1Q84 by Haruki MurakamiMy rating: 2 of 5 stars
As a first year graduate student, time is like money to me. Actually, I take that back, money is money, but time is a close second. Despite my hectic schedule, I recently managed to finish Haruki Murakami's 1Q84 in less than a week. This should tell you what a readable book this is, completely engrossing in some parts - especially the first volume. If you have been following my blog, you'd have noticed that I only review books that I utterly loved! There are some books that simply DEMAND of me to share my thoughts on what I loved about them. 1Q84 is the first book that I HATED that demanded the same from me.
Murakami is the toast of the world right now. He is the Chetan Bhagat of the people who hate Chetan Bhagat. My first experience of his works was through Sputnik Sweetheart, possibly his least famous book. It was a short novel about an aspiring writer who disappears while on a journey through Europe. It was as incomplete a book as you would ever read, but I was mesmerized by Murakami's ability to weave magical places that look and smell like reality, but somewhere in your gut, you feel this is not our reality. I read Sputnik Sweetheart cover-to-cover in one night and read it again the next day. Hence, I'm sure you would understand my excitement when I learnt that Murakami had written a three-volume tome called 1Q84 that dealt with similar questions on reality. At the first opportunity, I plunged into this book.
1Q84 takes place in the year 1984. About 100 pages into the book, I grasped the significance of the year. Much like Orwell's London, the Tokyo of 1Q84 is a gargantuan megalopolis which seems to be driven by an unknown force. The protagonists seem to be the only characters who notice something amiss in this world, while everybody else go along their mundane lives. Despite being a vast book spread over three volumes, 1Q84 has just a handful of noteworthy characters. This is the book's first major flaw. The two protagonists are Tengo Kawana and Aomami. Shorn of all its philosophical airs, this book is a love story of how these two people find each other after twenty years of separation. Their story plays out amidst a cast of secondary characters such as Komatsu, Tengo's hardened editor, Fuka Eri, the enigmatic 'perceiver' of 1Q84's dark forces and others.
Each character in 1Q84 is a tired caricature of stereotypes without a whiff of fresh air to save your life. Each character seems to have a few key traits which are incessantly repeated/revealed from various point of views. For example, Tengo was supposedly a child prodigy in everything. This is affirmed by almost every character from Tengo's past, but the adult Tengo seems anything but a prodigious talent. His thoughts and actions are as boring as a gorilla lazing around after a full meal. About half the book is devoted to Tengo and once you get tired of him, his chapters make for excruciating reading.
The third volume introduces a new POV character, Ushikawa, for no apparent reason. This character is ugly ... so ugly that people literally flinch every time they cast eyes on him. This humiliation at every turn has obviously hardened Ushikawa and turned him into an endless cynic. But Murakami's writing is so repetitive that in EACH SCENE with Ushikawa, there is at least one reference to his ugliness or his imbibed anger. Such needless repetition is everywhere in this book - every chapter with Aomame ends with her pining for Tengo. Every chapter with Tengo ends with, you guessed it right, him pining for Aomame. Blurgh.
However, I believe all the above sins are pardonable. The biggest failure of the book is the concept of the Little People. I must admit, I was initially fascinated by this concept of demi-gods that periodically visit our reality through certain channels, their true purpose unknown or unknowable. There were even hints of an opposing force that will rise up whenever the Little People arrive. I would literally have goosebumps when Murakami would intersperse dialogues of the Little People amidst seemingly mundane conversations. But as the book entered the third volume, the entire plot of the Little People and Fuka Eri disappears. The same can be said about Sakigake, the mysterious farming commune turned into a xenophobic religion. Instead, Murakami doles out extra servings of Tengo getting Aomame pregnant despite not meeting her for two decades! No, I'm not kidding.
In spite of this horrendous work, I still believe Murakami is an excellent writer! The first volume in particular was quite good! Murakami's writing has a lot of contemporary & literary references which are very rewarding when you get them. For example, Ushikawa's internal monologue comparing himself with Raskolnikov was just sheer brilliance! Sadly such moments of brilliance are too few and far in between and cannot save this shoddy, unrewarding book. Best avoid it, unless you want to complete your Murakami collection.
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