1Q84 by Haruki Murakami warps time. Words fill the pages and the reader’s mind as characters wait for things to happen. To fill in this void, the characters cut vegetables, use the bathroom, sentimentalize about rubber plants, consider breasts, and eat various meals. Otherwise, nothing moves the plot forward for hundreds of pages.
In the first book, we are introduced to Tengo Kawana, a former child prodigy and aspiring novelist. His editor friend, Komatsu, convinces him to ghostwrite a novel by a seventeen year old girl, Fuki-Eri, and submit it for a literary prize. This section is the strongest. Murakami pokes fun at the literary establishment and lowers the fourth wall. In alternating chapters we are introduced to the other main character, Aomame, who is an unassuming female assassin specializing in stabbing a sharp needle in men’s necks with no trace. Tengo and Aomame shared one special moment when they were ten years old (they held hands) and it created a loving bond that lasted across twenty years and multiple worlds. The novel is a play toward getting the two together and in the course of 952 pages it finally happens.
Both Tengo and Aomame are caught up in the drama of a cult called Sakigake. The cult started out as radicalized students and faculty members on a commune. When Fuki-Eri was ten the commune’s special goat, which Fuki-Eri was tasked with caring for, died. As a punishment Fuki-Eri was locked in a shed with the dead goat. Out of the dead goat’s mouth sprang the Little People. They sit with Fuki-Eri and teach her how to weave an air chrysalis. The most we are told about the Little People is that they’re powerful and something like gods, but not quite. After this happens is when the commune transforms into the cult, and Fuki-Eri’s father becomes Leader and is imbued with powers.
Tengo is caught up in the drama by ghostwriting Fuki-Eri’s novel, which is about the goat and the Little People. It receives great reviews and is a bestseller, but seen as a strange little fantasy. Aomame’s role is that she must kill Leader because he has been raping young girls. There’s more to the novel, or at least, a wider cast of characters, but it’s not worth going exploring at this point.
1Q84 is full of opaqueness. What’s worse is that it is mistaken as a sign that there is something hidden or wonderful in the books, which only smart people can discern. Instead, it’s sloppy writing with no clear end in sight. After the end of the second book, Murakami steps back in the third book as if he can undo the final actions. This may not seem huge, but when one of the main characters commits suicide and is suddenly alive in the next book, it’s completely jarring. Did Murakami change his mind? Was he interested in more sales or exploring how things would have turned out if the character stayed alive? The reasons are not clear and ultimately do not matter. 1Q84 is a bloated tome that is best avoided.
For a more detailed review, please read Janet Maslin’s review in the Times.