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1Q84
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Questions Part Two
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Clearly these two are vigilantes. After reading part one, I think their hearts are in the right place but will see if I keep that opinion after finishing the book.
8. Tengo realizes that rewriting Air Chrysalis is highly unethical and that Komatsu is asking him to participate in a scam that will very likely cause them both a great deal of trouble. Why does he agree to do it?
Tengo is really drawn to the story of Air Chrysalis and his desire to be a writer out ways his ethics.
9. How does rewriting Air Chrysalis change Tengo as a writer? How does it affect the course of his life?
Tengo re-writing the story and it becoming a best seller validates his work as a writer. I will see how it changes his life in parts two and three.
I finished whole book and will try to give an overview of second part here. I would like to say that part II was the best one for me. It is so artistic, and I enjoyed very much its writing style, beautiful descriptions, fully developed characters with their feelings explored in depth. Not only that Tengo and Aomame are in the focus, but many other side characters, like Tengo's father - numb and later in coma, Ushikava, Tamatsu etc.Cooking is even more accentuated, I could imagine Tengo's dinner being so tasteful. Scenes from nature are dominant all the time - birds in front of the window, sound of waves of the Pacific Ocean, trees in front of the hospital where Tengo's father lives.
In the second part I found that the focus was very much on the Leader who is receiving voices from little persons and behaving as the chosen one. By that he exonerates his fault in his doings, including sexual intercourse with young girls. It seems to me to be an explicit comment - criticism on every system where you have one leader - the chosen one, who is prepared to sacrifice others for the "higher cause".
Finally, I loved the ending of second part, it was so dramatic, especially in Aomame's part. I couldn't wait for the third one...
I have finished Book 2 and am loving reading it. Murakami's language is so precise and unadorned and yet he is able to give a really lush overall feeling about the world the characters live in and their interior monologues and thoughts. I like the way he takes us over familiar ground with added ripples and slight twists so that we get a real understanding of the character's background and motivations. Example: (view spoiler)
I agree with Tatjana about food. All the meals are so simple but one wants to taste them.
7. The dowager insists, and Aomame agrees, that the killing they do is completely justified, that the men whom they kill deserve to die, that the legal system can’t touch them, and that more women will be victims if these men aren’t stopped. Is it true that Aomame and the dowager have done nothing wrong? Or are they simply rationalizing their anger and the desire for vengeance that arises from their own personal histories?
I believe that the killing of others is never justifiable but Murakami does make me feel that Aomame and the dowager are "in the right" in removing these people from this world. (view spoiler)
8. Tengo realizes that rewriting Air Chrysalis is highly unethical and that Komatsu is asking him to participate in a scam that will very likely cause them both a great deal of trouble. Why does he agree to do it?
Tengo is very driven by the story itself and what he can bring to the story. He sees that he can make the story into something else, something better, and he is driven to do it. However, he also is a rather passive being up to this point in the story and I felt he was too easily talked into it by Komatsu.
9. How does rewriting Air Chrysalis change Tengo as a writer? How does it affect the course of his life?
He realizes at the time of the publication of the book that he is really a writer. He realizes his own strength, so to speak. Later in the story he (view spoiler) In this way, I was wondering if Tengo echoes Murakami himself.
I've just passed the halfway point in the novel, so still in part two I think? I started exactly a month ago, so pretty good pace for this long novel, and hope to finish in about 30 days more. I believe it is the fourth longest book I have read (the longer ones are Clancy's "Executive Orders", Dickens "Bleak House", and McMurty's "Lonesome Dove").On question 7, " Is it true that Aomame and the dowager have done nothing wrong?" I think the answer would be both yes and no. Certainly legally they have done something wrong but perhaps not morally. When Aomame discovers the conditions under which the Leader has intercourse with girls it caused me to question if this was clearly rape, so a grayness there. I thought she would then consult with the dowager before deciding whether to do the execution on a future visit.
Question 8 is an interesting one. A little farther back I would have given much the same answer as Gail, but there is a bit in the middle that says that Tengo (I'm doing audiobook, don't know the spellings) and Fukairi are sort of magically symbiotic, and Tengo is captivated by this, and also inspired to write better on his own.
7. The dowager insists, and Aomame agrees, that the killing they do is completely justified, that the men whom they kill deserve to die, that the legal system can’t touch them, and that more women will be victims if these men aren’t stopped. Is it true that Aomame and the dowager have done nothing wrong? Or are they simply rationalizing their anger and the desire for vengeance that arises from their own personal histories?Tough question. I don't think that killing can never be truly justified aside from self-defense. I do feel that they are good people who are acting to right wrongs and injustices.
8. Tengo realizes that rewriting Air Chrysalis is highly unethical and that Komatsu is asking him to participate in a scam that will very likely cause them both a great deal of trouble. Why does he agree to do it?
I think he feels compelled to write it by forces he can't control. This is how he enters into the alternate reality world of 1Q84 and it is what Fuka-Eri, the author of the story, wants. The more he learns about the story and Fuka-Eri, the more he suspects that the story is real. His manuscript acts as a counterbalance to the Little People.
9. How does rewriting Air Chrysalis change Tengo as a writer? How does it affect the course of his life?
It makes him a better writer and it also makes him cognizant of his abilities as a writer. It changes his life in that it (view spoiler).
10. How do the events that occur on the night of the huge thunderstorm alter the fates of Aomame, Tengo, Fuka-Eri, and the dowager? Why do Aomame and the dowager let go of their anger after the storm?
A lot happens during that storm. (view spoiler)
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Now that I have finished the book, Tengo re-writing Air Chrysalis fates his life to Aomame. Fuka-Eri sets Tengo on a course that I don't think he could have changed. I actually think it is a positive course.
10. How do the events that occur on the night of the huge thunderstorm alter the fates of Aomame, Tengo, Fuka-Eri, and the dowager?
I didn't realize it until the end of the book but all the lives are changed after the storm. Everyone seems to be hiding their answers to I won't go into it.
11. At first, Ushikawa is a creepy, totally unlikable character. How does Murakami make him more sympathetic as the novel progresses? How do you respond to his death?
As we hear his internal dialogue, how he was treated growing up, how lonely he is, and he never gets to see his family. As pieces of his past came together, I had more sympathy for the character. I was sad at his death.
12. What enables Aomame to come into her own power?
Her pregnancy, leaving 1Q84 and finding Tengo something she vows not to lose.
Getting super close to the end of the book: so here’s my input for the second round of questions: 7. I tend to be a consequentialist morally- not in that I think ends always justify means, but in that I don’t necessarily think anything is inherently wrong, and all things that are wrong are so because they cause harm/suffering/negative consequence. So, I believe as long as they are right about the allegations against the men they kill, they are justified. Typically, my issue with vigilante culture in both media and reality is a lack of investigative diligence, which makes the crimes “corrected” questionable, as well as the subjectivity of what crimes warrant which punishments. Personally, I don’t tend to favor a legal or vigilante death penalty, but the likelihood these powerful men would be adequately charged for their crimes by the legal system is spurious, so I understand their actions despite the fact I couldn’t personally make that trespass.
Also, Just because they both may experience anger or a desire for vengeance, doesn’t mean they both are not still justified. I find patriarchal culture has warped the notion of “facts over feelings” to the extent that we automatically discredit motivations accompanied by emotional investment, even if they are also rationally founded and objectively true as well. Ie, feelings shouldn’t take the place of facts, but having feelings and facts shouldn’t discredit the facts. Their personal histories may help to inform the reality of the consequences of letting these men go, and do not necessarily invalidate them.
8. I think re-writing Air Chrysalis gives Tengo a purpose that his life as a temp has been sorely lacking, as well as he is almost supernaturally drawn to Fucha-Eri and becomes invested in the mystery around her. As well, while there are issues of ethics regarding its publication, it also has a moral imperative, as the professor using it to uncover the fates of Fucha-Eri’s family serves a functional good: at least in intent.
9.
As I’m finishing the book, I wonder if it is related to his re-connection to his father and his relative forgiveness towards him, so that fundamentally changes his life. As well, it seems to be setting up a reunion with Aomame, fulfilling their ‘destinies’ in a profound way. As a writer, it allows him contextualize his gifts as a translator of great content, giving him a niche for where he fits into the literary world and something to be proud of and create a legacy around.
10. I like the thoughts other people have had here for this question. And as I’m finishing I’m wondering how the pregnancy is ultimately going to impact the story. I think it also serves to prime the characters around the concept of their fates in the scheme of things, allowing some to let go of their angers.
11. I found hearing about the profound bleakness of his life sad regardless of his creepiness/unlikableness. Didn’t quite read that part yet: so consider it spoiled but I’ll see lol.
12. I find this sentiment interesting considering her previous meditations about there being no free will, and the theme of fate in the book. Unless, fate is linked to one’s internal will in the book, and not outside societal influences, which I could understand. Perhaps it is this sense of the inevitability of the universe that frees her from being paralyzed by committing the wrong action, or conceding to earthly authorities.
I found part two of the trilogy really good, probably the best one of these three. Very much enjoyed the ride and getting to know more of the characters. 7. The dowager insists, and Aomame agrees, that the killing they do is completely justified, that the men whom they kill deserve to die, that the legal system can’t touch them, and that more women will be victims if these men aren’t stopped. Is it true that Aomame and the dowager have done nothing wrong? Or are they simply rationalizing their anger and the desire for vengeance that arises from their own personal histories?
For some reason, Aomame killing these men didn’t seem as awful to me in this book as it normally would. Don’t get me wrong, I am not in favor of ever taking a life, so I don’t know why it was so. It’s pretty clear that their heart was in the right place, maybe that’s why.
8. Tengo realizes that rewriting Air Chrysalis is highly unethical and that Komatsu is asking him to participate in a scam that will very likely cause them both a great deal of trouble. Why does he agree to do it?
I think he felt really compelled to do so, even if he knew it was wrong. In some sense, maybe he knew he was an important part of the story.
9. How does rewriting Air Chrysalis change Tengo as a writer? How does it affect the course of his life?
He becomes invested as an author, and a much better writer than he was before, sort of sealing his faith as an author and giving meaning to his life.
10. How do the events that occur on the night of the huge thunderstorm alter the fates of Aomame, Tengo, Fuka-Eri, and the dowager? Why do Aomame and the dowager let go of their anger after the storm?
Well, since I have read book 3, it is a bit hard to answer this now that I know the whole story.. Let's just say it was the key
11. At first, Ushikawa is a creepy, totally unlikable character. How does Murakami make him more sympathetic as the novel progresses? How do you respond to his death?
By giving him a background story, he became more human. His death seemed totally pointless to me.
12. Near the end of the novel, Aomame declares: “From now on, things will be different. Nobody else’s will is going to control me anymore. From now on, I’m going to do things based on one principle alone: my own will” (p. 885). How does Aomame arrive at such a firm resolve? In what ways is the novel about overcoming the feeling of powerlessness that at various times paralyzes Aomame, Ayumi, Tengo, Fuka-Eri, and all the women who are abused by their husbands? What enables Aomame to come into her own power?
Basically, her pregnancy which gives her life a whole new meaning.
7. The dowager insists, and Aomame agrees, that the killing they do is completely justified, that the men whom they kill deserve to die, that the legal system can’t touch them, and that more women will be victims if these men aren’t stopped. Is it true that Aomame and the dowager have done nothing wrong? Or are they simply rationalizing their anger and the desire for vengeance that arises from their own personal histories?
8. Tengo realizes that rewriting Air Chrysalis is highly unethical and that Komatsu is asking him to participate in a scam that will very likely cause them both a great deal of trouble. Why does he agree to do it?
9. How does rewriting Air Chrysalis change Tengo as a writer? How does it affect the course of his life?
10. How do the events that occur on the night of the huge thunderstorm alter the fates of Aomame, Tengo, Fuka-Eri, and the dowager? Why do Aomame and the dowager let go of their anger after the storm?
11. At first, Ushikawa is a creepy, totally unlikable character. How does Murakami make him more sympathetic as the novel progresses? How do you respond to his death?
12. Near the end of the novel, Aomame declares: “From now on, things will be different. Nobody else’s will is going to control me anymore. From now on, I’m going to do things based on one principle alone: my own will” (p. 885). How does Aomame arrive at such a firm resolve? In what ways is the novel about overcoming the feeling of powerlessness that at various times paralyzes Aomame, Ayumi, Tengo, Fuka-Eri, and all the women who are abused by their husbands? What enables Aomame to come into her own power?