1Q84

I just finished listening to one of the longest books that has been referred to me since Proust’s work.  This time one of my favorite authors, Haruki Murakami, a Japanese author, pens the book, 1Q84.  Entering a world led by Murakami is an adventure that blurs reality and dream-state, so one has to be open to the ‘possibilities,’ otherwise it isn’t the book for you.  I tend to tremendously enjoy his works, and this one did not disappoint.  The book focuses on two characters, Aomame, the heroine, and Tengo, the male counterpart whom met each other at ten years of age while in elementary school but haven’t seen each other since that time.  An interaction occurred one day in class that would bind them forever, yet their lives were separate until the end of the book.  In fact, each chapter, for the most part, follows the life of them individually.  Aomame enters a ‘new world’ of 1Q84, leaving the year 1984, when she enters a deserted subway emergency escape route when stuck in highway traffic.  When she exits out she enters a subtler different world, or an alternate reality.  Tengo is a writer and is drawn into re-writing a high school student, Fuka-Eri’s, novel called Air Chrysalis, by a demanding editor who believes that the book could win national awards.  Tengo learns about Fuka-Eri’s upbringing in a commune, abandonment by her parents, and inability to communicate outwardly, yet agrees to re-write the book.  The book is lauded with praise, and national awards.  This is when the adventure begins.  At the same time, Aomame, is hired by one of her clients at the gym she is employed by The Dowager, a 70 year old millionaire, to kill the leader of a religious sect, Sakigake, because he has sexually abused young girls for years.   The genius of the book is the intersection of the two lives, Tengo and Aomame.  There are a number of other characters who join in as they try and find Aomame for Sakigake’s murder, in addition to Tengo, who eventually is found out by Sakigake’s body guards that he wrote Air Chrysalis.  The book itself has imaginary powers that lead to the empowerment of “the little people” and the idea that the ‘chrysalis’ holds powers.    The Dowager through the aid of her body guard, Tamura, work to try and keep Aomame alive as she attempts to regain the memory of the young boy, Tengo, from twenty years earlier, to seek refuge.  With most translated books, one hopes that it really does capture the meaning of the original language.  I find most of Murakami’s work is understandable, yet in exceedingly specific detail.  While I have given a very high-level overview of the plot, believe me when I say, there is a lot of symbolism, character development, and yes, a good amount of sexual exploits, some sensually described, and some the very opposite and brutal rape.  He is not afraid to dig into taboo topics, and find the underbelly of our society.  If you can stick with the story, it does move fast and all things ‘fit nicely’ together in the end.  I appreciate the precision he places in his story.  The blurring of reality and the dream-state is real life, and none do it better than Murakami.  If you are afraid of long reads, this one is not for you.