Postscript: Three volumes, two moons, and ‘1Q84’ by Haruki Murakami

When it comes to the running joke among bibliophiles as to which fantasy realm they’d want to live in to, I’m not going to pick among Harry Potter, A Song of Ice and Fire, and Lord of the Rings series. In fact, I’d choose the least outlandish and most normal, whose wall between reality is almost penetrable, but given the unusual circumstances, is still considered as a fantasy world. Set in one of my dream cities to-visit in the year 1984, when mystery is at its peak once two moons appear, it would be Japanese novelist Haruki Murakami’s curiously amalgamated mega-novel, 1Q84.

I admit; being drawn to the world of 1Q84 was more of a sentimental indulgence than the fascination on its fictional elements. The latter is after all, a literary device that inadvertently lured the protagonists back together after twenty-years of separation. Amidst the dark themes of cult and crime, Murakami created a bizarre love story, made entangled with the numerous façades of intrigue. It would appear that the mortality and romantic future of the leads are pitted against a superior force (ironically called as the Little People) but in the end, is triumphed by the most powerful of all…

(Warning! Spoilers are coming if you haven’t read the book.)

Love and hope have always connected Aomame and Tengo since their last meeting as ten-year olds. There is something romantic about preserving the existence of a moment with a special person that forever changes you. Something so reassuring when someone holds your hand and a certain feeling loops between you and knots the both of you as one – a naïvely metaphysical recognition that the young Aomame and Tengo shared and carried to the present as young adults. It was not until their involvement with the fanatical antagonist (the religious cult Sakigake) and unwitting entry to 1Q84 (from the real 1984) that ultimately joined them. But the much-awaited reunion takes time as Murakami meticulously maps eerie patterns of supernatural inspirations that pique the novel’s ordinary backdrop, where he psychoanalyzes the characters through self-realization and external provocation. Once the reader follows the current of 1Q84’s windingly chronicle through the point-of-view characters, he/she will be entranced by the eloquence and persuasiveness of Murakami’s make-believe universe where two parallel dimensions exist. Whose oddness is not disorienting but adaptable, it becomes an unlikely medium for self-discovery and the romantic resolution of finding the love of one’s life.

Pre-1Q84, Aomame and Tengo are inconspicuous in the mundane milieu of a thriving Tokyo during the 1980s. But Murakami infuses fantasy that highlights their special qualities in a domain made miscible with strange circumstances. A sports instructor, Aomame moonlights as a murderess-with-a-cause who sends abusive men ‘to the other side’; while Tengo, who was a child prodigy, is settled as a mathematics cram teacher and the ghostwriter of 1Q84’s enigmatic Pandora’s box – the novelette Air Chrysalis. It’s unclear when did their immersion to the alternate world begin (Aomame has long been stupefied by the double lunar presence even before Tengo could describe their appearance in his working novel). In its perplexing glory, the two moons has surreptitiously drawn them together – the only rewarding light from the dark tunnel of ‘1Q84’, named by Aomame to the new reality after descending from the highway’s emergency exit (Chapter 1: Aomame “Don’t let appearances fool you). Before reaching the end, 1Q84 is divided into in three volumes that cover the duration (April-June, July-September, October-December) of Aomame and Tengo’s existence in 1Q84. Murakami’s ambitiousness is transcribed through the personal mythology of its characters and the fictitious history that ripples through them. Once the narrative vertex is achieved, 1Q84 becomes more than a sensational setting of mysterious events. The picture of two people attracted to the abnormal sight of two satellites is an earnest allegory of their similarity. Both found each other’s dearest company in the confounding corners of 1Q84. The difference is that Aomame and Tengo successfully escape the ‘other’ reality while the silver moon is the only inhabitant of the night sky with no smaller and greenish counterpart floating queerly on the side.

Back and front cover as the faces of Tengo and Aomame.

Not to give further away, 1Q84 is an absorbing literary adventure whose dalliance among the detective, fantasy and mystery genres delivers a sum unexpectedly more endearing than the parts of the whole. Deep in its core is a surreal romance that transcends through time and dimension. The rhetoric pronunciations could be overwhelming but Murakami stays his novel grounded with the genuine feelings of love, acceptance, sadness and hope. As the reader becomes more privy to the mind, heart and soul of Aomame and Tengo, a deep attachment grows that makes them more alive and identifiable as real people who are caught between unnatural situations. But their love story is (most personally) affecting and satisfying (two lonely individuals who had yearned to meet each other for so long — that’s the only goodness 1Q84 had brought in their lives).

(People would say ‘be careful of what you wish for’ but I would want to stay in a world as unpredictably dangerous and life-changing as 1Q84, where I can also develop a sense of purposefulness and grasp a better understanding of my individuality. Better yet, to find the person who is also looking for me. If he exists then I consider myself lucky. But if not, at least 1Q84 imparted that something worth believing is much better than losing the will to entrust one’s faith to either the tangible or the imaginable.)


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