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1Q84
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Questions Part Three
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The third part seems to be the weakest one for me.First of all, I was disappointed by the introduction of Ushikava's story. Yes, I could say that you sympathize and recognize his human traits, but I felt as if a rhythm of the book changed a lot.
As for Aomame and Tengo, love story is the crucial in the whole third part. But it seemed a bit monotonous, too much repetitive in this holding of hands part.
Even the writing style was less beautiful or artistic compared to the first and especially the second book.
Finally, it didn't bother me to have all this fictional reality, little people, two moons. It was unusual, creative and interesting for the whole love story if you look at it in that way.
Many things were left unsaid and unresolved, but it didn't bother me either. I just enjoyed till the end.
My final impression and rating: 4-5 stars. Because I enjoyed second part so much, my final rating: 5 stars.
13. Religious groups affected Aomame and Fuka-Eri in different ways. Aomame reacted to the strictness of her cult and turned away from God and spirituality. Fuka-Eri's situation was different, in that she belonged to a Sakigake cult that sexually abused her.14. The fantastical elements added to the alternate reality and made it more intriguing.
15. The romance was sweet, but maybe not that realistic. I think most people would have moved on 20 years after a 5th grade crush.
16. The lyrics to "Paper Moon" talk about a "Barnum and Bailey world" that wouldn't be phony if the listener "believed in me". The alternate universe is a lot like a Barnum and Bailey world. The moon turns into paper in the end, too.
I remember we had a lively discussion when we read this book in 2014, so my final review was brief, but I add it here.It definitely deserves to be on the list, it is a big, ambitious, clever read. I give it 4.5 stars despite my frustrations with all the loose ends. (Did Tengo find out how his mother died?) I love the descriptions, especially of daily life, in contrast to the fantastical elements. There are quite a number of his books on the list, and I am suffering from Murakami overload at the moment. Will I have another go at Kafka on the Shore to fill the void? Not sure!
I'm about 80% through the novel on audiobook CDs (31 done, 7 to go). Early on in my reading of this, I classed it as Japanese magical realism; farther along I decided there's rather too much fantasy to put it in that genre, though less than a typical fantasy novel, so I suppose somewhere between.
Most of the questions posed above don't really have AN ANSWER, they are more in the line of things to think about IMO.
Diane said, "I think most people would have moved on 20 years after a 5th grade crush." Obviously true, so there was something strangely different about the connection between Aomame and Tengo peristing so strongly- some "magic" happened between them.
I'm going to jump to question 17 about "Paper Moon", a very interesting allusion and metaphor. I think the earliest use of the phrase was in the American song from the 1930s, which became a more popular light jazz standard in the 1940s, recorded by singers such as Ella Fitzgerald. To my mind, it refers to a paper Japanese-type lantern that reminds one of the moon with its soft white light. I think the song was referring to thinking you're in love with someone but you're not truly.
The paper moon idea/metaphor connects with the second moon that Tengo and Aomame see in the sky. So it's not a real moon, but makes them think it is ? It's something that fools you, deceives in a way, but maybe you know it's not really the moon... So this connects to question 14 about the nature of reality and the (alternate?) reality of 1Q84.
It's been at least a couple decades since I saw the film "Paper Moon" with the O'Neals (Ryan and Tatum) and my recall of it isn't good enough to figure out how the film title fit with the metaphor. Admittedly I'm pretty much rambling in my thoughts here.
BTW, "tengo" in Spanish means "I have". I don't know if Murakami knew that when he gave the character that name and he meant something by it or if it was just coincidence.
Finally finished! I'll put 1Q84 down as 3.5 stars in my notes. I don't know whether it's magical realism or fantasy- perhaps in between the two, a little too much fantasy to really qualify as magical realism? I'm not a great fan of the fantasy genre- if I were, perhaps I would have gone with a four star rating.As with many of the very long novels, you get to know the characters well, and Murakami did a good job of developing realistic three-dimensional characters. There are a lot of popular elements-entertaining adventure of the detective novel sort (including murder), occasional sex and a love story.
This is one of the longer novels I've ever read. Dickens' Bleak House and Tolstoy's The Brothers Karamazov were deserving of that kind of length but I really don't think this one was, IMO. This was my third book by Murakami and since it was so long, I don't think I'll be reading a fourth one for at least a couple years, though I did enjoy it. (less)
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14. I expected fantastic elements in this novel. I have read Murakami before and knew what I was in for. I enjoy having to suspend reality to enjoy his stories. I am not sure I understand why and how with all the elements but I enjoy the fantasy and go with the flow.
15. Due to the length of the novel and character development, I became very invested in the relationship. There became a sort of destiny but just didn't know when it was going to all come together. I thought the hand holding at the beginning and then at the end made the story come full circle but beyond that I don't know.
13. I don’t think the book necessarily takes a hard line of condemnation against these groups, while still criticizing them. After all, in the context of the story, Fucha-Eri’s involvement with one of these groups does ultimately bring Aomame and Tengo together. Yet, growing up in the society of witnesses does lead Aomame from distancing herself from religion/spiritually for much of her life until near the end of the story, as well as it keeps her apart from others socially as she has never had the same foundation of connectedness to general society growing up. I think the Sakigake cult also profoundly affected Fucha-Eri’s ability to socialize normally as well: to a much greater extent than Aomame. Honestly, even though the Leader seemed to have come into contact with supernatural forces, the moral and spiritual foundation of Sakigake still seems fraudulent and misconstrued to say the least. 14. I felt these supernatural elements added a sense of wonder and intrigue into the story: but they also help convey the spiritual/Shinto philosophy that Murakami infuses into his work. I’ve read a few books by him now that repeat the motifs of alternate realities, double moons, the little people, etc.
15. Even though this was the ultimate crux of the novel: I actually found this aspect to be the weakest. I actually wasn’t that compelled by their “love story” compared to just about everything else that happens in the book. I get that their hand holding may have represented one of the first genuine moments of affectionate intimacy either of them had experienced in their lives-but I just didn’t believe that it would stay with both of them to that extent or that I should be invested on a romance based on that alone.
16. That’s kind of a neat idea that I fully hadn’t considered before: 1Q84 as the slightly altered literary version of reality often constructed from author’s real life experiences. That things must be slightly different to be passed off as fiction: yet they portray the same basic truths as the “true” reality. I also like how it contrasts Fucha-Eri and Tengo’s contributions to Air Chrysalis to demonstrate authorship as a translation of what is already there instead of as creation itself.
17. It’s about how nothing is real without a certain other person’s love- including the moon. I think that is fairly self-explanatory given the course of the book lol.
18. A lot of the book hinges of the relativity of reality, and also the power of belief as a motivating force towards reality (such as Aomame resolve to never do anything against her own will ever again).
I thoroughly enjoyed this book, but I agree with a couple of other comments here that part 3 felt like the weakest to me. I also thought the book could have been a bit shorter- but as a fan of Murakami I enjoyed the ride, and this is a quintessential example of his work.
I finished! I felt as if I didn't get quite as caught up in the third part as I did in the first two. This may only reflect the nature of a quarterly read in which I put the book down and read other things before getting back to it, but I felt as if the third part was not as unique or compelling as there was a lot of waiting in this part. Overall I would give the book 4.5. I was generally delighted by the book and it eccentricities and was not too upset when it didn't wrap everything up nicely.13. What does the novel as a whole seem to say about fringe religious groups....
I agree with Amanda that the book seems condemning of the Society of Witnesses for its intolerance rather than because of their core beliefs and that the book is not overall condemning of all the fringe religious groups. What you find out in the third part is that Fuka-Eri, who I assumed was horribly abused was also or in spite of being abused, on a mission. That her part in the drama was planned and she was not completely under her own will power.
Also, I found Aomame's reaching out to God in the third part an interesting little twist although once you go with nurses who can see the future, Little People, voices and multiple moons, reaching out to God seems like a tame twist.
Also, I rather like the concept of Sakigake only being able to exist if they continued to hear the voices. This seems very different than some religions where one no longer needs to witness miracles but rather have to go on faith alone.
14. What is the appeal of the fantastic elements in the novel...
The fantasy part of the story gave all the relationships within the book a certain fated quality. There was a great deal of things that were meant to be or preordained in some way. I also found the fantasy part delightful in a Murakami way in that the story did not need to adhere to the logic of reality. I just swallowed and went with it.
15. What makes the love story of Tengo and Aomame so compelling...
As mentioned above, Tengo and Aomame were fated to be together. She was a perceiver and he was a receiver. In many ways they were not complete without each other and that is often the very definition of love. They did not realize that they could even be complete until they touched each other and then after that Aomame knew what she was lacking and longed for Tengo and only Tengo her whole life. The obstacles were the classic literary twist of not being able to be in the same place at the same time until the end. However, more importantly, it was the realization that they needed to get out of the fantasy world where others controlled their wills and into a world where they could control their own destinies.
16. In what ways does 1Q84 question and complicate ...
To a certain extent the whole book is about voices and the author being given voices outside himself. In this way, Murakami projects himself as the receiver rather than as the creator. Also, although from a realistic publishing perspective, it is morally wrong for Tengo to have rewritten Air Chrysalis but at no time did the author Fumi-Eri think it was wrong. Air Chrysalis is said to be a "highly practical story - a virtual instruction manual - upon which hinged the life and death of actual people". (page 680) yet it is the most fantastic thing in the book. Talk about "blurry".
17. and 18.
In the song (lyrics referenced below) the moon is only a fake approximation and never the real moon that is being looked at. It is only with the addition of love and belief in that love that the moon becomes something that is tangible and something that can be trusted as part of reality. Reality, in this case is being defined as what is believed in. It is subjective and dependent on people rather than a definition whereby reality is "what exists" regardless of what people see or believe.
By the way, Ella Fitzgerald and Natalie Cole both have great renditions of this song if you have only heard the Frank Sinatra or Nat King Cole versions.
It is only a paper moon
Hanging over a cardboard sea
But it wouldn't be make believe
If you believe in me
It is only a canvas sky
Sailing over a muslin tree
But it wouldn't be make believe
If you believe in me
Without your love
It's a honky-tonk parade
Without your love
It's a melody played on a penny arcade
It's a Barnum and Bailey world
Just as phony as it can be
But it wouldn't be make believe
If you believe in me
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Congratulations on finishing. Thanks for contributing to the discussion.
I also found this part to be the weakest. Very repetitive, and I spend much more time on it one compared to the other two, as I just wasn’t that compelled to pick it up. I feel that this part could have easily been edited down to 1-2 chapters instead of a whole book repeating itself. But, I still very much enjoyed the novel as a whole, and look forward to my next Murakami. 13. What does the novel as a whole seem to say about fringe religious groups? How does growing up in the Society of Witnesses affect Aomame? How does growing up in Sakigake cult affect Fuka-Eri? Does Leader appear to be a true spiritual master?
Fuka-Eri’s story was just sad, as she was abused by her own father from a very early age. For Aomame, I think she had few, warm, emotional people in her upbringing, making her very tough. Not the best surroundings for a child in these cases.
14. What is the appeal of the fantastic elements in the novel—the little people, maza and dohta, the air chrysalis, two moons in the sky, alternate worlds, etc.? What do they add to the story? In what ways does the novel question the nature of reality and the boundaries between what is possible and not possible?
A little bit of magic is always nice.
15. What makes the love story of Tengo and Aomame so compelling? What obstacles must they overcome to be together? Why was the moment when Aomame grasped Tengo’s hand in grade school so significant?
Well, I didn’t think it was that compelling as I like Diane above did not really believe it. It was sweet, but not realistic at all. But I was still very invested in their stories, and hoping they would eventually find each other, even if I didn’t totally believe the love story itself.
This is my first Murakami, and while I enjoyed it, I found his sex descriptions and his obsession with young girls breast disturbing as I mentioned before. Just a bit akward.
16. In what ways does 1Q84 question and complicate conventional ideas of authorship? How does it blur the line between fictional reality and ordinary reality?
I agree with all the comments above
17. References to the song “Paper Moon” appear several times in the novel. How do those lyrics relate to 1Q84?
Too see the alternative moon, love must be present. Thanks for the song lyrics, Gail!
Fun quartely read this time, seems like everyone enjoyed the crazy ride with Murakami :-)
13. What does the novel as a whole seem to say about fringe religious groups? How does growing up in the Society of Witnesses affect Aomame? How does growing up in Sakigake cult affect Fuka-Eri? Does Leader appear to be a true spiritual master?
14. What is the appeal of the fantastic elements in the novel—the little people, maza and dohta, the air chrysalis, two moons in the sky, alternate worlds, etc.? What do they add to the story? In what ways does the novel question the nature of reality and the boundaries between what is possible and not possible?
15. What makes the love story of Tengo and Aomame so compelling? What obstacles must they overcome to be together? Why was the moment when Aomame grasped Tengo’s hand in grade school so significant?
16. In what ways does 1Q84 question and complicate conventional ideas of authorship? How does it blur the line between fictional reality and ordinary reality?
17. References to the song “Paper Moon” appear several times in the novel. How do those lyrics relate to 1Q84?
18. What role does belief play in the novel? Why does Murakami end the book with the image of Tengo and Aomame gazing at the moon until it becomes “nothing more than a gray paper moon, hanging in the sky” (p. 925)?