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1Q84

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1Q84 Cover

 

 

Reading Group Guide

1. 1Q84 is a vast and intricate novel. What are the pleasures of reading such a long work, of staying with the same characters over such a long period of time?

2. Murakami has said he is a fan of the mystery writer Elmore Leonard. What elements of the mystery genre does 1Q84 employ? How does Murakami keep readers guessing about what will happen next? What are some of the book’s most surprising moments?

3. Why would Murakami choose to set his story in 1984, the year that would serve as the title for George Orwell’s famous novel about the dangers of Big Brother?

4. The taxi driver in Chapter 1 warns Aomame that things are not what they seem, but he also tells her: “Don’t let appearances fool you. There’s always only one reality” (p. 9). Does this statement hold true throughout the novel? Is there only one reality, despite what appears to be a second reality that Aomame and Tengo enter?

5. Aomame tells Ayumi: “We think we’re choosing things for ourselves, but in fact we may not be choosing anything. It could be that everything's decided in advance and we pretend we’re making choices. Free will may be an illusion” (p. 192). Do the events in the novel seem fated or do the characters have free will?

6. When Tamaru bids goodbye to Aomame, he says: “If you do go somewhere far away and I never see you again, I know I’ll feel a little sad. You’re a rare sort of character, a type I’ve seldom come across before” (p. 885). What type of person is Aomame? What qualities make her extraordinary?

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?

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)?

Product Details

ISBN:
9780307957023
Publisher:
Knopf Doubleday Publishing Group
Publication Date:
20111025
Author:
Murakami, Haruki
Binding:
ELECTRONIC
Language:
English
Pages:
944

Related Subjects

Fiction and Poetry » Literature » A to Z

1Q84
0 stars - 0 reviews
$ In Stock
Product details 944 pages Knopf Doubleday Publishing Group - English 9780307957023 Reviews:
"Publishers Weekly Review" by , "The massive new novel from international sensation Murakami (What I Talk About When I Talk About Running) sold out in his native Japan, where it was released in three volumes, and is bound to provoke a similar reaction in America, where rabid fans are unlikely to be deterred by its near thousand-page bulk. Nor should they be; Murakami's trademark plainspoken oddness is on full display in this story of lapsed childhood friends Aomame and Tengo, now lonely adults in 1984 Tokyo, whose destinies may be curiously intertwined. Aomame is a beautiful assassin working exclusively for a wealthy dowager who targets abusive men. Meanwhile Tengo, an unpublished writer and mathematics instructor at a cram school, accepts an offer to write a novel called Air Chrysalis based on a competition entry written by an enigmatic 17-year-old named Fuka-Eri. Fuka-Eri proves to be dangerously connected to the infamous Sakigake cult, whose agents are engaged in a bloody game of cat-and-mouse with Aomame. Even stranger is that two moons have appeared over Tokyo, the dawning of a parallel time line known as 1Q84 controlled by the all-powerful Little People. The condensing of three volumes into a single tome makes for some careless repetition, and casual readers may feel that what actually occurs doesn't warrant such length. But Murakami's fans know that his focus has always been on the quiet strangeness of life, the hidden connections between perfect strangers, and the power of the non sequitur to reveal the associative strands that weave our modern world. 1Q84 goes further than any Murakami novel so far, and perhaps further than any novel before it, toward exposing the delicacy of the membranes that separate love from chance encounters, the kind from the wicked, and reality from what people living in the pent-up modern world dream about when they go to sleep under an alien moon." Publishers Weekly (Starred Review) Copyright PWxyz, LLC. All rights reserved.
"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."
"Synopsis" by , The long-awaited magnum opus from Haruki Murakami, in which this revered and best-selling author gives us his hypnotically addictive, mind-bending ode to George Orwell's 1984.
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