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　　1979-2009，村上春樹創造30年巔峰傑作！
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　　榮獲韓國2009年“年度最受歡迎圖書”第1名。
　　榮獲2009年“年度最暢銷圖書”第1名。

內容簡介

The year is 1984 and the city is Tokyo.

A young woman named Aomame follows a taxi driver’s enigmatic suggestion and begins to notice puzzling discrepancies in the world around her. She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.

As Aomame’s and Tengo’s narratives converge over the course of this single year, we learn of the profound and tangled connections that bind them ever closer: a beautiful, dyslexic teenage girl with a unique vision; a mysterious religious cult that instigated a shoot-out with the metropolitan police; a reclusive, wealthy dowager who runs a shelter for abused women; a hideously ugly private investigator; a mild-mannered yet ruthlessly efficient bodyguard; and a peculiarly insistent television-fee collector.

A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell’s—1Q84 is Haruki Murakami’s most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers.

作者簡介

Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into forty-two languages. The most recent of his many honours is the Franz Kafka Prize.
村上春樹：著名作傢。 1979年，《且聽風吟》齣版以來，寂寞憂鬱的文字、清淡閑適的情節，尤其是獨特新穎的都市感覺的寫作文風，令萬韆讀者如癡如醉。隨著《挪威的森林》、《舞！舞！舞！》、《海邊卡夫卡》等作品的陸續齣版，逐漸贏得世界性的崇高聲譽，最終形成“村上春樹文學山係”。 2009年，集畢生文學之大成的巔峰傑作《1Q84》隆重齣版，以席捲之勢榮登日本所有暢銷榜首，在整個日本、東亞乃至全球都引起巨大反響。正如媒體評論：“如此重大而復雜的題材，幾可視為日本文學在新韆年的偉大開篇。

精彩書評

“A book that . . . makes you marvel, reading it, at all the strange folds a single human brain can hold . . . A grand, third-person, all encompassing meganovel. It is a book full of anger and violence and disaster and weird sex and strange new realities, a book that seems to want to hold all of Japan inside of it . . . Murakami has established himself as the unofficial laureate of Japan—arguably its chief imaginative ambassador, in any medium, to the world: the primary source, for many millions of readers, of the texture and shape of his native country . . . I was surprised to discover, after so many surprising books, that he managed to surprise me again.”
—Sam Anderson, The New York Times Magazine

“Profound . . . A multilayered narrative of loyalty and loss . . . A fully articulated vision of a not-quite-nightmare world . . . A big sprawling novel [that] achieves what is perhaps the primary function of literature: to reimagine, to reframe, the world . . . At the center of [1Q84’s] reality . . . is the question of love, of how we find it and how we hold it, and the small fragile connections that sustain us, even (or especially) despite the odds . . . This is a major development in Murakami’s writing . . . A vision, and an act of the imagination.”
—David L. Ulin, Los Angeles Times

“Murakami is clearly one of the most popular and admired novelists in the world today, a brilliant practitioner of serious, yet irresistibly engaging, literary fantasy . . . Once you start reading 1Q84, you won’t want to do much else until you’ve finished it . . . Murakami possesses many gifts, but chief among them is an almost preternatural gift for suspenseful storytelling . . . Despite its great length, [his] novel is tightly plotted, without fat, and he knows how to make dialogue, even philosophical dialogue, exciting . . . Murakami’s novels have been translated into a score of languages, but it would be hard to imagine that any of them could be better than the English versions by Jay Rubin, partnered here with Philip ?Gabriel . . . There’s no question about the sheer enjoyability of this ?gigantic novel, both as an eerie thriller and as a moving love story . . . I read the book in three days and have been thinking about it ever since.”
—Michael Dirda, The Washington Post

“Fascinating . . . A remarkable book in which outwardly simple sentences and situations snowball into a profound meditation on our own very real dystopian trappings . . . One of those rare novels that clearly depict who we are now and also offer tantalizing clues as to where literature may be headed . . . I’d be curious to know how Murakami’s yeoman translators Jay Rubin and Philip Gabriel divided up the work . . . because there are no noticeable bumps in the pristine and deceptively simple prose . . . More than any author since Kafka, Murakami appreciates the genuine strangeness of our real world, and he’s not afraid to incorporate elements of surrealism or magical realism as tools to help us see ourselves for who we really are. 1Q84 is a tremendous accomplishment. It does every last blessed thing a masterpiece is supposed to—and a few things we never even knew to expect.”
—Andrew Ervin, The San Francisco Chronicle

“[1Q84] is fundamentally different from its predecessors. We realize before long that it is a road. And what the writer has laid down is a yellow brick road. It passes over stretches of deadly desert, to be sure, through strands of somniferous poppies, and past creatures that hurl their heads, spattering us with spills of kinked enigma. But the destination draws us: We crave it, and the craving intensifies as we go along (unlike so many contemporary novels that are sampler menus with neither main course nor appetite to follow). More important, the travelers we encounter, odd and wildly disparate as they are, possess a quality hard to find in Murakami’s previous novels: a rounded, sometimes improbable humanity with as much allure as mystery. It is not just puzzlement they present, but puzzled tenderness; most of all in the two leading figures, Aomame and Tengo. Converging through all manner of subplot and peril, they arouse a desire in us that almost mirrors their own . . . Murakami makes us want to follow them; we are reluctant to relinquish them. Who would care about the yellow brick road without Scarecrow’s, Woodman’s and Lion’s freakiness and yearning? What is a road, particularly Murakami’s intricately convoluted road, without its human wayfarers?”
—Richard Eder, The Boston Globe

“1Q84 is one of those books that disappear in your hands, pulling you into its mysteries with such speed and skill that you don’t even notice as the hours tick by and the mountain of pages quietly shrinks . . . I finished 1Q84 one fall evening, and when I set it down, baffled and in awe, I couldn’t help looking out the window to see if just the usual moon hung there or if a second orb had somehow joined it. It turned out that this magical novel did not actually alter reality. Even so, its enigmatic glow makes the world seem a little strange long after you turn the last page. Grade: A.”
—Rob Brunner, Entertainment Weekly

“A 932-page Japanese novel set in Tokyo in which the words ‘sushi’ and ‘sake’ never appear but there are mentions of linguine and French wine, as well as Proust, Faye Dunaway, The Golden Bough, Duke Ellington, Macbeth, Churchill, Janáèek, Sonny and Cher, and, give the teasing title, George Orwell? Welcome to the world of Haruki Murakami . . . A symmetrical and multi-layered yarn, as near to a 19th-century three-decker as it is possible to be . . . The label of fantasy-realism has been stuck to it, but it actually has more of a Dickensian or Trollopian structure . . . Explicit, yet subtle and dream-like, combining viciousness with whimsy . . . this is Murakami’s unflagging and masterful take on the desire and pursuit of the Whole.”
—Paul Theroux, Vanity Fair

“Do you miss the girl with the dragon tattoo? Do you long for the thrill of following her adventures again through three volumes of exciting, intelligent fiction? If so, I have good news for you. She’s got a sort of soul sister in one of the two main characters in Haruki Murakami’s wonderful novel 1Q84 . . . With more than enough narrative and intellectual heft to make it enjoyable for anyone with a taste for moving representations of modern consciousness in the magical realist mode, this story may easily carry you away to a new world and keep you there for a long time . . . The deep and resonant plot . . . unfolds at a leisurely pace but in compelling fashion by luring us along with scenes of homicidal intrigue, literary intrigue, religious fanaticism, physical sex, metaphysical sex 1Q84 英文原版 [精裝] 下載 mobi epub pdf txt 電子書

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　　在我看來，村上春樹一直試圖打破真實與虛幻的界限。他的每一部作品都在嘗試著這種努力。即便是寫完全現實的題材，他的作品也流露齣一種不可思議的漂浮感，比如《挪威的森林》，同時，又不可思議的真實。有時，他走得過遠，完全深入瞭那個虛幻的國度，比如《尋羊冒險記》。有時，又寫得太實瞭，比如《國境以南，太陽以西》。在短篇中，他駕馭得更好，比如《東京奇譚錄》。他尋找一個巧妙的切口，一個非凡的入徑。他不願意赤裸裸的描寫真實。而這正是《V字仇殺隊》說的，我以為真理：

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最近幾天在讀《1Q84》前兩捲。我喜歡村上春樹，他的書幾乎全部讀過。在很久以前，我就有一種疑問，我所讀到的，（當然全部是林少華翻譯的），到底是林少華的腔調，還是村上春樹的腔調？我說的腔調，就是那種隨處可見的“哎，哎，我說某某君，這是何苦呢？”“得，得，不說也罷！”“與其和什麼相比，倒也未嘗不可”，以及“俄爾”“少頃”這種在現代漢語中很少齣現的詞語。越到後來，越覺得難以想象，這是那個每天長跑，每天寫作的村上春樹的腔調。

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　　同樣特性的人物，在不同的關係裏齣現，走嚮相同或者不同的命運。在同樣的一個大主題之下，小主題不斷的齣現，不斷的循環，不斷的點亮。最後疊加在一起時，産生瞭豐富而統一的力量。這是我能感受到的音樂性。

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