This week’s New Yorker includes an excerpt from 1Q84 (pronounced “Q-teen Eighty Four”) the forthcoming (nearly here!!) new novel by Haruki Murakami:
At Koenji Station, Tengo boarded the Chuo Line inbound rapid-service train. The car was empty. He had nothing planned that day. Wherever he went and whatever he did (or didn’t do) was entirely up to him. It was ten o’clock on a windless summer morning, and the sun was beating down. The train passed Shinjuku, Yotsuya, Ochanomizu, and arrived at Tokyo Central Station, the end of the line. Everyone got off, and Tengo followed suit. Then he sat on a bench and gave some thought to where he should go. “I can go anywhere I decide to,” he told himself. “It looks as if it’s going to be a hot day. I could go to the seashore.” He raised his head and studied the platform guide.
At that point, he realized what he had been doing all along.
He tried shaking his head a few times, but the idea that had struck him would not go away. He had probably made up his mind unconsciously the moment he boarded the Chuo Line train in Koenji. He heaved a sigh, stood up from the bench, and asked a station employee for the fastest connection to Chikura. The man flipped through the pages of a thick volume of train schedules. He should take the 11:30 special express train to Tateyama, the man said, and transfer there to a local; he would arrive at Chikura shortly after two o’clock. Tengo bought a Tokyo-Chikura round-trip ticket. Then he went to a restaurant in the station and ordered rice and curry and a salad.
Going to see his father was a depressing prospect. He had never much liked the man, and his father had no special love for him, either. He had retired four years earlier and, soon afterward, entered a sanatorium in Chikura that specialized in patients with cognitive disorders. Tengo had visited him there no more than twice—the first time just after he had entered the facility, when a procedural problem required Tengo, as the only relative, to be there. The second visit had also involved an administrative matter. Two times: that was it.
In my opinion, Murakami is best taken as a whole. Individual sections are generally fine, but the accumulation of strange images is what makes his books so memorable. (My favorite is still Hard-Boiled Wonderland and the End of the World, and not just for the cool title.)
The only person I know who has already had a chance to read 1Q84 is Robert Sindelar from Third Place Books, who gave the novel 5 stars on GoodReads and started his review with this:
Easily one of my favorite Murakami novels. There is a lot here for his fans sink their teeth into. One of the advantages of the novel being so long is that the atmospheric hauntingly lonely never land that you travel to in most Murakami books, sustains for so long here. This book crept into my dreams and popped its head up regularly in my daily routines. On a subtle level I kept expecting to see the world of the book everywhere I looked.
For now, you can read the whole New Yorker excerpt here.
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