrong I found Murakami's handling of the female characters; the male protagonist Tengo was ruined for me when it became clear he was running with his interest in the 17 year-old Fuka-Eri.
No matter how much you dig her breasts Tengo-and really, he creates near odes to them in his head- Fuka-Eri is a traumatized, mentally fragile near-mute with the mind of a child. Not o.k. Tengo, not o.k.
But then, I have read that the age of consent in Japan is what I would consider alarmingly low.
Murakami, you like breasts and you like to imagine in women a certain way.. fair play to you-we all have our little quirks and you'd be among many-but keep it inside next time. Please.
I cannot understand the hype surrounding this book. The storyline wasn't bad in itself but…1Q84 reads like the fantasy of a sad, balding (you'll understand) ageing man.
Leaving to one side Murakami's breast obsession-and, in fact, I don't think there's a single female character who's breasts I couldn't give you a detailed account of-it was the author's handling of female characters that truly bothered me.
Aomame, the female protagonist, an assassin who in her free time prowls around looking for men to have casual sex with. Not just any men though;
Aomame herself did not know why, but ever since the time she was twenty, she had been attracted to men with thinning hair.
Right.
Do you get the balding thing now? Or, even more revealing;
She was dying to run her fingers through the few strands he had left
Yes Murakami, yes. That is absolutely and 100% realistic, don't let a bit of thinning hair get you down.
That in itself though, fine. It takes all kinds, and Murakami's little fantasy woman is more humorous than anything. He could have being trying for humor-and the book did have me laughing for the first few chapters-but the more the book progressed, the more objectionable the author's portrayal of women became until it really, really bothered me.
By the end of book one, no curiosity about the 'Little People' or interest in seeing the actual coming together of Tengo and Aomame could compell me to stiff-upper-lip my way through another volume.
To be fair, much of what bothered me with this book could be to a simple clashing of cultures. Not even getting into how wrong I found Murakami's handling of the female characters; the male protagonist Tengo was ruined for me when it became clear he was running with his interest in the 17 year-old Fuka-Eri.
No matter how much you dig her breasts Tengo-and really, he creates near odes to them in his head- Fuka-Eri is a traumatized, mentally fragile near-mute with the mind of a child. Not o.k. Tengo, not o.k.
But then, I have read that the age of consent in Japan is what I would consider alarmingly low.
Murakami, you like breasts and you like to imagine in women a certain way.. fair play to you-we all have our little quirks and you'd be among many-but keep it inside next time. Please.
January 26, 2012
Attenzione: non c’è niente di evocativo in questa recensione.
Ebbè, cosa volete che vi dica: L’unica ragione per cui spero che Murakami scriva sempre meno, è che non so più cosa inventarmi nelle recensioni per farvi capire quanto è bravo.
Mi resta soltanto elencare i motivi per cui non lo posso tollerare.
Ad esempio: non lo tollero, perché ha uno stile Elementare. Mette tutti i pensierini in fila, e li trascrive secondo una logica che più sequenziale di così si muore. E riesce comunque a coinvolgerti. Eppure, quando io faccio la stessa cosa, l’unico risultato che ottengo, sono file di frasucce che al massimo potrebbero essere inserite nei manuali di Basic English per italiani molto cocciuti. E il contenuto sarebbe comunque inferiore a quello di The pen is on the table.
Non tollero il fatto che, se in un altro libro leGgessi lo stesso concetto ripetuto per più di 2 volte, taccerei immediatamente l’autore di prolisso e privo di fantasia, boicotterei tutti i forum in cui lo si esalta con volgari interventi da troll, e scriverei parolacce sulla sua pagina facebook. Mentre quando vedo la stessa cosa in un libro di Murakami, guardo e soppeso il concetto con aria compiaciuta, perché l’effetto è lo stesso che mi farebbe un caro amico che non vedo da tanto tempo, e prendendomi sottobraccio mi dicesse “Allora, dov’eravamo rimasti? Ah sì, a quella volta che..”
Non tollero quei suoi personaggi, che mi ricordano altri suoi personaGgi che sembrano uguali e invece non lo sono. Come se appartenessero tutti alla stessa tipologia, ma si divertissero a scambiarsi vestiti e accessori, e sfilassero davanti a me dicendomi leziosamente: “E con questo come sto?”.
Dannazione, state tutti maledettamente bene!!
Non tollero quellE sue similitudini che sono talmente ovvie che potremmo pensarle tutti, eppure non le pensiamo. Che so , se qualcuno mi chiedesse di fare una metafora con la parola “moquette”, al massimo potrei dire: “La moquette era talmente verde che manco la vallata di window 95!”.
Invece se chiedi la stessa cosa a Murakami, lui pacifico risponde: “La moqueTte era fitta e morbida come il muschio antico di un’isola dell’estremo Nord”. Facile e poetica. Eppure cacchio! A me manco sotto tortura sarebbe venuta in mente.
Non tollero quel senso di solitudine interiore dei suoi personaggi, che è talmente forte che dovrebbe deprimere e svuotarti. E invece no! Ci sguazzi dentro portandoti dietro la paperella di gomma, e tra schizzi e bolle di inadeguatezza esistenziale, ti godi persino la spensierata condivisione di pEnsieri suicidi (elemento per il quale Murakami, insieme a quello delle orecchie e della cucina italiana, diciamoci la verità, mostra una spiccata propensione).
Non sopporto quelle sue scene di sesso talmente asciutte e ospedaliere che a confronto, la lettura di una cartella clinica da parte di un ginecologo in età da pensione, sembrerebbe più erotica. Eppure sono così perfettamente incastonate in contesti suggestivi e rarefatti, che pur leggendole col soppracciglio alzato, non si potrebbe immaginarle descritte in aLtra maniera, se non così.
Ma infine sapete cosa non sopporto soprattutto?
Che certi assiomi non siano assOluti diamine!!!
Perché mentre Murakami può dire “Scrivo quindi sono”, io sono costretta a dire “Leggo Murakami, quindi godo”. !!
E allora benedetto uomo, scrivi, scrivi anche mentre dormi!! Che qualcosa per la prossima recensione ci inventeremo.
Ebbè, cosa volete che vi dica: L’unica ragione per cui spero che Murakami scriva sempre meno, è che non so più cosa inventarmi nelle recensioni per farvi capire quanto è bravo.
Mi resta soltanto elencare i motivi per cui non lo posso tollerare.
Ad esempio: non lo tollero, perché ha uno stile Elementare. Mette tutti i pensierini in fila, e li trascrive secondo una logica che più sequenziale di così si muore. E riesce comunque a coinvolgerti. Eppure, quando io faccio la stessa cosa, l’unico risultato che ottengo, sono file di frasucce che al massimo potrebbero essere inserite nei manuali di Basic English per italiani molto cocciuti. E il contenuto sarebbe comunque inferiore a quello di The pen is on the table.
Non tollero il fatto che, se in un altro libro leGgessi lo stesso concetto ripetuto per più di 2 volte, taccerei immediatamente l’autore di prolisso e privo di fantasia, boicotterei tutti i forum in cui lo si esalta con volgari interventi da troll, e scriverei parolacce sulla sua pagina facebook. Mentre quando vedo la stessa cosa in un libro di Murakami, guardo e soppeso il concetto con aria compiaciuta, perché l’effetto è lo stesso che mi farebbe un caro amico che non vedo da tanto tempo, e prendendomi sottobraccio mi dicesse “Allora, dov’eravamo rimasti? Ah sì, a quella volta che..”
Non tollero quei suoi personaggi, che mi ricordano altri suoi personaGgi che sembrano uguali e invece non lo sono. Come se appartenessero tutti alla stessa tipologia, ma si divertissero a scambiarsi vestiti e accessori, e sfilassero davanti a me dicendomi leziosamente: “E con questo come sto?”.
Dannazione, state tutti maledettamente bene!!
Non tollero quellE sue similitudini che sono talmente ovvie che potremmo pensarle tutti, eppure non le pensiamo. Che so , se qualcuno mi chiedesse di fare una metafora con la parola “moquette”, al massimo potrei dire: “La moquette era talmente verde che manco la vallata di window 95!”.
Invece se chiedi la stessa cosa a Murakami, lui pacifico risponde: “La moqueTte era fitta e morbida come il muschio antico di un’isola dell’estremo Nord”. Facile e poetica. Eppure cacchio! A me manco sotto tortura sarebbe venuta in mente.
Non tollero quel senso di solitudine interiore dei suoi personaggi, che è talmente forte che dovrebbe deprimere e svuotarti. E invece no! Ci sguazzi dentro portandoti dietro la paperella di gomma, e tra schizzi e bolle di inadeguatezza esistenziale, ti godi persino la spensierata condivisione di pEnsieri suicidi (elemento per il quale Murakami, insieme a quello delle orecchie e della cucina italiana, diciamoci la verità, mostra una spiccata propensione).
Non sopporto quelle sue scene di sesso talmente asciutte e ospedaliere che a confronto, la lettura di una cartella clinica da parte di un ginecologo in età da pensione, sembrerebbe più erotica. Eppure sono così perfettamente incastonate in contesti suggestivi e rarefatti, che pur leggendole col soppracciglio alzato, non si potrebbe immaginarle descritte in aLtra maniera, se non così.
Ma infine sapete cosa non sopporto soprattutto?
Che certi assiomi non siano assOluti diamine!!!
Perché mentre Murakami può dire “Scrivo quindi sono”, io sono costretta a dire “Leggo Murakami, quindi godo”. !!
E allora benedetto uomo, scrivi, scrivi anche mentre dormi!! Che qualcosa per la prossima recensione ci inventeremo.
October 2, 2011
I finished reading 1Q84 (surely the blockbuster novel of 2011) almost a week ago, but I wanted to collect my thoughts before I put fingers to keyboard. This is a novel (sounds trite, perhaps epic would be a better word) that remains with you for a long, long time after reading it. I’ve kept thinking about the story and how each event fits in the overall structure of the book, how clever and intricate the world created is and how I can picture in my head a world that doesn’t exist…or does it?
The ARC copy I read comprised of Books 1 and 2 (Book 3 will be published in the UK on 25th October 2011, I’m uncertain of an Australian release date). The sheer weight of the first two books (nearly 600 pages) will come as a delight to Murakami fans. For readers new to Murakami, it may take a little while to warm up to the picture that is being painted lovingly before you but persevere, the puzzle pieces soon fall into place. The book opens with Aomame (whose name means ‘green pea’, we never know her by any other name) in a taxi, stuck in a traffic jam in Tokyo in 1984. She is going to be late for her appointment when the taxi driver informs her of an emergency exit that will take her off the expressway back to ground level. He says a few odd things, but Aomame is not concerned about that. She takes his advice, goes down the stairs and off to her appointment – killing a man.
Meanwhile, Tengo is a young writer who is struggling to make a name for himself while teaching mathematics at a cram school. At a meeting with his somewhat mentor, he is asked to rewrite a novel written by a seventeen year old girl that has been submitted for a new writers’ prize. The novel, Air Chrysalis, is nothing like he’s ever read before. Neither is its author, Fuka-Eri, a strange girl who never uses a question mark in her speech.
Can you see the Murakami originality coming through? The cover pictured gives quite an insight into the main symbols of this book.
I don’t want to spoil the story for others – it’s highly original and will keep you reading all through the night but be prepared for almost anything to happen: religious cults, strange sightings of the moon, an older woman out for revenge, missing persons, murder, love, sex and all sorts of people – from big to small.
Murakami must be lauded for his ability to think of such an intricate plot – almost every detail is leading you further into the story and almost nothing is there by chance. It all combines together later in the second book with exquisite tension before the explosion of the bittersweet ending. Be aware that there is a fair bit of sex in this book but I felt it was needed to show where the characters were coming from and where they were heading.
On finishing this book, I hardly dared to look up at the moon in case I was in 1Q84! Everything else I’ve read since has paled in comparison to 1Q84. I simply can’t recommend this book more highly – it’s a beautiful masterpiece.
http://samstillreading.wordpress.com
The ARC copy I read comprised of Books 1 and 2 (Book 3 will be published in the UK on 25th October 2011, I’m uncertain of an Australian release date). The sheer weight of the first two books (nearly 600 pages) will come as a delight to Murakami fans. For readers new to Murakami, it may take a little while to warm up to the picture that is being painted lovingly before you but persevere, the puzzle pieces soon fall into place. The book opens with Aomame (whose name means ‘green pea’, we never know her by any other name) in a taxi, stuck in a traffic jam in Tokyo in 1984. She is going to be late for her appointment when the taxi driver informs her of an emergency exit that will take her off the expressway back to ground level. He says a few odd things, but Aomame is not concerned about that. She takes his advice, goes down the stairs and off to her appointment – killing a man.
Meanwhile, Tengo is a young writer who is struggling to make a name for himself while teaching mathematics at a cram school. At a meeting with his somewhat mentor, he is asked to rewrite a novel written by a seventeen year old girl that has been submitted for a new writers’ prize. The novel, Air Chrysalis, is nothing like he’s ever read before. Neither is its author, Fuka-Eri, a strange girl who never uses a question mark in her speech.
Can you see the Murakami originality coming through? The cover pictured gives quite an insight into the main symbols of this book.
I don’t want to spoil the story for others – it’s highly original and will keep you reading all through the night but be prepared for almost anything to happen: religious cults, strange sightings of the moon, an older woman out for revenge, missing persons, murder, love, sex and all sorts of people – from big to small.
Murakami must be lauded for his ability to think of such an intricate plot – almost every detail is leading you further into the story and almost nothing is there by chance. It all combines together later in the second book with exquisite tension before the explosion of the bittersweet ending. Be aware that there is a fair bit of sex in this book but I felt it was needed to show where the characters were coming from and where they were heading.
On finishing this book, I hardly dared to look up at the moon in case I was in 1Q84! Everything else I’ve read since has paled in comparison to 1Q84. I simply can’t recommend this book more highly – it’s a beautiful masterpiece.
http://samstillreading.wordpress.com
March 16, 2022
“En japonés, la letra q y el número 9 son homófonos, los dos se pronuncian kyu, de manera que 1Q84 es, sin serlo, 1984, una fecha de ecos orwellianos. Esa variación en la grafía refleja la sutil alteración del mundo en que habitan los personajes de esta novela, que es, también sin serlo, el Japón de 1984.” Con esta premisa, prometiendo un homenaje a la gran obra de Orwell, nos encontramos con una historia que desde el inicio aparece dividida en dos. Por una parte, Aomame es una instructora de gimnasia, que esconde un gran secreto: trabaja asesinando a hombres que han maltratado a mujeres. Por otra parte, tenemos a Tengo, un profesor con un gran talento para las matemáticas, que sin embargo encuentra su pasión en las letras. Un día se le ofrecerá la corrección de un extraño, pero hipnótico, texto. El mundo en el que viven va a transformarse y ambos dos tendrán un papel crucial en esta alteración.
Cuando descubrí a Murakami hace ya bastantes años con esa maravilla titulada “Tokio Blues”, empecé a devorar su obra con unas ganas inagotables, pero conforme iba acercándome a acabar con todos los libros publicados en español, empecé a rebajar el ritmo. En los últimos años he leído una historia como mucho de él al año, cosa que este año quiero cambiar, porque a causa de espaciar las lecturas, finalmente he acumulado unas cuantas. Digo esto porque, pese a que todos los libros que he leído en estos últimos años me han gustado, ninguno había llegado a fliparme al mismo nivel de aquellos que leí hace más tiempo, en mis inicios con el autor. Necesitaba encontrar otra historia del autor que me explotara la cabeza y me tocara el alma como en su día lo hicieron “Kafka en la orilla”, “Tokio Blues”, “Sputnik mi amor”, “El fin del mundo y un despiadado país de las maravillas” o “Los años de peregrinación del chico sin color”, y, precisamente, eso es lo que ha sucedido con los dos primeros libros de “1Q84”, que me han tocado tan profundamente como me tocaron en su día estas historias.
Antes de pasar a hablar de todas las cosas que me han gustado, quiero aclarar que, para mí, “1Q84” no es una obra para todo el mundo, ni mucho menos es una buena opción para iniciarse con el autor. Cuando se habla de Murakami siempre se comenta que tiene un imaginario muy personal y que sus historias son muy raras o peculiares. Si tuviéramos que medir “1Q84” junto con el resto de su obra bajo estos parámetros, creo que “1Q84” sería la más “rara” y la más “peculiar”.
Lo primero que destaca nada más empezar esta trilogía es la carga de crítica social que aparece desde el principio. Debo confesar que no me lo esperaba para nada, ya que, salvo comentarios sueltos, no tengo a Murakami como un autor que entre mucho en estos temas en sus historias. Pero este libro plantea y criminaliza la violencia de género, y lo hace de manera constante. E incluso se llega a usar la palabra “feminismo”, y teniendo en cuenta que a mucha gente le da hasta miedo usarla, valoro infinitamente la intención. No me esperaba tanta crítica a la violencia que el hombre ejerce sobre la mujer, sobre todo porque no aparece de forma velada, los personajes son claros respecto al tema y así muestran sus opiniones.
La historia también nos hace un repaso bastante interesante por las sectas religiosas, y todos los turbios intereses que se mueven detrás de controlar a ese grupo de personas que caen en la trampa, esa mini sociedad que crean alejada del mundo, herméticas a toda información de fuera, donde sus líderes siempre tienen beneficios e intereses personales. Creo que el retrato que hace es muy interesante y certero. Estos personajes justificaban en nombre de la fe que sienten, los actos horribles que cometen y las barbaries que permiten. El uso tan nefasto que hace el ser humano de la religión y las cosas que hace en nombre de esta suele ser un tema que, a poco que esté bien mostrado, compro completamente.
Las novelas de Murakami, siempre están centradas en un protagonista masculino solitario que de alguna manera no encaja en el mundo y al que le suceden un montón de cosas extrañas, y es a través de este individuo como conocemos a un sinfín de personajes, cada cual más peculiar. En “1Q84” tenemos a Tengo para encajar en esto, pero, sin embargo, también tenemos la historia de Aomame, que es incluso más interesante que la de Tengo. Aomame se ha convertido en una de mis protagonistas favoritas de la obra de Murakami. ¡Vaya personajazo!
Además, nos encontramos con un detalle que suelo disfrutar muchísimo: un libro dentro de un libro. No quiero entrar en detalles sobre esto para no destripar la historia, pero es algo que me gusta mucho, y en esta historia tiene una importancia brutal. Y por si esto fuera poco, todo se mezcla con ese imaginario tan particular de Murakami, esos mundos paralelos, esa mezcla del día a día con lo sobrenatural. Diría que tienen incluso un toque de thriller, y que se leen con las mismas ansias con las que se lee una buena historia de suspense.
Ambos dos libros me han encantado y, pese a que hice parón entre uno y otro, no noté mucha diferencia en cuanto a calidad o ritmo. Se leen de un tirón los dos. Hay cierta opinión unánime corriendo por redes acerca de que el tercero es el peor de los tres. Ojalá no sea así, pero, en cualquier caso, me muero de ganas de seguir con la trilogía y ver el desenlace de la historia de Aomame y Tengo. En 1Q84 nos encontramos con el mejor Murakami.
Cuando descubrí a Murakami hace ya bastantes años con esa maravilla titulada “Tokio Blues”, empecé a devorar su obra con unas ganas inagotables, pero conforme iba acercándome a acabar con todos los libros publicados en español, empecé a rebajar el ritmo. En los últimos años he leído una historia como mucho de él al año, cosa que este año quiero cambiar, porque a causa de espaciar las lecturas, finalmente he acumulado unas cuantas. Digo esto porque, pese a que todos los libros que he leído en estos últimos años me han gustado, ninguno había llegado a fliparme al mismo nivel de aquellos que leí hace más tiempo, en mis inicios con el autor. Necesitaba encontrar otra historia del autor que me explotara la cabeza y me tocara el alma como en su día lo hicieron “Kafka en la orilla”, “Tokio Blues”, “Sputnik mi amor”, “El fin del mundo y un despiadado país de las maravillas” o “Los años de peregrinación del chico sin color”, y, precisamente, eso es lo que ha sucedido con los dos primeros libros de “1Q84”, que me han tocado tan profundamente como me tocaron en su día estas historias.
Antes de pasar a hablar de todas las cosas que me han gustado, quiero aclarar que, para mí, “1Q84” no es una obra para todo el mundo, ni mucho menos es una buena opción para iniciarse con el autor. Cuando se habla de Murakami siempre se comenta que tiene un imaginario muy personal y que sus historias son muy raras o peculiares. Si tuviéramos que medir “1Q84” junto con el resto de su obra bajo estos parámetros, creo que “1Q84” sería la más “rara” y la más “peculiar”.
Lo primero que destaca nada más empezar esta trilogía es la carga de crítica social que aparece desde el principio. Debo confesar que no me lo esperaba para nada, ya que, salvo comentarios sueltos, no tengo a Murakami como un autor que entre mucho en estos temas en sus historias. Pero este libro plantea y criminaliza la violencia de género, y lo hace de manera constante. E incluso se llega a usar la palabra “feminismo”, y teniendo en cuenta que a mucha gente le da hasta miedo usarla, valoro infinitamente la intención. No me esperaba tanta crítica a la violencia que el hombre ejerce sobre la mujer, sobre todo porque no aparece de forma velada, los personajes son claros respecto al tema y así muestran sus opiniones.
La historia también nos hace un repaso bastante interesante por las sectas religiosas, y todos los turbios intereses que se mueven detrás de controlar a ese grupo de personas que caen en la trampa, esa mini sociedad que crean alejada del mundo, herméticas a toda información de fuera, donde sus líderes siempre tienen beneficios e intereses personales. Creo que el retrato que hace es muy interesante y certero. Estos personajes justificaban en nombre de la fe que sienten, los actos horribles que cometen y las barbaries que permiten. El uso tan nefasto que hace el ser humano de la religión y las cosas que hace en nombre de esta suele ser un tema que, a poco que esté bien mostrado, compro completamente.
Las novelas de Murakami, siempre están centradas en un protagonista masculino solitario que de alguna manera no encaja en el mundo y al que le suceden un montón de cosas extrañas, y es a través de este individuo como conocemos a un sinfín de personajes, cada cual más peculiar. En “1Q84” tenemos a Tengo para encajar en esto, pero, sin embargo, también tenemos la historia de Aomame, que es incluso más interesante que la de Tengo. Aomame se ha convertido en una de mis protagonistas favoritas de la obra de Murakami. ¡Vaya personajazo!
Además, nos encontramos con un detalle que suelo disfrutar muchísimo: un libro dentro de un libro. No quiero entrar en detalles sobre esto para no destripar la historia, pero es algo que me gusta mucho, y en esta historia tiene una importancia brutal. Y por si esto fuera poco, todo se mezcla con ese imaginario tan particular de Murakami, esos mundos paralelos, esa mezcla del día a día con lo sobrenatural. Diría que tienen incluso un toque de thriller, y que se leen con las mismas ansias con las que se lee una buena historia de suspense.
Ambos dos libros me han encantado y, pese a que hice parón entre uno y otro, no noté mucha diferencia en cuanto a calidad o ritmo. Se leen de un tirón los dos. Hay cierta opinión unánime corriendo por redes acerca de que el tercero es el peor de los tres. Ojalá no sea así, pero, en cualquier caso, me muero de ganas de seguir con la trilogía y ver el desenlace de la historia de Aomame y Tengo. En 1Q84 nos encontramos con el mejor Murakami.
April 1, 2012
I've been on the Murakami bandwagon since a friend introduced me to the Wind-Up Bird, but I am now officially getting off.
The core idea has so much potential, but it drowns - screaming - in a sea of inept, boring, repetitive language. I was literally scratching my head wondering how this book escaped a ruthless editing. There is no justification - other than author laziness and/or vanity - for this book to be so damn long. I was so surprised at the mediocrity of the prose that I kept wondering whether the issue was in the translation.
Mr Murakami I have come up with some quick and easy suggestions to reduce word count
I gather you're a breast man and other reviewers have noted that every female character is described with reference to her breast shape and size. This rapidly becomes tiring, but as a writer it is inexcusable that you continually have your lead female character contemplate the size of her breasts, in much the same way and to no additional significance than the first time she does so. Move the fuck on. DELETE UNNECESSARY BREAST CONTEMPLATION - 400 WORDS SAVED
So much of your dialogue is characters simply repeating the last thing they heard. Such a clumsy way to indicate confusion (if that's what you're trying to do). And all of them, the same device? No way. DELETE REPEATED DIALOGUE - 500 WORDS SAVED
You introduce us to the idea very early on that Fuka-Eri has unusual uninflected speech. I do not need you to repeat at every utterance "She asked with no question mark". DELETE "with no question mark" and all of Tengo's comments that she asks questions with no question mark. 600 WORDS SAVED.
I could go on, but I've wasted so much time reading this book that I draw the line at wasting more on it here. I'll just say that I was saddened to read the clumsy way Murakami manipulated characters and setting to maintain ambiguity for it's own sake.
I love ambiguity, I love complexity and I am always willing to suspend disbelief. I just prefer it to be well-written.
The core idea has so much potential, but it drowns - screaming - in a sea of inept, boring, repetitive language. I was literally scratching my head wondering how this book escaped a ruthless editing. There is no justification - other than author laziness and/or vanity - for this book to be so damn long. I was so surprised at the mediocrity of the prose that I kept wondering whether the issue was in the translation.
Mr Murakami I have come up with some quick and easy suggestions to reduce word count
I gather you're a breast man and other reviewers have noted that every female character is described with reference to her breast shape and size. This rapidly becomes tiring, but as a writer it is inexcusable that you continually have your lead female character contemplate the size of her breasts, in much the same way and to no additional significance than the first time she does so. Move the fuck on. DELETE UNNECESSARY BREAST CONTEMPLATION - 400 WORDS SAVED
So much of your dialogue is characters simply repeating the last thing they heard. Such a clumsy way to indicate confusion (if that's what you're trying to do). And all of them, the same device? No way. DELETE REPEATED DIALOGUE - 500 WORDS SAVED
You introduce us to the idea very early on that Fuka-Eri has unusual uninflected speech. I do not need you to repeat at every utterance "She asked with no question mark". DELETE "with no question mark" and all of Tengo's comments that she asks questions with no question mark. 600 WORDS SAVED.
I could go on, but I've wasted so much time reading this book that I draw the line at wasting more on it here. I'll just say that I was saddened to read the clumsy way Murakami manipulated characters and setting to maintain ambiguity for it's own sake.
I love ambiguity, I love complexity and I am always willing to suspend disbelief. I just prefer it to be well-written.
July 14, 2017
Grosses Kino!! Murakami ist einfach grandios <3
February 9, 2021
Typically mind bending - the true hallmark of Murakami style. This novel, like so many of his others, is incredibly addictive. With the first two volumes weighing in at over 800 pages, it's no easy feat holding your reader's attention for this length of literary time. After reading many Murakami novels, I still marvel at how he manages to achieve such compulsively page turning story lines and fascinating character development - but really, he defies analysis, better just to enjoy the wild ride!
This novel is like the Magna Carta of Murakami - it's long, resplendent with magic realism (we are in an alternative 1984), there are cats (whole towns of them), aloof but highly capable and alluring women, not so capable nor alluring but endearing male characters, references to obscure classical music and Russian literature, lots of minute chopping of vegetables, miso soup stirring and the grating of radish...and the moon, the moon features a lot, pay attention to the moon!!! But this novel is way more in and out and up and down than any of the others I have read! While it can be comical, there are very dark under and overtones, delving into the frightening world of cults, child abuse, rape and violence against women. It covers a frightening amount of twisted themes. In this regard, Murakami really blows the lid on many contemporary topics that are considered too hot to handle or downright taboo. Nothing is spared.
The characters, in spite of the heavy dose of magic realism, are actually very real and relatable. Even if one is a female assasin and the other is a maths genius turned ghost writer with big ears that are somehow inextricably linked since a unique childhood moment. Aomame, the ballsy personal trainer with a special talent for taking down violent but powerful men with an ice pick to the back of the neck is especially favouable. "She stood at the full length mirror by the front door and checked to see that her outfit was flawless. She raised one shoulder slightly and considered the possibility that she might look something like Faye Dunaway in the Thomas Crowne Affair. Faye Dunaway played a cool headed insurance investigator in that movie - a woman like a cold knife - sexy, great looking in a business suit. Of course Aomame didn't look like Faye Dunaway, but the atmosphere she projected was somethign close - or at least not entirely different. It was that special atmosphere that only a first class proffesional could exude. In addition, her shoulder bag contained a cold, hard automatic pistol..."
She is so kick-ass cool - "ethically which was better, taking money for killing men or taking money for having sex with men?" but at the same time falteringly insecure about her lopsided boobs and capacity for commitment - even to goldfish or a house plant. And then there is her male counterpart, the affable Tengo, the far away anchor of her love - he is quirky and particular, with an uncanny intuition (he know's who is phoning him based on the tone of the ring - this is before the age of mobiles!!!) and a deep sense of overall unease of things to come from the outset, when things start to unravel.
I also very much liked the affirmative, no bullshit character of the dowager, Aomame's secret employer and her capable but "quiet waters run deep" body guard, Tamaru - I get the distinct impression he could karate chop you at one glance. No question! Even the spinach eating german shepherd has gumption and conviction. More minor characters are no less captivating - the neurotic editor Komatsu, the other worldly Fuku Eri and the perplexing but no less ominous Little People - still trying to work these guys out, book three better have some answers.
There are more plot twists and turns than there are straight lines, and just when you think you know what is coming, BAM, you're wrong. Familiar themes, like the moon, are common territory for Murakami, but no less interesting in this novel. As I have come to expect, his writing is insightful and eloquent, positively as beautiful as moonshine itself - "before human beings possessed fire or tools or language, the moon had been their ally. It would calm people's fears now and then by illuminating the dark world like a heavenly lantern. It's waxing and waning gave people an understanding of the concept of time. Even now when darkness had been banished from most parts of the world, there remained a sense of human gratitude toward the moon and its unconditional compassion. It was imprinted upon human genes like a warm collective memory..."
It goest without saying that I am hanging out to read the third volume and close off so many loose ends that Murakami has left dangling. I am anticipating there will be a deeper dive down the rabbit hole before daylight and sense (not sure there will be much sense) become apparent, but that is all part of the enormous fun and rich rewards of opening a Murakami novel!
This novel is like the Magna Carta of Murakami - it's long, resplendent with magic realism (we are in an alternative 1984), there are cats (whole towns of them), aloof but highly capable and alluring women, not so capable nor alluring but endearing male characters, references to obscure classical music and Russian literature, lots of minute chopping of vegetables, miso soup stirring and the grating of radish...and the moon, the moon features a lot, pay attention to the moon!!! But this novel is way more in and out and up and down than any of the others I have read! While it can be comical, there are very dark under and overtones, delving into the frightening world of cults, child abuse, rape and violence against women. It covers a frightening amount of twisted themes. In this regard, Murakami really blows the lid on many contemporary topics that are considered too hot to handle or downright taboo. Nothing is spared.
The characters, in spite of the heavy dose of magic realism, are actually very real and relatable. Even if one is a female assasin and the other is a maths genius turned ghost writer with big ears that are somehow inextricably linked since a unique childhood moment. Aomame, the ballsy personal trainer with a special talent for taking down violent but powerful men with an ice pick to the back of the neck is especially favouable. "She stood at the full length mirror by the front door and checked to see that her outfit was flawless. She raised one shoulder slightly and considered the possibility that she might look something like Faye Dunaway in the Thomas Crowne Affair. Faye Dunaway played a cool headed insurance investigator in that movie - a woman like a cold knife - sexy, great looking in a business suit. Of course Aomame didn't look like Faye Dunaway, but the atmosphere she projected was somethign close - or at least not entirely different. It was that special atmosphere that only a first class proffesional could exude. In addition, her shoulder bag contained a cold, hard automatic pistol..."
She is so kick-ass cool - "ethically which was better, taking money for killing men or taking money for having sex with men?" but at the same time falteringly insecure about her lopsided boobs and capacity for commitment - even to goldfish or a house plant. And then there is her male counterpart, the affable Tengo, the far away anchor of her love - he is quirky and particular, with an uncanny intuition (he know's who is phoning him based on the tone of the ring - this is before the age of mobiles!!!) and a deep sense of overall unease of things to come from the outset, when things start to unravel.
I also very much liked the affirmative, no bullshit character of the dowager, Aomame's secret employer and her capable but "quiet waters run deep" body guard, Tamaru - I get the distinct impression he could karate chop you at one glance. No question! Even the spinach eating german shepherd has gumption and conviction. More minor characters are no less captivating - the neurotic editor Komatsu, the other worldly Fuku Eri and the perplexing but no less ominous Little People - still trying to work these guys out, book three better have some answers.
There are more plot twists and turns than there are straight lines, and just when you think you know what is coming, BAM, you're wrong. Familiar themes, like the moon, are common territory for Murakami, but no less interesting in this novel. As I have come to expect, his writing is insightful and eloquent, positively as beautiful as moonshine itself - "before human beings possessed fire or tools or language, the moon had been their ally. It would calm people's fears now and then by illuminating the dark world like a heavenly lantern. It's waxing and waning gave people an understanding of the concept of time. Even now when darkness had been banished from most parts of the world, there remained a sense of human gratitude toward the moon and its unconditional compassion. It was imprinted upon human genes like a warm collective memory..."
It goest without saying that I am hanging out to read the third volume and close off so many loose ends that Murakami has left dangling. I am anticipating there will be a deeper dive down the rabbit hole before daylight and sense (not sure there will be much sense) become apparent, but that is all part of the enormous fun and rich rewards of opening a Murakami novel!
October 26, 2017
„Entweder mit der Welt stimmt etwas nicht, oder mit mir, dachte sie. Eins von beidem.“
In zwei Erzählsträngen entwickelt Murakami die sich stets weiter beschleunigende Handlung. Schicksalhaft treiben die Protagonisten in einem Strudel aufeinander zu- einer Lösungen entgegen oder einer Katastrophe. Buch 3 wird es klären.
In zwei Erzählsträngen entwickelt Murakami die sich stets weiter beschleunigende Handlung. Schicksalhaft treiben die Protagonisten in einem Strudel aufeinander zu- einer Lösungen entgegen oder einer Katastrophe. Buch 3 wird es klären.
July 25, 2025
Ich befürchte, dass ich von diesem ersten Band vor allem sehr viele japanische erigierte Penisse in Erinnerung behalten werde. Keine Ahnung, wie ich die je aus meinem Kopf bekommen soll.
Aber mal ehrlich. Bin ich die einzige, die das stört?
Mini-Spoiler:
Und dann diese absurde Schlussszene, bei der Tengo der Unterschied erklärt wird zwischen insane und lunatic, während im seine Freundin im Schritt spielt.
Warum!!!!!!
Wozu dieser ganze Sex im Roman. Das brauche ich nicht und für die Geschichte war es auch nicht nötig. Darum finden solche intimen Dinge hinter verschlossenen Türen statt und nicht im Bus auf dem Weg zur Arbeit. Weil es eben intim ist. Und falls diese Art sexueller Ratgeber typisch ist für Murakamis Schreibweise, wird es wohl bald Platz in meinem Regal geben. Egal wie schön sonst sein Schreibstil ist, möchte ich nicht ständig was von ejakulierenden Penissen in Frauenmündern lesen. Das hat mir schon sehr den Spaß am Buch verdorben.
Vielleicht ist er so 👇🏻👇🏻👇🏻 zum Schreiben gekommen 🤔
Eventuell empfahl ihm das in früheren Jahren sein Psychoterapeut?
Psychotherapeut🥼: "Ihre Libido macht mir Sorgen."
M⛩️: "Mir nicht."
Psychotherapeut🥼: "Genau das meine ich."
M⛩️: "Die ist super!"
Psychotherapeut🥼: "Was meinen sie mit super, Herr Murakami?"
M⛩️: "Immer voll da. Immer maximal aufgedreht."
Psychotherapeut🥼: "Aha. Wie geht ihr Umfeld damit um? Wie ist das... Echo?"
M⛩️: 💭🍑🍌🍑🌽🍒🍌🍑🍆... Was?"
Psychotherapeut🥼: "Frauen, Herr Murakami. Wie werden Sie damit angenommen? "
M⛩️: "Nicht immer sofort. Ich muss an meiner Überzeugung arbeiten."
Psychotherapeut🥼: "Herr Murakami, haben Sie schon mal daran gedacht, Ihre Fantasien nicht in der Realität auszuleben, sondern in einem Roman? Das wäre doch eine erwägenswerte Alternative zur sagen wir mal ihren Vergewaltigungsfantasien?"
M⛩️: "Und ich darf ungestraft all den Schweinekram, den ich selber gerne machen möchte, da reinschreiben 😈"
Psychotherapeut🥼: "Natürlich."
Aber mal ehrlich. Bin ich die einzige, die das stört?
Mini-Spoiler:
Und dann diese absurde Schlussszene, bei der Tengo der Unterschied erklärt wird zwischen insane und lunatic, während im seine Freundin im Schritt spielt.
Warum!!!!!!
Wozu dieser ganze Sex im Roman. Das brauche ich nicht und für die Geschichte war es auch nicht nötig. Darum finden solche intimen Dinge hinter verschlossenen Türen statt und nicht im Bus auf dem Weg zur Arbeit. Weil es eben intim ist. Und falls diese Art sexueller Ratgeber typisch ist für Murakamis Schreibweise, wird es wohl bald Platz in meinem Regal geben. Egal wie schön sonst sein Schreibstil ist, möchte ich nicht ständig was von ejakulierenden Penissen in Frauenmündern lesen. Das hat mir schon sehr den Spaß am Buch verdorben.
Vielleicht ist er so 👇🏻👇🏻👇🏻 zum Schreiben gekommen 🤔
Eventuell empfahl ihm das in früheren Jahren sein Psychoterapeut?
Psychotherapeut🥼: "Ihre Libido macht mir Sorgen."
M⛩️: "Mir nicht."
Psychotherapeut🥼: "Genau das meine ich."
M⛩️: "Die ist super!"
Psychotherapeut🥼: "Was meinen sie mit super, Herr Murakami?"
M⛩️: "Immer voll da. Immer maximal aufgedreht."
Psychotherapeut🥼: "Aha. Wie geht ihr Umfeld damit um? Wie ist das... Echo?"
M⛩️: 💭🍑🍌🍑🌽🍒🍌🍑🍆... Was?"
Psychotherapeut🥼: "Frauen, Herr Murakami. Wie werden Sie damit angenommen? "
M⛩️: "Nicht immer sofort. Ich muss an meiner Überzeugung arbeiten."
Psychotherapeut🥼: "Herr Murakami, haben Sie schon mal daran gedacht, Ihre Fantasien nicht in der Realität auszuleben, sondern in einem Roman? Das wäre doch eine erwägenswerte Alternative zur sagen wir mal ihren Vergewaltigungsfantasien?"
M⛩️: "Und ich darf ungestraft all den Schweinekram, den ich selber gerne machen möchte, da reinschreiben 😈"
Psychotherapeut🥼: "Natürlich."
September 9, 2024
"Nicht ich bin verrückt, die Welt ist es..."
Aomane und Tengo, eine Art Liebesgeschichte.
Aomane steigt 1984 auf der Autobahn aus, geht eine Treppe hinunter und kommt unwissentlich im Jahr 1Q84 an. Tengo überarbeitet den Roman der 17jährigen Fukaeri und gerät dadurch auch in diese Parallelwelt. Werden sie sich finden?
Ich bin direkt eingestiegen in die faszinierende Welt dieser Geschichte mit zwei Monden, Little People, der Puppe aus Luft, der Stadt der Katzen und so vieles mehr. Wie immer verflechtet Murakami seltsame Geschehnisse miteinander um am Ende eine magische Geschichte zu knüpfen.
Dies ist ihm für mich hier nicht komplett gelungen. Sprachlich durchgehend brilliant, verliert er sich zeitweise in langatmigen Erklärungen und Wiederholungen auch seine mittlerweile traditionellen Schilderungen von Sexualakten waren mir hier ab und zu zu viel.
Dennoch habe ich dieses 1000 Seiten Werk sehr genossen, bin eingetaucht und habe wie so oft mehrere Stimmungen durchlebt. Murakami ist für mich nach wie vor ein Meister des Geschichtenerzählens.
Buch 3 dieser Triologie habe ich schon hier und freue mich darauf!
Aomane und Tengo, eine Art Liebesgeschichte.
Aomane steigt 1984 auf der Autobahn aus, geht eine Treppe hinunter und kommt unwissentlich im Jahr 1Q84 an. Tengo überarbeitet den Roman der 17jährigen Fukaeri und gerät dadurch auch in diese Parallelwelt. Werden sie sich finden?
Ich bin direkt eingestiegen in die faszinierende Welt dieser Geschichte mit zwei Monden, Little People, der Puppe aus Luft, der Stadt der Katzen und so vieles mehr. Wie immer verflechtet Murakami seltsame Geschehnisse miteinander um am Ende eine magische Geschichte zu knüpfen.
Dies ist ihm für mich hier nicht komplett gelungen. Sprachlich durchgehend brilliant, verliert er sich zeitweise in langatmigen Erklärungen und Wiederholungen auch seine mittlerweile traditionellen Schilderungen von Sexualakten waren mir hier ab und zu zu viel.
Dennoch habe ich dieses 1000 Seiten Werk sehr genossen, bin eingetaucht und habe wie so oft mehrere Stimmungen durchlebt. Murakami ist für mich nach wie vor ein Meister des Geschichtenerzählens.
Buch 3 dieser Triologie habe ich schon hier und freue mich darauf!
April 16, 2013
“If you can't understand it without an explanation, you can't understand it with an explanation.”
An oft repeated phrase throughout the first two books of what has been described as Haruki Murakami's magnum opus by an overly enthusiastic reviewer desperate to get a quote on the cover of the book, and one that obviously works as a message to the reader confused by the lack of explanation for events throughout the novel.
Being only two thirds through the novel at this stage I cannot provide a full response to the text, I would have preferred to buy each book individually for psychological reasons more than anything, the size of this novel is intimidating, but this is the year of reading big books and so I finally built up the courage to tackle 805 pages and such is the casual and playful nature of Murakami's prose in this instance that I hardly noticed how heavy the book itself was.
Murakami is constantly drawing attention to the tools of a writer, the act of reading and the conventions of both but not in the obnoxious way that it seems most contemporary literary sensations seem to revel in. His passion for his chosen profession is what shines through the most, his adoration for Dickens, Orwell, Chekov etc rather than a simple and gratuitous aping of what has come before.
On face value 1Q84 is an exact replica of his other works and at the same time nothing at all like what has come before. He touches on the same themes, in true Quentin Tarantino fashion his sexual fetish is made obvious, the bleeding together of reality and fantasy, the dislocated lives of his protagonists but most prominent is the fact that this is his most romantic work since Norwegian Wood, that special kind of magical and tortured romance you seem to only find in the novels of Haruki Murakami.
A lot has been made of the length (massive) and the fact that there's so much repetition of basic information but beyond some mild irritation I can't say I really noticed. I frequently realised that I was X number of pages in and not much had actually happened, plot development was minimal or the direction was vague but these are not bad things when part of a story told by Haruki Murakami, especially one told in such vivid detail.
I'm very much looking forward to finding out if anything gets resolved, if anything starts to make any sense at all, if the star crossed lovers find happiness, what exactly it is that the Little People have planned and the answers to any number of other fascinating and intriguing questions that have been posed throughout, but then if the general theme so far is anything to go by perhaps I will be pondering the meaning for many years to come.
“It is not that the meaning cannot be explained. But there are certain meanings that are lost forever the moment they are explained in words.”
Book 3 Review
An oft repeated phrase throughout the first two books of what has been described as Haruki Murakami's magnum opus by an overly enthusiastic reviewer desperate to get a quote on the cover of the book, and one that obviously works as a message to the reader confused by the lack of explanation for events throughout the novel.
Being only two thirds through the novel at this stage I cannot provide a full response to the text, I would have preferred to buy each book individually for psychological reasons more than anything, the size of this novel is intimidating, but this is the year of reading big books and so I finally built up the courage to tackle 805 pages and such is the casual and playful nature of Murakami's prose in this instance that I hardly noticed how heavy the book itself was.
“Things like this don't happen all that often in one lifetime. This is the magnificent world of a picaresque novel. Just brace yourself and enjoy the smell of evil. We're shooting the rapids. And when we go over the falls, let's do it together in grand style!”
Murakami is constantly drawing attention to the tools of a writer, the act of reading and the conventions of both but not in the obnoxious way that it seems most contemporary literary sensations seem to revel in. His passion for his chosen profession is what shines through the most, his adoration for Dickens, Orwell, Chekov etc rather than a simple and gratuitous aping of what has come before.
"I am nothing. I’m like someone who’s been thrown into the ocean at night, floating all alone. I reach out, but no one is there. I call out, but no one answers. I have no connection to anything.”
On face value 1Q84 is an exact replica of his other works and at the same time nothing at all like what has come before. He touches on the same themes, in true Quentin Tarantino fashion his sexual fetish is made obvious, the bleeding together of reality and fantasy, the dislocated lives of his protagonists but most prominent is the fact that this is his most romantic work since Norwegian Wood, that special kind of magical and tortured romance you seem to only find in the novels of Haruki Murakami.
“Wasn't it better if they kept this desire to see each other hidden within them, and never actually got together? That way, there would always be hope in their hearts. That hope would be a small, yet vital flame that warmed them to their core-- a tiny flame to cup one's hands around and protect from the wind, a flame that the violent winds of reality might easily extinguish.”
A lot has been made of the length (massive) and the fact that there's so much repetition of basic information but beyond some mild irritation I can't say I really noticed. I frequently realised that I was X number of pages in and not much had actually happened, plot development was minimal or the direction was vague but these are not bad things when part of a story told by Haruki Murakami, especially one told in such vivid detail.
I'm very much looking forward to finding out if anything gets resolved, if anything starts to make any sense at all, if the star crossed lovers find happiness, what exactly it is that the Little People have planned and the answers to any number of other fascinating and intriguing questions that have been posed throughout, but then if the general theme so far is anything to go by perhaps I will be pondering the meaning for many years to come.
“It is not that the meaning cannot be explained. But there are certain meanings that are lost forever the moment they are explained in words.”
Book 3 Review
December 19, 2011
I'm sad to report that I didn't so much love this book. I didn't hate it but felt gypped a bit, and I guess that comes from all the hoop-la. I am however proud that I can now boast that I can read a 900 page book. This also means I don't have an excuse not to finish up Ulysses. Nuts. Anywhoooo, I'm going to be direct and list what I didn't love:
1. TOO LONG. This might be a given, but after finishing all 900 pages I can safely say that he could have cut it by half. Did anything even happen in the last third of the book? Not so much.
2. Lame ending. I'm not going to spoil anything, but after slogging through 900 pages you expect some fireworks at the end. One measly fire cracker even? Not so much.
3. Clunky and wooden language which made for clunky and wooden characters. Was it just me or did these seem like Japanese robots versus people? I always thought his translators did a brilliant job but I think they missed the mark on this one. Maybe the switch from first to third person narrative?
4. The Murakami obesssions started to get to me. I know he's obsessed with cats, lesbian love scenes, and the magic of pubic hair, but it started to get a little overboard. At times the whole book felt like a wet dream of prepubescent boy.
I didn't hate the book, but don't think it at all lives up to his earlier stuff. There were certainly moments of brilliance, but I would not necessarily recommend it to anyone.
1. TOO LONG. This might be a given, but after finishing all 900 pages I can safely say that he could have cut it by half. Did anything even happen in the last third of the book? Not so much.
2. Lame ending. I'm not going to spoil anything, but after slogging through 900 pages you expect some fireworks at the end. One measly fire cracker even? Not so much.
3. Clunky and wooden language which made for clunky and wooden characters. Was it just me or did these seem like Japanese robots versus people? I always thought his translators did a brilliant job but I think they missed the mark on this one. Maybe the switch from first to third person narrative?
4. The Murakami obesssions started to get to me. I know he's obsessed with cats, lesbian love scenes, and the magic of pubic hair, but it started to get a little overboard. At times the whole book felt like a wet dream of prepubescent boy.
I didn't hate the book, but don't think it at all lives up to his earlier stuff. There were certainly moments of brilliance, but I would not necessarily recommend it to anyone.
March 4, 2011
Murakami zu lesen, ist wie den besten Wein zu trinken. Zuerst musst du ihn atmen lassen (666). Es ist wie der Luftzug, der entsteht, wenn du schwunghaft den Buchdeckel öffnest.
Fühle den Geschmack. Auf deiner Zunge, mit der du Laute bildet und dann zu einem Wort zusammenfasst.
Danach trinkst du. So, wie der Wein dir langsam durch die Kehle rinnt, so werden dir seine Sätze durch jede kleinste Windung deines Gehirns fließen.
Am Ende wirst du völlig berauscht sein. Oder um es auf den Punkt zu bringen, ein Satz- ein Schluck Wein. Bei 1022 Seiten bist du besoffen.
Der Tag danach? Vergleichbar mit dem Zuklappen des silbernen Buchdeckels, bringt nur Leere. Übrig bleibt nichts. Nur dieses dumpfe Pochen in deinen Kopf. Doch dieses Nichts ist gleichzeitig Alles.
Das klingt alles wirr? Natürlich tut es das! Ich versuche hier Murakamis neustes Werk zu beschreiben und kämpfe noch mit dem Kater.
1Q84 oder ichi kyū hachi yon (wobei „kyū“ gleichzeitig für die Zahl 9, sowie für den Buchstaben Q steht.) war für mich ein Höhenflug. Mit mehreren Abstürzen. Kam mir also recht bekannt vor.
Mir ist es wichtiger, die Stimmung zu beschreiben, als das, was direkt im Buch stand. Das könnt ihr ja selber lesen und euch freuen. Genau freuen! Auf das, was zwischen den Zeilen steht.
Auch für die, die lieber Bier trinken!
Fühle den Geschmack. Auf deiner Zunge, mit der du Laute bildet und dann zu einem Wort zusammenfasst.
Danach trinkst du. So, wie der Wein dir langsam durch die Kehle rinnt, so werden dir seine Sätze durch jede kleinste Windung deines Gehirns fließen.
Am Ende wirst du völlig berauscht sein. Oder um es auf den Punkt zu bringen, ein Satz- ein Schluck Wein. Bei 1022 Seiten bist du besoffen.
Der Tag danach? Vergleichbar mit dem Zuklappen des silbernen Buchdeckels, bringt nur Leere. Übrig bleibt nichts. Nur dieses dumpfe Pochen in deinen Kopf. Doch dieses Nichts ist gleichzeitig Alles.
Das klingt alles wirr? Natürlich tut es das! Ich versuche hier Murakamis neustes Werk zu beschreiben und kämpfe noch mit dem Kater.
1Q84 oder ichi kyū hachi yon (wobei „kyū“ gleichzeitig für die Zahl 9, sowie für den Buchstaben Q steht.) war für mich ein Höhenflug. Mit mehreren Abstürzen. Kam mir also recht bekannt vor.
Mir ist es wichtiger, die Stimmung zu beschreiben, als das, was direkt im Buch stand. Das könnt ihr ja selber lesen und euch freuen. Genau freuen! Auf das, was zwischen den Zeilen steht.
Auch für die, die lieber Bier trinken!
April 29, 2020
I did it, I finished parts 1 and 2!! Now on to part 3, then I'll write a review about the whole thing!
November 1, 2020
For a long time I was a bit afraid to read this book. Everything I had heard about it made me suspect that it was very challenging to read in both style and content.
What a surprise when I finally got started.
The writing style is extremely clear and pleasant and the content really got me carried away.
It's about Aomame and Tengo, who once had contact in their childhood. They're around thirty now and haven't seen each other in 20 years. I think Aomame is the more interesting character. In my opinion, Tengo is a bit of a sluggish bore, but despite his passivity he contributes to the progress of the story.
The story is told from the point of view of these two protagonists and contains a number of fantastic elements.
I can't say more about the content at the moment, because on the one hand I want to avoid spoilers and on the other hand a lot is still unclear.
This book ends with a cliffhanger, which is not surprising as it only contains the first two parts of a trilogy.
I found this novel mesmerizing and I will definitely read the third volume too.
I rate with 4.5 stars, which I round up to 5.
---------------------------------------
An dieses Buch habe ich mich sehr lange nicht herangetraut. Alles, was ich darüber gehört hatte, ließ mich vermuten, dass es sowohl vom Stil als auch vom Inhalt sehr anspruchsvoll zu lesen sei.
Was für eine Überraschung als ich endlich damit begonnen habe.
Der Schreibstil ist äußerst klar und angenehm und der Inhalt hat mich wirklich mitgerissen.
Es geht um Aomame und Tengo, die in ihrer Kindheit mal Kontakt hatten. Jetzt sind sie um die Dreißig und haben sich seit 20 Jahren nicht gesehen. Aomame halte ich für den interessanteren Charakter. Tengo ist in meinen Augen eher eine träge Dumpfbacke, der aber trotz seiner Passivität zum Fortschreiten der Story beiträgt.
Die Geschichte wird wechselseitig aus der Sicht dieser beiden Protagonisten erzählt und enthält etliche fantastische Elemente.
Zum Inhalt kann ich derzeit nicht mehr sagen, da ich zum einen nicht spoilern möchte und zum anderen vieles noch unklar geblieben ist.
Dieses Buch endet mit einem Cliffhanger, was nicht weiter verwunderlich ist, da es nur die ersten beiden Teile einer Trilogie enthält.
Mich hat der Roman richtiggehend in seinen Bann gezogen und ich werde den dritten Band auf jeden Fall auch lesen.
Bewerten möchte ich mit 4,5 Sternen, die ich auf 5 aufrunde.
What a surprise when I finally got started.
The writing style is extremely clear and pleasant and the content really got me carried away.
It's about Aomame and Tengo, who once had contact in their childhood. They're around thirty now and haven't seen each other in 20 years. I think Aomame is the more interesting character. In my opinion, Tengo is a bit of a sluggish bore, but despite his passivity he contributes to the progress of the story.
The story is told from the point of view of these two protagonists and contains a number of fantastic elements.
I can't say more about the content at the moment, because on the one hand I want to avoid spoilers and on the other hand a lot is still unclear.
This book ends with a cliffhanger, which is not surprising as it only contains the first two parts of a trilogy.
I found this novel mesmerizing and I will definitely read the third volume too.
I rate with 4.5 stars, which I round up to 5.
---------------------------------------
An dieses Buch habe ich mich sehr lange nicht herangetraut. Alles, was ich darüber gehört hatte, ließ mich vermuten, dass es sowohl vom Stil als auch vom Inhalt sehr anspruchsvoll zu lesen sei.
Was für eine Überraschung als ich endlich damit begonnen habe.
Der Schreibstil ist äußerst klar und angenehm und der Inhalt hat mich wirklich mitgerissen.
Es geht um Aomame und Tengo, die in ihrer Kindheit mal Kontakt hatten. Jetzt sind sie um die Dreißig und haben sich seit 20 Jahren nicht gesehen. Aomame halte ich für den interessanteren Charakter. Tengo ist in meinen Augen eher eine träge Dumpfbacke, der aber trotz seiner Passivität zum Fortschreiten der Story beiträgt.
Die Geschichte wird wechselseitig aus der Sicht dieser beiden Protagonisten erzählt und enthält etliche fantastische Elemente.
Zum Inhalt kann ich derzeit nicht mehr sagen, da ich zum einen nicht spoilern möchte und zum anderen vieles noch unklar geblieben ist.
Dieses Buch endet mit einem Cliffhanger, was nicht weiter verwunderlich ist, da es nur die ersten beiden Teile einer Trilogie enthält.
Mich hat der Roman richtiggehend in seinen Bann gezogen und ich werde den dritten Band auf jeden Fall auch lesen.
Bewerten möchte ich mit 4,5 Sternen, die ich auf 5 aufrunde.
July 6, 2022
Meraviglioso!
Con questo libro Murakami diventa a pieni voti uno dei miei autori preferiti.
Con questo libro Murakami diventa a pieni voti uno dei miei autori preferiti.
February 22, 2019
I cannot even put into words how much I love this book.
A masterpiece in every sense of the word!
Now onto part three and I cannot wait
A masterpiece in every sense of the word!
Now onto part three and I cannot wait
September 30, 2015
I can't really give this book a proper review seeing as I've only completed 2/3s of it so far - but I FEEL like I've climbed a mountain these past 3 weeks! Murakami's prose is spot on as usual, and the story itself is completely bizarre and intriguing - probably the most heavy magical realism I've read from him so far. I really enjoy the dual perspective, but I still have so many questions. I doubt (from what I've heard) that they'll be cleared up in the third volume but I'm still intrigued to read the last part! Think I'll take a mini break before doing that though, this stuff is heavy-going...
September 28, 2016
Il mio primo Murakami. Per iniziare ho scelto il suo romanzo più ambizioso. È un bel libro. Forse un po' ridondante, ma comunque molto incisivo.
Murakami ha la capacità di immergerci con delicatezza in quest'atmosfera rarefatta, ovattata e malinconica, di intorpidire progressivamente i sensi sotto una coltre vellutata, mentre seguiamo le sorti di personaggi legati da un filo sottilissimo e indissolubile. Gli elementi magici non sono mai invasivi, ma risultano appena accennati.
Tengo e Aomame sono attratti da una forza potentissima, da un desiderio inestinguibile che li accompagna più o meno inconsciamente dal loro primo incontro. Eppure sembrano rassegnati a un destino avverso. Sono fragili, refrattari ad ogni relazione intima, incapaci di qualsiasi spirito d'iniziativa. Conducono esistenze monotone e solitarie, e per far fronte al loro disagio interiore entrambi si aggrappano disperatamente al ricordo di quell'unico scambio intenso, di quel patto suggellato tacitamente venti anni prima.
Sembrano quasi trascinarsi, mentre si lasciano sfuggire ripetutamente quelle opportunità significative in grado colmare la loro solitudine esistenziale: l'occasione di creare legami stabili, di dare sostanza alle loro relazioni, di far luce sulle proprie origini, l'opportunità di coltivare delle ambizioni e cimentarsi in qualcosa di impegnativo, di misurarsi col reale, la possibilità di ricongiungersi.
«Lui non è qui. Ma un corpo che non si può vedere non è soggetto a decadenza, e le promesse che non sono state scambiate non possono essere infrante.»
Finché, osservando il cielo notturno, non si accorgono che, leggermente distante dalla solita luna, ce n'è una seconda sospesa. Nell'anno 1Q84 assistiamo ad un profondo cambiamento non solo della realtà ma degli stessi protagonisti.
È una storia dal sapore amaro, fatta di rimpianti, di perdite, di assenze e di vuoti incolmabili.
Murakami ha la capacità di immergerci con delicatezza in quest'atmosfera rarefatta, ovattata e malinconica, di intorpidire progressivamente i sensi sotto una coltre vellutata, mentre seguiamo le sorti di personaggi legati da un filo sottilissimo e indissolubile. Gli elementi magici non sono mai invasivi, ma risultano appena accennati.
Tengo e Aomame sono attratti da una forza potentissima, da un desiderio inestinguibile che li accompagna più o meno inconsciamente dal loro primo incontro. Eppure sembrano rassegnati a un destino avverso. Sono fragili, refrattari ad ogni relazione intima, incapaci di qualsiasi spirito d'iniziativa. Conducono esistenze monotone e solitarie, e per far fronte al loro disagio interiore entrambi si aggrappano disperatamente al ricordo di quell'unico scambio intenso, di quel patto suggellato tacitamente venti anni prima.
Sembrano quasi trascinarsi, mentre si lasciano sfuggire ripetutamente quelle opportunità significative in grado colmare la loro solitudine esistenziale: l'occasione di creare legami stabili, di dare sostanza alle loro relazioni, di far luce sulle proprie origini, l'opportunità di coltivare delle ambizioni e cimentarsi in qualcosa di impegnativo, di misurarsi col reale, la possibilità di ricongiungersi.
«Lui non è qui. Ma un corpo che non si può vedere non è soggetto a decadenza, e le promesse che non sono state scambiate non possono essere infrante.»
Finché, osservando il cielo notturno, non si accorgono che, leggermente distante dalla solita luna, ce n'è una seconda sospesa. Nell'anno 1Q84 assistiamo ad un profondo cambiamento non solo della realtà ma degli stessi protagonisti.
È una storia dal sapore amaro, fatta di rimpianti, di perdite, di assenze e di vuoti incolmabili.
June 27, 2019
Estoy acostumbrado a las rarezas de Murakami, pero este es el libro más extraño que he leído de él. Conserva todo lo característico de sus otras historias, los personajes nostálgicos, el amor imposible, personajes que desaparecen, la fijación por la orejas, y también la idea de duplicidad del mundo. Todo se desarrolla en el Japón del año 1984, pero por alguna razón algo cambia y se genera un mundo paralelo, un Japón alternativo, que denomina 1Q84, ya que la letra Q tiene el mismo sonido que el número nueve al pronunciarlo en Japonés. Son Homófonos.
Todo lo anterior dentro del estilo de Murakami es normal, lo extraño, lo singular de este libro, son unos personajes misteriosos e inquietantes que aparecen en este mundo alternativo, con un poder sobrenatural que intimida, el autor los denomina, la Little People. Son los primeros personajes de Murakami que me causaron algo parecido al miedo.
En términos de extensión, el libro me parece demasiado largo, a veces con mucho relleno, solo por eso le doy cuatro estrellas y no cinco. El final es abierto, como nos tiene acostumbrados el autor, pero en esta ocasión es más drástico y te deja mucho más expectante, tanto así que se necesita leer pronto la tercera parte de esta singular historia.
https://eligeunlibro.blogspot.com/201...
Todo lo anterior dentro del estilo de Murakami es normal, lo extraño, lo singular de este libro, son unos personajes misteriosos e inquietantes que aparecen en este mundo alternativo, con un poder sobrenatural que intimida, el autor los denomina, la Little People. Son los primeros personajes de Murakami que me causaron algo parecido al miedo.
En términos de extensión, el libro me parece demasiado largo, a veces con mucho relleno, solo por eso le doy cuatro estrellas y no cinco. El final es abierto, como nos tiene acostumbrados el autor, pero en esta ocasión es más drástico y te deja mucho más expectante, tanto así que se necesita leer pronto la tercera parte de esta singular historia.
https://eligeunlibro.blogspot.com/201...
March 2, 2017
Es increíble la cantidad de historia y de cultura general que maneja el escritor en este libro. Hubiera sido una muy buena novela sin la fantasía, pero con esta es mas que excelente. Con lo único que tuve problemas fue con visualizarlos a todos como japoneses.
June 17, 2024
Für mich: Bester Roman aller Zeiten.
Tengo und Aomame: das romantischste Liebespaar aller Zeiten, das nur durch einen sanften aber doch bestimmten Händedruck vor vielen Jahren miteinander verbunden ist.
Die Puppe aus Luft, die Sekte, die zwei Monde …
Hier ist alles vereint, was für mich einen herausragend erzählten Roman ausmacht:
ATMOSPHÄRE, Spannung, Romantik, Mystery, Humor, fein ausgearbeitete Figuren bis zu den kleinsten Nebenfiguren, alle erhalten einen unverwechselbaren Charakter und nicht zuletzt eine irrwitzige Handlung, erzählt in einer schlichten poetischen Sprache.
Was es nicht ist: es ist kein Sprachexperiment.
Murakami hat hiermit sein absolutes Meisterwerk abgeliefert. Er wird es selbst nie übertreffen können und muss er auch nicht, es ist bereits da.
Eine kleine Hoffnung habe ich, dass es nach dem dritten Teil noch weitergeht. Grundsätzlich gäbe es noch ein paar Handlungsfaeden die nicht ganz aufgelöst sind. Aber das wird es vermutlich ebenso wenig geben, wie einen dritten Teil des Commendatore.
Tengo und Aomame: das romantischste Liebespaar aller Zeiten, das nur durch einen sanften aber doch bestimmten Händedruck vor vielen Jahren miteinander verbunden ist.
Die Puppe aus Luft, die Sekte, die zwei Monde …
Hier ist alles vereint, was für mich einen herausragend erzählten Roman ausmacht:
ATMOSPHÄRE, Spannung, Romantik, Mystery, Humor, fein ausgearbeitete Figuren bis zu den kleinsten Nebenfiguren, alle erhalten einen unverwechselbaren Charakter und nicht zuletzt eine irrwitzige Handlung, erzählt in einer schlichten poetischen Sprache.
Was es nicht ist: es ist kein Sprachexperiment.
Murakami hat hiermit sein absolutes Meisterwerk abgeliefert. Er wird es selbst nie übertreffen können und muss er auch nicht, es ist bereits da.
Eine kleine Hoffnung habe ich, dass es nach dem dritten Teil noch weitergeht. Grundsätzlich gäbe es noch ein paar Handlungsfaeden die nicht ganz aufgelöst sind. Aber das wird es vermutlich ebenso wenig geben, wie einen dritten Teil des Commendatore.
July 19, 2024
Aclaración: En nuestro idioma español, “1Q84” se publicó en dos volúmenes, el primero con los libros 1 y 2, y el segundo con el libro 3. Esta reseña incluye los dos volúmenes, es decir los 3 libros originales.
El realismo mágico es una dimensión diversa del mundo de la literatura que se ha puesto tardíamente de moda. Los reinos surrealistas del realismo mágico han ampliado los límites de la narración y han dado a la experiencia de lectura una textura diferente, una complexión distinta. El realismo mágico es una experiencia que está en una liga propia.
El escritor japonés Haruki Murakami nos lleva a un viaje mágico-realista con “1Q84”. Esta es una historia extensa ambientada en Tokio en 1984. A lo largo de ocho meses la narrativa alterna entre dos individuos aparentemente desconectados: Aomame y Tengo. Parecen no tener ninguna conexión y vivían en perfecta armonía hasta que unos acontecimientos peculiares empezaron a interrumpir el flujo de las cosas.
Aomame es una instructora de artes marciales y fisioterapeuta que es contratada por una viuda para matar a hombres abusadores. En su camino a una de sus misiones, se queda atrapada en el tráfico de la autopista. Con la ayuda de un taxista baja por una escalera de emergencia hasta el metro. Cuando vuelve a salir del atajo, se encuentra en una salida extrañamente diferente. Pero no es solo la salida la que es diferente. El mundo ha cambiado y Aomame se encuentra en un territorio diferente, no en el mundo que ella percibía anteriormente.
En otra parte de Tokio, Tengo, un tutor de matemáticas que aspira a ser un novelista famoso, recibe de su editor una propuesta intrigante: re-escribir de forma anónima una novela corta poco elegante pero adictiva. Escrita por una estudiante de secundaria de 17 años llamada Fuka-Eri, “La Crisálida de Aire” es una historia que contiene, entre muchas cosas, “a personas pequeñas” que salen arrastrándose de la boca de cabras muertas. La colaboración es, como predijo el editor de Tengo, una sensación nacional.
“La Crisálida de Aire” es más que un simple libro. También es el catalizador que une a Aomame y Tengo, quienes comparten una historia: tuvieron un breve encuentro cuando eran más jóvenes y, aunque no se han visto en 20 años, las vívidas emociones y el anhelo de ese día siguen siendo tan fuertes como su primer encuentro. A medida que sus historias convergen en torno a un enigmático culto y su líder, cada fragmento de la historia está conectado por un hilo invisible.
El primer aspecto de la novela que uno nota es su extensión, que no es característica de la obra típica de Murakami. “1Q84”, después de todo, se publicó originalmente en tres libros en dos volúmenes. Sin embargo, más allá de lo físico, el libro tiene mucho más. La extensión contradice la complejidad del viaje que contempla, superando las mil páginas y llevádonos a una montaña rusa única en la vida.
Las realidades cambiantes y los mundos y dimensiones paralelos son recursos de argumento muy comunes en las obras de Haruki Murakami. Son elementos que Murakami ha dominado, convirtiéndolos en una habilidad en su vasto repertorio literario. “1Q84” hace eco de estos elementos. Mientras que los mundos alternativos en obras anteriores de Murakami son lugares donde el protagonista masculino busca a la protagonista femenina, la dimensión alternativa de “1Q84” se preocupa más por las posibilidades de estar “irremediablemente perdido”, una frase que los personajes usan repetidamente. El tiempo, por lo tanto, es un elemento clave en la novela.
El romance podría sonar simple, pero no cuando Murakami lidia con él. A primera vista, “1Q84” es la típica historia de amor entrelazada con el destino. Pero se va convirtiendo en algo más que eso. Después de todo, se trata de Haruki Murakami, así que para hacerlo más interesante, él evoca un mundo donde la realidad cambia y todo tiende a convertirse en un gran signo de interrogación. A lo largo de su carrera literaria, Murakami ha demostrado ser un escritor al que le interesan los cultos, y al menos dos sectas están presentes en la historia: Sakigake (que significa precursor) y la Sociedad de los Testigos, un grupo cristiano cuyos miembros se niegan a someterse a cirugías. El Sakigake es una referencia a la secta Aum Shinrikyo, que llevó a cabo el mortal ataque con gas sarín en el metro de Tokio en 1995. Murakami escribió sobre el mismo tema en su libro “Underground”.
Los mismos patrones de secta se pueden observar en varias relaciones en la novela, como la conexión entre Tengo y su editor. También son palpables en la relación entre Aomame y la viuda que dirige un refugio para mujeres víctimas de violencia doméstica. Más allá del romance y los temas de culto, la historia se desarrolla hasta convertirse en una potente narración de suspenso. En esencia, es un thriller con muchos elementos envueltos en extraños velos de misterio.
Infaliblemente, Murakami aporta delicadeza a sus historias rociándolas con puntos de referencia culturales. Esto refina la historia y ayuda a anclarla a los lectores a pesar de las dimensiones cambiantes. Hay varias referencias a libros y autores como Antón Chéjov, Stanley Kubrick, Fiódor Dostoievski, Lewis Carroll, Macbeth y Carl Jung. Murakami, famoso por su pasión por la música jazz, también incorporó alusiones musicales a la historia. En la obra de Murakami se hace referencia repetida a la Sinfonietta de Leo Janácek.
La presencia de agujeros en la trama es algo habitual. En “1Q84” hay varias líneas argumentales y preguntas que no tienen respuesta. Por ejemplo, el caso del concepto efímero de “las pequeñas personas”. ¿Quiénes son y qué papel desempeñan realmente en la narración? Puede que sea intencional, pero se dejó que la imaginación del lector las resolviera. Los acontecimientos que son centrales para la historia se presentan con una mezcla de fantasía, surrealismo y un toque de realidad. Estos acontecimientos peculiares son la antítesis de los personajes; están basados en la realidad y se crean lo más humanos posible. El toque de realidad en las representaciones pausadas y vívidas de las actividades diarias de Murakami lo hace posible. Su recaptura íntima de las conversaciones internas de sus personajes hace que sea más fácil para los lectores conectarse con ellos. La sinceridad de su confusión y su expresión sin trabas sobre el tiempo, la conciencia o las opciones morales reflejan las preocupaciones de los lectores contemporáneos.
Sin embargo, lo que ilumina la narrativa compleja y complicada no es su fantasía y surrealismo. Es su inmersión en la conciencia y su sutil mensaje de esperanza que redefine esta novela tan extravagante. Son estos elementos los que cambian la complexión de la novela y la elevan a pesar de las peculiaridades, los matices y las realidades cambiantes.
Leer “1Q84” es como ingerir un alimento desconocido para el paladar. Su mezcla de fantasía, religión, sexo, esperanza, soledad y romance es extraña y deja un regusto diferente pero impresionable. Está aderezado con una saludable dosis de surrealismo y espolvoreado con una porción de fantasía. Estos ingredientes son mezclados y cocinados con maestría y buen gusto por las hábiles manos de Murakami hasta convertirlos en un delicioso manjar literario. Es algo poco común y solo un chef maestro como Murakami es capaz de preparar un menú artesanal tan delicado. En este caso, “1Q84” no se trata solo de leer, se trata de degustar, o más bien, de experimentar algo nuevo.
Reseña completa sin spoilers en mi canal de YouTube ➡ Maponto Lee 📚 Link aquí!
El realismo mágico es una dimensión diversa del mundo de la literatura que se ha puesto tardíamente de moda. Los reinos surrealistas del realismo mágico han ampliado los límites de la narración y han dado a la experiencia de lectura una textura diferente, una complexión distinta. El realismo mágico es una experiencia que está en una liga propia.
El escritor japonés Haruki Murakami nos lleva a un viaje mágico-realista con “1Q84”. Esta es una historia extensa ambientada en Tokio en 1984. A lo largo de ocho meses la narrativa alterna entre dos individuos aparentemente desconectados: Aomame y Tengo. Parecen no tener ninguna conexión y vivían en perfecta armonía hasta que unos acontecimientos peculiares empezaron a interrumpir el flujo de las cosas.
Aomame es una instructora de artes marciales y fisioterapeuta que es contratada por una viuda para matar a hombres abusadores. En su camino a una de sus misiones, se queda atrapada en el tráfico de la autopista. Con la ayuda de un taxista baja por una escalera de emergencia hasta el metro. Cuando vuelve a salir del atajo, se encuentra en una salida extrañamente diferente. Pero no es solo la salida la que es diferente. El mundo ha cambiado y Aomame se encuentra en un territorio diferente, no en el mundo que ella percibía anteriormente.
En otra parte de Tokio, Tengo, un tutor de matemáticas que aspira a ser un novelista famoso, recibe de su editor una propuesta intrigante: re-escribir de forma anónima una novela corta poco elegante pero adictiva. Escrita por una estudiante de secundaria de 17 años llamada Fuka-Eri, “La Crisálida de Aire” es una historia que contiene, entre muchas cosas, “a personas pequeñas” que salen arrastrándose de la boca de cabras muertas. La colaboración es, como predijo el editor de Tengo, una sensación nacional.
“La Crisálida de Aire” es más que un simple libro. También es el catalizador que une a Aomame y Tengo, quienes comparten una historia: tuvieron un breve encuentro cuando eran más jóvenes y, aunque no se han visto en 20 años, las vívidas emociones y el anhelo de ese día siguen siendo tan fuertes como su primer encuentro. A medida que sus historias convergen en torno a un enigmático culto y su líder, cada fragmento de la historia está conectado por un hilo invisible.
El primer aspecto de la novela que uno nota es su extensión, que no es característica de la obra típica de Murakami. “1Q84”, después de todo, se publicó originalmente en tres libros en dos volúmenes. Sin embargo, más allá de lo físico, el libro tiene mucho más. La extensión contradice la complejidad del viaje que contempla, superando las mil páginas y llevádonos a una montaña rusa única en la vida.
Las realidades cambiantes y los mundos y dimensiones paralelos son recursos de argumento muy comunes en las obras de Haruki Murakami. Son elementos que Murakami ha dominado, convirtiéndolos en una habilidad en su vasto repertorio literario. “1Q84” hace eco de estos elementos. Mientras que los mundos alternativos en obras anteriores de Murakami son lugares donde el protagonista masculino busca a la protagonista femenina, la dimensión alternativa de “1Q84” se preocupa más por las posibilidades de estar “irremediablemente perdido”, una frase que los personajes usan repetidamente. El tiempo, por lo tanto, es un elemento clave en la novela.
El romance podría sonar simple, pero no cuando Murakami lidia con él. A primera vista, “1Q84” es la típica historia de amor entrelazada con el destino. Pero se va convirtiendo en algo más que eso. Después de todo, se trata de Haruki Murakami, así que para hacerlo más interesante, él evoca un mundo donde la realidad cambia y todo tiende a convertirse en un gran signo de interrogación. A lo largo de su carrera literaria, Murakami ha demostrado ser un escritor al que le interesan los cultos, y al menos dos sectas están presentes en la historia: Sakigake (que significa precursor) y la Sociedad de los Testigos, un grupo cristiano cuyos miembros se niegan a someterse a cirugías. El Sakigake es una referencia a la secta Aum Shinrikyo, que llevó a cabo el mortal ataque con gas sarín en el metro de Tokio en 1995. Murakami escribió sobre el mismo tema en su libro “Underground”.
Los mismos patrones de secta se pueden observar en varias relaciones en la novela, como la conexión entre Tengo y su editor. También son palpables en la relación entre Aomame y la viuda que dirige un refugio para mujeres víctimas de violencia doméstica. Más allá del romance y los temas de culto, la historia se desarrolla hasta convertirse en una potente narración de suspenso. En esencia, es un thriller con muchos elementos envueltos en extraños velos de misterio.
Infaliblemente, Murakami aporta delicadeza a sus historias rociándolas con puntos de referencia culturales. Esto refina la historia y ayuda a anclarla a los lectores a pesar de las dimensiones cambiantes. Hay varias referencias a libros y autores como Antón Chéjov, Stanley Kubrick, Fiódor Dostoievski, Lewis Carroll, Macbeth y Carl Jung. Murakami, famoso por su pasión por la música jazz, también incorporó alusiones musicales a la historia. En la obra de Murakami se hace referencia repetida a la Sinfonietta de Leo Janácek.
La presencia de agujeros en la trama es algo habitual. En “1Q84” hay varias líneas argumentales y preguntas que no tienen respuesta. Por ejemplo, el caso del concepto efímero de “las pequeñas personas”. ¿Quiénes son y qué papel desempeñan realmente en la narración? Puede que sea intencional, pero se dejó que la imaginación del lector las resolviera. Los acontecimientos que son centrales para la historia se presentan con una mezcla de fantasía, surrealismo y un toque de realidad. Estos acontecimientos peculiares son la antítesis de los personajes; están basados en la realidad y se crean lo más humanos posible. El toque de realidad en las representaciones pausadas y vívidas de las actividades diarias de Murakami lo hace posible. Su recaptura íntima de las conversaciones internas de sus personajes hace que sea más fácil para los lectores conectarse con ellos. La sinceridad de su confusión y su expresión sin trabas sobre el tiempo, la conciencia o las opciones morales reflejan las preocupaciones de los lectores contemporáneos.
Sin embargo, lo que ilumina la narrativa compleja y complicada no es su fantasía y surrealismo. Es su inmersión en la conciencia y su sutil mensaje de esperanza que redefine esta novela tan extravagante. Son estos elementos los que cambian la complexión de la novela y la elevan a pesar de las peculiaridades, los matices y las realidades cambiantes.
Leer “1Q84” es como ingerir un alimento desconocido para el paladar. Su mezcla de fantasía, religión, sexo, esperanza, soledad y romance es extraña y deja un regusto diferente pero impresionable. Está aderezado con una saludable dosis de surrealismo y espolvoreado con una porción de fantasía. Estos ingredientes son mezclados y cocinados con maestría y buen gusto por las hábiles manos de Murakami hasta convertirlos en un delicioso manjar literario. Es algo poco común y solo un chef maestro como Murakami es capaz de preparar un menú artesanal tan delicado. En este caso, “1Q84” no se trata solo de leer, se trata de degustar, o más bien, de experimentar algo nuevo.
Reseña completa sin spoilers en mi canal de YouTube ➡ Maponto Lee 📚 Link aquí!
August 1, 2019
Je to nefér, voči iným knihám, veciam a ľuďom v mojom živote, ale viem, že leto 2019 pre mňa už navždy bude To leto, keď som čítala 1Q84, tak ako na leto 2007 nikdy nemyslím inak ako na To leto, keď som čítala Kafku na pobreží a na leto 2010 spomínam ako na To leto, keď som čítala Hard boiled Wonderland. A to ich ani nepovažujem za zvlášť dobré knihy, len proste majú v sebe čosi podmanivé, čosi, čo zostáva.
Poznámka na okraj:
Murakami vo mne vyvolal niečo, čo sa žiadnemu mužovi pred ním nikdy nepodarilo a ani sa nikdy nepodarí, konkrétne neodolateľnú chuť prečítať si Čechova.
Poznámka na okraj:
Murakami vo mne vyvolal niečo, čo sa žiadnemu mužovi pred ním nikdy nepodarilo a ani sa nikdy nepodarí, konkrétne neodolateľnú chuť prečítať si Čechova.
September 11, 2024
Це могла бути дійсно дуже хороша книга, якби не забагато збочень. У японців особлива культура є навіть «фестиваль членів», але проблема в іншому.
Всі жіночі персонажі - це чоловічі порнографічні фантазії, а не особистості. Аомаме -«сильна-незалежна » молода жінка, яка просто безтямно віддається лисіючим чоловікам середніх літ, а ще трохи експериментує з подругами, ну а як інакше. Жалюгідний персонаж Тенґо (30 річний вчитель) постійно збуджується через школярку з симптомами аутизму (бо вона така гарненька і груди класні ), потім вона сама його осідлає під час сну щоб зняти морально-етичне питання, ну а як же інакше. Ще була одружена подруга, яка просто приходила раз на тиждень його вдовольняти так взагалі без імені, no name. До головної сюжетної лінії, яку подано під виглядом магічного реалізму також багато питань. Може досить вже називати набоковщину витонченою, ітелектуальною провокацією, прикривати девіації художніми метафорами. Ну і, звичайно, постійне згадування чехова щоб надати типу більшої інтелектуальності та глибини
Всі жіночі персонажі - це чоловічі порнографічні фантазії, а не особистості. Аомаме -«сильна-незалежна » молода жінка, яка просто безтямно віддається лисіючим чоловікам середніх літ, а ще трохи експериментує з подругами, ну а як інакше. Жалюгідний персонаж Тенґо (30 річний вчитель) постійно збуджується через школярку з симптомами аутизму (бо вона така гарненька і груди класні ), потім вона сама його осідлає під час сну щоб зняти морально-етичне питання, ну а як же інакше. Ще була одружена подруга, яка просто приходила раз на тиждень його вдовольняти так взагалі без імені, no name. До головної сюжетної лінії, яку подано під виглядом магічного реалізму також багато питань. Може досить вже називати набоковщину витонченою, ітелектуальною провокацією, прикривати девіації художніми метафорами. Ну і, звичайно, постійне згадування чехова щоб надати типу більшої інтелектуальності та глибини
February 12, 2022
Pensé que este sería el libro que marque el fin de mi obsesión con Murakami, pensé que iba a ser un tocho insoportable de casi 1000 páginas (la edición que tengo) que no terminaría de leer y que me aburriría hasta el cansancio.
ME EQUIVOQUÉ. Estoy más obsesionada aún y quiero más.
1Q84 es la historia de Aomame y Tengo, dos compañeros de clase, que se separaron a los diez años pero que a pesar de los años se añoran mutuamente. Veinte años después es 1984, Aomame es una instructora de gimnasia y una asesina, mientras que Tengo es un profesor de matemáticas y aspirante a escritor, a quien se le encarga corregir un libro de una escritora de 17 años titulado "La crisálida del aire". Con el transcurso de la historia, el mundo de nuestros personajes sufre una transformación y sus vidas se van entrecruzando en este extraño nuevo mundo que prefieren llamar 1Q84.
No sé qué es lo que tiene Murakami que todo lo que he leído de él hasta el momento me encanta. No sé si son sus historias tan extrañas y fascinantes, sus personajes tan singulares, su prosa tan precisa y ágil, o los libros, películas y música que menciona para ambientar y enriquecer la historia. Quizás lo es todo.
Francamente, quisiera que no me guste Murakami tanto como me gusta, hay muchos pasajes en sus obras (toda en general) que me desagradan, como el que los más resaltantes atributos de sus personajes femeninos sean la inestabilidad emocional y la apariencia física.
Sin embargo, en 1Q84 fue diferente. No la excepción, pero si se refleja un cambio. Aomame, uno de los personajes principales de esta historia, es una mujer fuerte e independiente, una instructora de gimnasio que asesina hombres que violentan mujeres. El autor, al fin nos ha brindado un personaje femenino decente, y que considero es mucho más interesante que Tengo (el otro punto de vista de esta historia).
Murakami logra estructurar este pedazo de historia tan inteligentemente que te vuela la cabeza. Cada capítulo, suceso, detalle y personaje planeado magníficamente. Buscando cual fue el proceso de escritura de esta obra encontré una entrevista en la que el autor cuenta lo siguiente: ”Toda la novela sigue la forma de El clave bien temperado de Bach, dos ciclos de preludios y fugas compuestos en todas las tonalidades mayores y menores de la gama cromática. Cada libro de esa obra, como el mío, tiene 24 partes. Alterno la historia de la chica, la del chico, la chica, el chico... de modo absolutamente simétrico. Cada pequeño fragmento puede leerse por sí solo y el conjunto aspira a contener todos los elementos de nuestro mundo actual. Tenía que ser una estructura repetitiva e ir variando la intensidad en cada capítulo". Simplemente alucinante.
Son casi 1000 páginas que leí con mucho gusto y definitivamente leeré las más de 500 páginas que contiene el tomo 3, porque aún en contra de mi voluntad me ha encantado.
ME EQUIVOQUÉ. Estoy más obsesionada aún y quiero más.
1Q84 es la historia de Aomame y Tengo, dos compañeros de clase, que se separaron a los diez años pero que a pesar de los años se añoran mutuamente. Veinte años después es 1984, Aomame es una instructora de gimnasia y una asesina, mientras que Tengo es un profesor de matemáticas y aspirante a escritor, a quien se le encarga corregir un libro de una escritora de 17 años titulado "La crisálida del aire". Con el transcurso de la historia, el mundo de nuestros personajes sufre una transformación y sus vidas se van entrecruzando en este extraño nuevo mundo que prefieren llamar 1Q84.
No sé qué es lo que tiene Murakami que todo lo que he leído de él hasta el momento me encanta. No sé si son sus historias tan extrañas y fascinantes, sus personajes tan singulares, su prosa tan precisa y ágil, o los libros, películas y música que menciona para ambientar y enriquecer la historia. Quizás lo es todo.
Francamente, quisiera que no me guste Murakami tanto como me gusta, hay muchos pasajes en sus obras (toda en general) que me desagradan, como el que los más resaltantes atributos de sus personajes femeninos sean la inestabilidad emocional y la apariencia física.
Sin embargo, en 1Q84 fue diferente. No la excepción, pero si se refleja un cambio. Aomame, uno de los personajes principales de esta historia, es una mujer fuerte e independiente, una instructora de gimnasio que asesina hombres que violentan mujeres. El autor, al fin nos ha brindado un personaje femenino decente, y que considero es mucho más interesante que Tengo (el otro punto de vista de esta historia).
Murakami logra estructurar este pedazo de historia tan inteligentemente que te vuela la cabeza. Cada capítulo, suceso, detalle y personaje planeado magníficamente. Buscando cual fue el proceso de escritura de esta obra encontré una entrevista en la que el autor cuenta lo siguiente: ”Toda la novela sigue la forma de El clave bien temperado de Bach, dos ciclos de preludios y fugas compuestos en todas las tonalidades mayores y menores de la gama cromática. Cada libro de esa obra, como el mío, tiene 24 partes. Alterno la historia de la chica, la del chico, la chica, el chico... de modo absolutamente simétrico. Cada pequeño fragmento puede leerse por sí solo y el conjunto aspira a contener todos los elementos de nuestro mundo actual. Tenía que ser una estructura repetitiva e ir variando la intensidad en cada capítulo". Simplemente alucinante.
Son casi 1000 páginas que leí con mucho gusto y definitivamente leeré las más de 500 páginas que contiene el tomo 3, porque aún en contra de mi voluntad me ha encantado.
January 1, 2019
Da tutto quello che avevo letto, me lo aspettavo come il #capolavoroassoluto di Murakami mentre per me resta ampiamente sotto "norvegian wood", col quale - lo so - nulla c'entra. Ma tant'è. Tra le cinque stelle quindi di aspettativa e le tre che mi verrebbe ora da dargli, probabilmente quattro stelle sono la valutazione più obiettiva.
Una storia principale che al suo interno contiene due storie che a loro volta ne contengono infinite altre, per una architettura oggettivamente mastodontica in grado di sconfinare tra emozioni e amori da un lato, misteri e magie dall'altro: in attesa di leggere la conclusione del Libro 3, mi limito a dire che "1Q84" è sicuramente una lettura per certi versi doverosa ma, a mio modesto avviso, alla lunga difficilmente rientrerà tra quelle indimenticabili.
Una storia principale che al suo interno contiene due storie che a loro volta ne contengono infinite altre, per una architettura oggettivamente mastodontica in grado di sconfinare tra emozioni e amori da un lato, misteri e magie dall'altro: in attesa di leggere la conclusione del Libro 3, mi limito a dire che "1Q84" è sicuramente una lettura per certi versi doverosa ma, a mio modesto avviso, alla lunga difficilmente rientrerà tra quelle indimenticabili.
February 21, 2018
Das war mein erstes Buch von Murakami, dass ich gelesen bzw. als Hörbuch gehört habe und wow es ist definitiv mal etwas anderes als ich normalerweise lese. Ich kann den Hype um den Autor zwar noch nicht ganz verstehen, aber ich möchte auf jeden Fall wissen wie es weiter geht!
January 15, 2012
Based on the rave reviews, I was very eager to read this book. Many people agreed that the multi-layered plot was brilliant - they couldn't put it down and when they finally finished, the story stayed with them. An amazing story and one that lasts for more than 900 pages? That's every bookworm's dream! A rare gem to be treasured! Unfortunately, I found 1Q84 to be more like a piece of coal - it had the potential to become something beautiful but remained...blah.
For those of you Goodreads-ers who read reviews before picking up a book, please take my review with a grain of salt - I am clearly in the minority as most people found this book to be life-changing and you may be one who passionately devours it too. There were certainly parts that I enjoyed, but each time the plot started to build and I thought, "Here it comes - this is what everyone's raving about" and then, nothing. I don't want to spoil the story for you so generally speaking, this is why I gave it one star:
1. This book is EXTREMELY repetitive - The same events are explained an unnecessarily excessive amount of times. The repetition does not advance the story in any way; in fact it drags it on. This book (really, books I, II and III) is a good 300 pages too long.
2. Dialogue - Characters used words or phrases unnaturally which is likely a translation issue. It was slightly distracting (and yet, endearing) but not a huge issue. What bothered me was parroting - one character would say two sentences and another character would repeat the last sentence as a question. This happened frequently. Also the phrase "so what you're saying is..." was used often and unnecessarily - the character's point was clearly made and didn't require clarification.
3. The plot - Oh the plot how you disappoint! There was so much potential here and it didn't go anywhere. There were no twists or turns (events were easily anticipated so I felt deflated when they happened), minimal excitement at most and not in any way compelling.
4. The characters - The two main characters' affection for another seemed forced. I don't want to give away too much but the characters evolved in a way that felt like different people edited different sections of the book.
5. Breasts, periods and pubic hair - The author writes about all three in detail and often. Generally speaking, I don't have a problem with this at all; however, it didn't feel natural to the characters. I know that sounds weird but it read like a creepy fixation the author had/has vs something the character would focus on.
Overall, this book was a terrific disappointment and in desperate need of a capable editor. Should you read this book, I sincerely hope you enjoy it. If you do and you would like to tell me why, I'd love to hear from you because I am confounded by the hype!
For those of you Goodreads-ers who read reviews before picking up a book, please take my review with a grain of salt - I am clearly in the minority as most people found this book to be life-changing and you may be one who passionately devours it too. There were certainly parts that I enjoyed, but each time the plot started to build and I thought, "Here it comes - this is what everyone's raving about" and then, nothing. I don't want to spoil the story for you so generally speaking, this is why I gave it one star:
1. This book is EXTREMELY repetitive - The same events are explained an unnecessarily excessive amount of times. The repetition does not advance the story in any way; in fact it drags it on. This book (really, books I, II and III) is a good 300 pages too long.
2. Dialogue - Characters used words or phrases unnaturally which is likely a translation issue. It was slightly distracting (and yet, endearing) but not a huge issue. What bothered me was parroting - one character would say two sentences and another character would repeat the last sentence as a question. This happened frequently. Also the phrase "so what you're saying is..." was used often and unnecessarily - the character's point was clearly made and didn't require clarification.
3. The plot - Oh the plot how you disappoint! There was so much potential here and it didn't go anywhere. There were no twists or turns (events were easily anticipated so I felt deflated when they happened), minimal excitement at most and not in any way compelling.
4. The characters - The two main characters' affection for another seemed forced. I don't want to give away too much but the characters evolved in a way that felt like different people edited different sections of the book.
5. Breasts, periods and pubic hair - The author writes about all three in detail and often. Generally speaking, I don't have a problem with this at all; however, it didn't feel natural to the characters. I know that sounds weird but it read like a creepy fixation the author had/has vs something the character would focus on.
Overall, this book was a terrific disappointment and in desperate need of a capable editor. Should you read this book, I sincerely hope you enjoy it. If you do and you would like to tell me why, I'd love to hear from you because I am confounded by the hype!
July 4, 2016
I finished 1Q84 - book 1 & 2 on Monday. Afterwards, I went running in the woods. I ran faster than I have in a while, and my thoughts went back and forth through my head, thinking of everything, anything and nothing at all. It then came to me, I was stuck in that world, Murakami's world. I was scared. I ran through the woods in the middle of the day, and felt scared. Figured the people I met could be anything. Like in Murakami's universe. And I thought that if I'd met a bear, I wouldn't have been all that surprised.
It took me a while to get into this book, a couple of hundred pages, actually. I was a bit disappointed at first. The simple, straight forward language didn't quite appeal to me this time. I don't think it was any different from his other books, really. I've just read the wrong authors lately. Wrong in the sense of preceding Murakami (I've been spoiled, by my number 1 favorite these days, Tomas Espedal.). And it took me a while to get to know the characters. At first sight, they weren't very Murakami like. They weren't quite the Watanabe character I always long for. But of course they were. I only discovered that after a while. The independent young man is there (as a woman, too this time!), but somehow that is not what the book is about.
The story is a strong one, the book a page turner, somewhat similar to Hard-Boiled Wonderland and the End of the World (I loved that one!), only not quite so abstract. It is a heart breaking story, one of broken childhoods, loss, loneliness. It's about love, murder, hope, about strong individuals trying to live their lives their own way. It took me a while to get out of the book as well, to get it out of the system (I'm not sure I have yet). I fell in love with the characters, the universe. 1Q84 is the sad love story from Norwegian Wood and South of the Border, West of the Moon, and it is the abstract world from A Wild Sheep Chase and The Wind-Up Bird Chronicle. And yet, it is completely it's own.
As always, I regret finishing the last Murakami book, and envy all of you who haven't yet read it all. Next year, book 3 will be published in Norwegian, and although I do see book 1 & 2 as a complete and finished story, I look forward to it. Of course I do.
It took me a while to get into this book, a couple of hundred pages, actually. I was a bit disappointed at first. The simple, straight forward language didn't quite appeal to me this time. I don't think it was any different from his other books, really. I've just read the wrong authors lately. Wrong in the sense of preceding Murakami (I've been spoiled, by my number 1 favorite these days, Tomas Espedal.). And it took me a while to get to know the characters. At first sight, they weren't very Murakami like. They weren't quite the Watanabe character I always long for. But of course they were. I only discovered that after a while. The independent young man is there (as a woman, too this time!), but somehow that is not what the book is about.
The story is a strong one, the book a page turner, somewhat similar to Hard-Boiled Wonderland and the End of the World (I loved that one!), only not quite so abstract. It is a heart breaking story, one of broken childhoods, loss, loneliness. It's about love, murder, hope, about strong individuals trying to live their lives their own way. It took me a while to get out of the book as well, to get it out of the system (I'm not sure I have yet). I fell in love with the characters, the universe. 1Q84 is the sad love story from Norwegian Wood and South of the Border, West of the Moon, and it is the abstract world from A Wild Sheep Chase and The Wind-Up Bird Chronicle. And yet, it is completely it's own.
As always, I regret finishing the last Murakami book, and envy all of you who haven't yet read it all. Next year, book 3 will be published in Norwegian, and although I do see book 1 & 2 as a complete and finished story, I look forward to it. Of course I do.
Displaying 1 - 30 of 2,221 reviews