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1Q84: Books 1 and 2 Hardcover – 18 Oct. 2011
Haruki Murakami is an international phenomenon. When Books One and Two of his latest masterpiece, 1Q84, were published in Japan, a million copies were sold in one month, and the critical acclaim that ensued was reported all over the globe. Readers were transfixed by the mesmerising story of Aomame and Tengo and the strange parallel universe they inhabit. Then, one year later, to the surprise and delight of his readers, Murakami published an unexpected Book Three, bringing the story to a close.
In order to reflect the experience of 1Q84's first readers, Harvill Secker is publishing Books One and Two in one beautifully designed volume and Book Three in a separate edition. A long-awaited treat for his fans, 1Q84 is also a thrilling introduction to the unique world of Murakami's imagination. This hypnotically addictive novel is a work of startling originality and, as the title suggests, a mind-bending ode to George Orwell's Nineteen Eighty-Four. (The number 9 in Japanese is pronounced like the letter 'Q').
The year is 1984. Aomame sits in a taxi on the expressway in Tokyo.
Her work is not the kind which can be discussed in public but she is in a hurry to carry out an assignment and, with the traffic at a stand-still, the driver proposes a solution. She agrees, but as a result of her actions starts to feel increasingly detached from the real world. She has been on a top-secret mission, and her next job will lead her to encounter the apparently superhuman founder of a religious cult.
Meanwhile, Tengo is leading a nondescript life but wishes to become a writer. He inadvertently becomes involved in a strange affair surrounding a literary prize to which a mysterious seventeen-year-old girl has submitted her remarkable first novel. It seems to be based on her own experiences and moves readers in unusual ways. Can her story really be true?
Both Aomame and Tengo notice that the world has grown strange; both realise that they are indispensable to each other. While their stories influence one another, at times by accident and at times intentionally, the two come closer and closer to intertwining.
- Print length624 pages
- LanguageEnglish
- PublisherHarvill Secker
- Publication date18 Oct. 2011
- Dimensions16.2 x 5 x 24 cm
- ISBN-101846554071
- ISBN-13978-1846554070
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Review
"It is a work of maddening brilliance and gripping originality, deceptively casual in style, but vibrating with wit, intellect and ambition."--Richard Lloyd Parry, The Times
"Critics have variously likened him to Raymond Carver, Raymond Chandler, Arthur C. Clarke, Don DeLillo, Philip K. Dick, Bret Easton Ellis and Thomas Pynchon - a roster so ill assorted as to suggest Murakami is in fact an original"--New York Times
"[1Q84] may become a mandatory read for anyone trying to get to grips with contemporary Japanese culture... [It is Murakami's] magnum opus."--Japan Times
About the Author
In 1978, Haruki Murakami was twenty-nine and running a jazz bar in downtown Tokyo. One April day, the impulse to write a novel came to him suddenly while watching a baseball game. That first novel, Hear the Wind Sing, won a new writers’ award and was published the following year. More followed, including A Wild Sheep Chase and Hard-Boiled Wonderland and the End of the World, but it was Norwegian Wood, published in 1987, which turned Murakami from a writer into a phenomenon. His books became bestsellers, were translated into many languages, including English, and the door was thrown wide open to Murakami’s unique and addictive fictional universe.
Murakami writes with admirable discipline, producing ten pages a day, after which he runs ten kilometres (he began long-distance running in 1982 and has participated in numerous marathons and races), works on translations, and then reads, listens to records and cooks. His passions colour his non-fiction output, from What I Talk About When I Talk About Running to Absolutely On Music, and they also seep into his novels and short stories, providing quotidian moments in his otherwise freewheeling flights of imaginative inquiry. In works such as The Wind-Up Bird Chronicle, 1Q84 and Men Without Women, his distinctive blend of the mysterious and the everyday, of melancholy and humour, continues to enchant readers, ensuring Murakami’s place as one of the world’s most acclaimed and well-loved writers.
Product details
- Publisher : Harvill Secker; Reprint edition (18 Oct. 2011)
- Language : English
- Hardcover : 624 pages
- ISBN-10 : 1846554071
- ISBN-13 : 978-1846554070
- Dimensions : 16.2 x 5 x 24 cm
- Best Sellers Rank: 467,907 in Books (See Top 100 in Books)
- 4,317 in Science Fiction Romance (Books)
- 5,931 in Dystopian
- 6,420 in Myths & Fairy Tales
- Customer reviews:
About the author

Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty 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.
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Learn more how customers reviews work on AmazonReviewed in the United Kingdom on 7 May 2019
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I'm pretty surprised by some of the negative reviews for Murakami's IQ84 Books 1 & 2. I finished this two days ago and still enjoying reflecting on the work now. Let me start by nailing my colours to the mast. I love Murakami's writing, have read most of his other works and am working my way through all of his stuff in no particular order - I would probably be as sad as to read the phone book if Murakami wrote it, as the saying goes.
Reading some of the less kind reviews a number of recurring issues seem to crop up - these are, that in these books, Murakami's writing is guilty of unnecessary repetition, the work is bloated probably down to the editorial team being too-reverential toward the author, the sex scenes are too frequent, unnecessary and again, poorly written (the opinion from a few of the reviewers are that these episodes are likely the product of some kind of late mid life crises episode from the sexagenarian author). Other general issues include the plot development being too slow, the dialogue being unnatural and the character development being insufficient. I would counter that the writing is layered, the plot/dialogue/characters are to the standard you would expect from Murakami, and well, most of us are just not prudes these days! (I would certainly argue that the many of the sex scenes serve as character development for the two protagonists and one in particular maybe unpalatable but is certainly essential in terms of plot) One complaint that made me chuckle was a reference to "the constant product placement", as if the author was being sponsored Hollywood style (I can't recall a single instance of this but I do think the reviewer is referring to Murakami's use of pop culture references) Other complaints include the extent of the writing devoted to the minutiae of the main protagonists daily lives, the preparing of their meals, the music that they listen to - i'm afraid, again this is a constant in Murakami's work, and probably something that initially irritated me at first before I got into the author, In fact if you are into the authors work you will find all the elements of 'Murakami bingo' are here - (unexpected phone calls/secret passageways/weird sex/mysterious villains et al)
This is a large book and I think that your enjoyment of this book will be directly related to the process of how you have actually consume it - both the reading environment and the format you have read it on. If you are a competitive speed reader, just rushing through it to get to the other pile of books on your 'must read' list, then I can understand some of the comments issues in the reviews (bloated/repetition etc), likewise if you have only thirty minutes spare, twice a day and are trying to get through this on your kindle in a packed commute on the train or tube then I can sympathise the commenters who wanted the pace of the plot to speed up. But I would argue that this is the choice of the reader and hardly the fault of the author. From my perspective I have always been a speed reader, If I start a book I usually get through it in a few days at the most. These days I tend to do a lot of dry technical reading in my day job (and the speed reading is very much an asset in this situation), which means I usually leave any kind of bingeing on fiction/non work related reading during holiday or vacation periods. Last summer in a two week vacation whilst de-sterssing I somehow got through 9 books in the first week, lazing by the pool before I had get a grip of myself and force myself to put the kindle down and spend time with the family. What's my point? Well my approach to reading Murakami tends to be different, I somehow now manage to slow down in order to appreciate the beauty of the language, the simplicity of the prose, in short, I truly do savour his writing.
When I picked up this book I happened to be off work for a few months due to a leg injury which pretty much immobilised me, meaning I had a lot of time on my hands. I also had a large hardback edition of this book on the shelf, which had been ordered when this was first released, somehow making the book seem even bigger. After a few weeks of exhausting other distractions I picked it up and started chipping away at it reading an even number of chapters each day, perhaps 2-4 chapters at a time, maybe 1-2 reading sessions per day (as other reviewers have said the chapters alternate between the protagonists viewpoints so I found that this was a good way to tackle it) leaving enough time and space to enjoy the experience. Taking this lazier approach probably meant it took me about a month to get through the book, and I found reading this book to be relaxing and thought provoking - in short it was time well spent. As anything, this book was a good companion during that time.
This leads me to the main point of my review - If you are a dyed in the wool Murakami fan, don't let any of these negative comments put you off, just go for it, but for the more casual fan perhaps heed the the words of caution for taking on this book, in particular, you should wait until you have a good period of distraction free time set aside just for pleasurable reading in order to trull appreciate it (I am returning to work tomorrow for the first time and have decided to hold off from starting IQ84 book 3 until the next period of available free time for the reasons stated)
End of review
End notes for the Murakami fan - my first introduction to Murakami was the Wind Up Bird Chronicle about 6 years ago, and for that reason I would still list that book as my favourite - I've read most of the big works, but at this stage I would rank the first two books of IQ84 (if you read them as one book) as being within the top three of his books that I have read so far. Hope that helps.
Books 1&2 are told in alternate chapters from the point of view of Aomame (a sports instructor) and Tengo (a part-time teacher and would-be author); book 3 introduces another point of view with Ushikawa (an amoral detective). You need to read all three books to resolve the central emotional dilemma but, as ever with Murakami, the conclusion leaves more threads untied than an orgy in a basque factory.
As in Dickens novels, Murakami's heroes are typically bland enough to be adopted by the reader and fortunate enough to have endured a traumatic youth (...which guarantees an interesting life). Each character's back-story is gradually revealed like water seeping into a footprint on the beach and there's a distinctly hypnotic pleasure as the information starts to exert unexpected gravitational effects upon the action (something reminiscent of Iris Murdoch). George Orwell fans, however, should probably steer clear. There are but a few musings upon '1984' and the tone is utterly different from Winston Smith's po-faced, politically refracted hysteria.
In fact you suspect that the book is set historically not so much for the nostalgia value (John Lennon, Ronald Reagan, TV license collectors) as to ensure that the action doesn't have to contend with troublesome devices like mobile phones, infra-red CCTV and the internet. It's a bit of a cop-out, in short.
There are other poor judgments. As a point of fact, surely Janacek's 'Sinfonietta' (one of the book's motifs) is not - as Murakami asserts - unfamiliar, while the opening bars are particularly distinctive (Murakami suggests otherwise).
As a point of tone, it's always useful to have plot elements restated from time-to-time but in 'IQ84' they are repeated so often that you start to feel you picked up the copy written for 'planet learning difficulty'.
And as a point of technique, the handling of time is often inconsistent between each protagonists' chapter (and, okay, Shakespeare occasionally messed up 'the unities' too, but it's a disappointing development from the author of the meticulous 'Hard Boiled Wonderland...').
The slackening of the Sensei's spring is also implied by the first proofing error I can remember in a Murakami book (I've read most of them): Aomame hears "A right-wing sound truck" instead of a 'right-wing soundtrack'. Erk! The translator of books 1&2 is Jay Rubin, whose 'Americanese' has always irked me but here it flows unabated. It's not just that a 'John Collins' becomes a 'Tom Collins'; it's the verbless clauses that endlessly cough up geographically-tainted idiom: 'gotten a hold', 'in back of the fridge', 'a couple dozen'. Nobody ever 'leaves' a room, they ALWAYS (often twice in the same paragraph) 'exit' it. And surely there remain Americans who use the past tense for the words spit, knit, fit and grit? (eg "it perfectly fit his mental image").
This is not a crime but it is frustrating not to know whether Murakami (who translated Fitzgerald into Japanese, wrote an admiring introduction to an Akutagawa short story collection, and has in '1Q84' a debate about the quality of good writing) actually writes better prose in his native language than Rubin's stunted sentences display.
It seems to me that 'IQ84' has the hallmarks of a book rushed out for publication and I can't pretend not to be disappointed... even as I admit that every novel Murakami writes remains a gift. Were he to write another 50 like this, I'd keenly regret the 51st that he failed to complete.
Oh god. I'm a bloody fan.
A very enjoyable read, one of Murakami's better works. It did a great job reeling me in with some great world-building and character writing and Murakami's distinct dreamy, atmospheric writing style.
However, while the first book is brilliant, the second isn't quite as good. The mystery begins to dissolve towards the end of the second book and Murakami eventually starts to force in a somewhat perverted subplot about a schoolgirl. His over-sexualisation of female characters and weird tendency towards younger ones has always been my least favourite part of his novels and it's particularly distracting here.
Also, I'd be tempted to not even buy the follow-up: book 3, as I found it to be very indulgent and tedious and didn't end the story on a particularly interesting note.
I would recommend specifically if you've read some of Murakami's other work and like what you've read so far.






