November 2011

Arts & Letters

‘1Q84’ books 1, 2 and 3 by Haruki Murakami

By Lian Hearn

Leos Janacek’s Sinfonietta and Anton Chekhov’s Sakhalin Island both became bestsellers last year in Japan after featuring in Haruki Murakami’s 1Q84 – such is the author’s influence. Perhaps Murakami chose these artists to suggest traditions of Central Europe, for one of the themes of 1Q84 is the enchanted forest, a fairytale world of two moons and Little People, where a boy and girl must find each other.

The boy is Tengo, the girl Aomame – like many people in the novel, they have unusual names. As children they were outsiders. Aomame was brought up in a sect called the Witnesses. Tengo’s father was a licence fee collector for the national public broadcaster. Now approaching 30, they are both engaged in amoral acts. Aomame is a hit-woman; Tengo, a cram school teacher and aspiring writer, has been persuaded to polish up a novel, Air Chrysalis, by the beautiful young Fuka-Eri, so it will win a famous prize for young writers.

Murakami, who investigated Aum Shinrikyo – the sect responsible for the sarin gas attack on the Tokyo subway – recently said, “The wall separating people who would commit a crime from those who wouldn’t is flimsier than you might think.” His complex interlinking plot allows him to examine closely the art of the novelist as well as religious sects, belief in God, morality and ethics and the nature of reality. There’s also a lot of sex, medicinal, mechanical and mystical. But nothing is as it seems. Actions (murder, child rape) may appear reprehensible, even shocking, but turn out to be something else. And behind every operator is another manipulator. Who is responsible? Who will shoulder morality? As one reviewer says of Air Chrysalis, “the author leaves us with a mysterious pool of question marks.”

This is the first of Murakami’s novels written entirely in the third person, giving alternate chapters to Tengo and Aomame, and adding a third point of view in Book 3 with the sleazy but compelling private investigator Ushikawa. The narrative is perhaps less mesmerising than in the first-person novels, but the characterisation is much richer and the settings – the conservatory of Aomame’s mentor filled with butterflies; the Hotel Okura where “a large foreign couple loom like an old king and queen past their prime”; the care home where Tengo’s father lies in a coma – are unforgettable.

There are occasional irritations: images slide suddenly into banality, the familiar obsessions with beautiful ears and mysterious cats appear, along with endless telephone conversations involving intense staring at handsets and pressing of temples. But if you are a Murakami fan you overlook these. Murakami’s great strength is his absolute trust in the images offered by his unconscious and his unflinching loyalty to them. The imagery of dreams may look banal in the light of day but it’s our only chance of glimpsing the true picture. These unsettling glimpses into the myriad layers of reality are the reward of 1Q84.

Lian Hearn
Lian Hearn is a writer based in Goolwa, South Australia. She is the author of the Tales of the Otori series, which has sold more than 4 million copies. Lian Hearn is the pen-name used by children’s author Gillian Rubinstein.

'1Q84', Books 1, 2 and 3, By Haruki Murakami, Harvill Secker, 952pp; $39.95
Cover: November 2011

November 2011

From the front page

Fair gone

The Coalition’s aspirational pitch worked a treat

Illustration

The cases against Colin Manock

Calls mount for a royal commission into SA’s former forensic pathologist

Image of former prime minister Bob Hawke

Remembering the Silver Bodgie

Bob Hawke’s ability to build consensus reshaped Australia

Doomsday is nigh

The ALP’s policies are mild – why are they being treated as a mortal threat?


In This Issue

Quarterly Essay 44, 'Man-Made World: Choosing between Progress and Planet', by Andrew Charlton, Black Inc., 142pp; $19.95

What we learned in Copenhagen

Words: Shane Maloney | Illustration: Chris Grosz

Morris West & Ngo Dinh Diem

Greatness may be calling: Bob Hawke and Paul Keating in 1990. © Peter Morris/Fairfax Syndication

The book of Paul

Lessons in leadership and Paul Keating

Dreamland

A journey through north-western NSW with Ivan Sen


More in Arts & Letters

Photo of Leonard French underneath his stained glass ceiling at the National Gallery of Victoria.

Leonard French’s Balzacian life

Reg MacDonald’s biography may return this Australian artist to the national imagination

Book cover of Choice Words

The desperate, secretive drama: ‘Choice Words’ edited by Louise Swinn

Personal stories consider questions of choice, legality and stigma surrounding abortion

Still image from John Wick Chapter 3 – Parabellum

Killer instincts: The ‘John Wick’ franchise

Keanu Reeves hones his stardom in the hyperreal violence of an assassin’s tale

Image of Michael Jackson and James Safechuck.

Starstruck: Reckoning with Michael Jackson’s legacy

What do we do with the music after ‘Leaving Neverland’?


More in Noted

‘Room for a Stranger’ by Melanie Cheng

The medico-writer delivers a novel driven less by storyline than accumulated observation

Still image from Game of Thrones, Season 8

Game of Thrones: Season 8

HBO’s epic fantasy series reaches its martial conclusion

Image of ‘Islands’ by Peggy Frew

‘Islands’ by Peggy Frew

The bestselling author delivers a nuanced examination of family tragedy

‘Who Killed My Father’ by Édouard Louis (trans. Lorin Stein)

Political rage fuels the French author’s account of a fraught father–son relationship


Read on

Image of former prime minister Bob Hawke

Remembering the Silver Bodgie

Bob Hawke’s ability to build consensus reshaped Australia

Doomsday is nigh

The ALP’s policies are mild – why are they being treated as a mortal threat?

Image of Prime Minister Scott Morrison

Our distorted politics

Why is the Coalition even competitive under Morrison?

Image of the News Corp Australia office in Sydney

When journalists revolt

New Corp’s influence is being tested this election


×
×