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1Q84 (Vintage International)

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1Q84 (Vintage International) Cover

 

Synopses & Reviews

Publisher Comments:

The year is 1984 and the city is Tokyo.

A young woman named Aomame follows a taxi driver’s enigmatic suggestion and begins to notice puzzling discrepancies in the world around her. She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.

As Aomame’s and Tengo’s narratives converge over the course of this single year, we learn of the profound and tangled connections that bind them ever closer: a beautiful, dyslexic teenage girl with a unique vision; a mysterious religious cult that instigated a shoot-out with the metropolitan police; a reclusive, wealthy dowager who runs a shelter for abused women; a hideously ugly private investigator; a mild-mannered yet ruthlessly efficient bodyguard; and a peculiarly insistent television-fee collector.

A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell’s — 1Q84 is Haruki Murakami’s most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers.

Review:

“Murakami is like a magician who explains what he’s doing as he performs the trick and still makes you believe he has supernatural powers....But while anyone can tell a story that resembles a dream, it's the rare artist, like this one, who can make us feel that we are dreaming it ourselves.” The New York Times Book Review

Review:

"Once you start reading 1Q84, you won't want to do much else until you've finished it. Murakami possesses many gifts, but chief among them is an almost preternatural gift for suspenseful storytelling....Despite its great length, Murakami's novel is tightly plotted, without fat, and he knows how to make dialogue, even philosophical dialogue, exciting....There's no question about the sheer enjoyability of this gigantic novel, both as an eerie thriller and as a moving love story....I read the book in three days and have been thinking about it ever since." Michael Dirda, The Washington Post

Review:

"A book that...makes you marvel, reading it, at all the strange folds a single human brain can hold....A grand, third-person, all encompassing meganovel. It is a book full of anger and violence and disaster and weird sex and strange new realities, a book that seems to want to hold all of Japan inside of it....Murakami has established himself as the unofficial laureate of Japan — arguably its chief imaginative ambassador, in any medium, to the world: the primary source, for many millions of readers, of the texture and shape of his native country....I was surprised to discover, after so many surprising books, that he managed to surprise me again." New York Times Magazine

Review:

"Profound....A multilayered narrative of loyalty and loss....A fully articulated vision of a not-quite-nightmare world....A big sprawling novel [that] achieves what is perhaps the primary function of literature: to reimagine, to reframe, the world....At the center of [1Q84's] reality...is the question of love, of how we find it and how we hold it, and the small fragile connections that sustain us, even (or especially) despite the odds....This is a major development in Murakami's writing....A vision, and an act of the imagination." Los Angeles Times

Review:

"1Q84 is one of those books that disappear in your hands, pulling you into its mysteries with such speed and skill that you don't even notice as the hours tick by and the mountain of pages quietly shrinks....I finished 1Q84 one fall evening, and when I set it down, baffled and in awe, I couldn't help looking out the window to see if just the usual moon hung there or if a second orb had somehow joined it. It turned out that this magical novel did not actually alter reality. Even so, its enigmatic glow makes the world seem a little strange long after you turn the last page. Entertainment Weekly

Review:

"[A] masterwork...[Murakami has] crafted what may well become a classic literary rendering of pre-2011 Japan....Orwell wrote his masterpiece to reflect a future dystopia through a Cold War lens....Similarly, Murakami's 1Q84 captures attitudes and circumstances that characterize Japanese life before the March earthquake-tsunami-nuclear disaster. Reading 1Q84, once can't help but sense already how things have changed." Cleveland Plain Dealer

Review:

“[1Q84] is fundamentally different from its predecessors. We realize before long that it is a road. And what the writer has laid down is a yellow brick road. It passes over stretches of deadly desert, to be sure, through strands of somniferous poppies, and past creatures that hurl their heads, spattering us with spills of kinked enigma. But the destination draws us: We crave it, and the craving intensifies as we go along (unlike so many contemporary novels that are sampler menus with neither main course nor appetite to follow). More important, the travelers we encounter, odd and wildly disparate as they are, possess a quality hard to find in Murakami’s previous novels: a rounded, sometimes improbable humanity with as much allure as mystery. It is not just puzzlement they present, but puzzled tenderness; most of all in the two leading figures, Aomame and Tengo. Converging through all manner of subplot and peril, they arouse a desire in us that almost mirrors their own....Murakami makes us want to follow them; we are reluctant to relinquish them. Who would care about the yellow brick road without Scarecrow’s, Woodman’s and Lion’s freakiness and yearning? What is a road, particularly Murakami’s intricately convoluted road, without its human wayfarers?” Richard Eder, The Boston Globe

About the Author

Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than forty languages, and the most recent of his many international honors is the Jerusalem Prize, whose previous recipients include J. M. Coetzee, Milan Kundera, and V. S. Naipaul.

What Our Readers Are Saying

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Average customer rating based on 8 comments:

Jesse Rice-Evans, October 23, 2014 (view all comments by Jesse Rice-Evans)
Makes a great bookend for chapbooks etc. Startling and decorative!
Was this comment helpful? | Yes | No
Prismatic, October 23, 2014 (view all comments by Prismatic)
Despite its length, this is a tightly written novel in the genre known as "magical realism." At the start it consists of two separate narrative threads that alternate, but seem unconnected. As the two stories progress, they begin to come together in a fascinating way. The plot is too good to reveal even with the slightest hint in a review, but few readers will be disappointed. As obscure and eccentric as it may seem at times, the novel reflects back on itself and the entire narrative becomes a metaphor for the creative act of writing. This is Murakami at his very finest�"a mystery, a love story, and a philosophical novel all in one.
Was this comment helpful? | Yes | No
Endel Bendel, October 23, 2014 (view all comments by Endel Bendel)
Overwritten. Tedious. Murakami has lost his touch.
Was this comment helpful? | Yes | No
(0 of 2 readers found this comment helpful)
View all 8 comments

Product Details

ISBN:
9780307476463
Author:
Murakami, Haruki
Publisher:
Vintage
Subject:
Literature-A to Z
Subject:
Literary
Copyright:
Edition Description:
Trade paper
Series:
Vintage International
Publication Date:
20130122
Binding:
Paperback
Language:
English
Pages:
1184
Dimensions:
8 x 5.2 x 2 in 1.75 lb

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1Q84 (Vintage International) New Trade Paper
0 stars - 0 reviews
$16.95 In Stock
Product details 1184 pages Vintage - English 9780307476463 Reviews:
"Review" by , “Murakami is like a magician who explains what he’s doing as he performs the trick and still makes you believe he has supernatural powers....But while anyone can tell a story that resembles a dream, it's the rare artist, like this one, who can make us feel that we are dreaming it ourselves.”
"Review" by , "Once you start reading 1Q84, you won't want to do much else until you've finished it. Murakami possesses many gifts, but chief among them is an almost preternatural gift for suspenseful storytelling....Despite its great length, Murakami's novel is tightly plotted, without fat, and he knows how to make dialogue, even philosophical dialogue, exciting....There's no question about the sheer enjoyability of this gigantic novel, both as an eerie thriller and as a moving love story....I read the book in three days and have been thinking about it ever since."
"Review" by , "A book that...makes you marvel, reading it, at all the strange folds a single human brain can hold....A grand, third-person, all encompassing meganovel. It is a book full of anger and violence and disaster and weird sex and strange new realities, a book that seems to want to hold all of Japan inside of it....Murakami has established himself as the unofficial laureate of Japan — arguably its chief imaginative ambassador, in any medium, to the world: the primary source, for many millions of readers, of the texture and shape of his native country....I was surprised to discover, after so many surprising books, that he managed to surprise me again."
"Review" by , "Profound....A multilayered narrative of loyalty and loss....A fully articulated vision of a not-quite-nightmare world....A big sprawling novel [that] achieves what is perhaps the primary function of literature: to reimagine, to reframe, the world....At the center of [1Q84's] reality...is the question of love, of how we find it and how we hold it, and the small fragile connections that sustain us, even (or especially) despite the odds....This is a major development in Murakami's writing....A vision, and an act of the imagination."
"Review" by , "1Q84 is one of those books that disappear in your hands, pulling you into its mysteries with such speed and skill that you don't even notice as the hours tick by and the mountain of pages quietly shrinks....I finished 1Q84 one fall evening, and when I set it down, baffled and in awe, I couldn't help looking out the window to see if just the usual moon hung there or if a second orb had somehow joined it. It turned out that this magical novel did not actually alter reality. Even so, its enigmatic glow makes the world seem a little strange long after you turn the last page.
"Review" by , "[A] masterwork...[Murakami has] crafted what may well become a classic literary rendering of pre-2011 Japan....Orwell wrote his masterpiece to reflect a future dystopia through a Cold War lens....Similarly, Murakami's 1Q84 captures attitudes and circumstances that characterize Japanese life before the March earthquake-tsunami-nuclear disaster. Reading 1Q84, once can't help but sense already how things have changed."
"Review" by , “[1Q84] is fundamentally different from its predecessors. We realize before long that it is a road. And what the writer has laid down is a yellow brick road. It passes over stretches of deadly desert, to be sure, through strands of somniferous poppies, and past creatures that hurl their heads, spattering us with spills of kinked enigma. But the destination draws us: We crave it, and the craving intensifies as we go along (unlike so many contemporary novels that are sampler menus with neither main course nor appetite to follow). More important, the travelers we encounter, odd and wildly disparate as they are, possess a quality hard to find in Murakami’s previous novels: a rounded, sometimes improbable humanity with as much allure as mystery. It is not just puzzlement they present, but puzzled tenderness; most of all in the two leading figures, Aomame and Tengo. Converging through all manner of subplot and peril, they arouse a desire in us that almost mirrors their own....Murakami makes us want to follow them; we are reluctant to relinquish them. Who would care about the yellow brick road without Scarecrow’s, Woodman’s and Lion’s freakiness and yearning? What is a road, particularly Murakami’s intricately convoluted road, without its human wayfarers?”
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