83 pages • 2 hours read
Haruki MurakamiA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
The quality most shared by 1Q84’s three perspective characters is a profound sense of loneliness. More than that, the three characters have been lonely for so long that they become fully accustomed to feeling this way, hamstringing efforts to overcome that loneliness. The lack of parental love Aomame received as the daughter of Society of Witnesses members, combined with her outcast status at school as a religious zealot, make her feel most comfortable when she is alone. Only two times in adulthood does she open herself up to female friendship, and those two friends die violent deaths—Tamaki by suicide to escape an abusive husband and Ayumi by strangulation by a presumed male sex partner.
Before and shortly after entering 1Q84, Aomame copes with this loneliness by treating sex as nothing more than a physical need—a valve to be released at regular intervals with men whom she has no interest in beyond a single evening. Meanwhile, the only emotion she affords herself is her love for Tengo, a person she hasn’t since they were children. This is a convenient coping mechanism, given that there is little chance they will ever cross paths again. Aomame explains her reasoning to Ayumi: “If you can love someone with your whole heart, even one person, then there’s salvation in life. Even if you can’t get together with that person” (192).
However, because 1Q84 is a staging ground for individuals to work out their feelings of loneliness, the alternate universe places Tengo directly in her path. Aomame must still take active steps to reunite with him, first by saving his life when she kills Leader and later when she follows Ushikawa from the playground—two moves that put her at great risk. Thus, the book shows that bold, fearless action is required to overcome loneliness and reunite with a lost love.
Meanwhile, Tengo is required to make similar bold and fearless moves to overcome his loneliness, though he takes emotional risks, not risks to his life. Given that his loneliness is rooted in his father’s cold and loveless upbringing, Tengo must reconcile his feelings about his father by traveling to the sanatorium in Chikura. He does so in a train ride that is framed as Tengo’s own crossing into 1Q84—or as he refers to it, “the town of cats.” Just as important, Tengo must choose not to linger too long in Chikura so he can move forward. At his father’s funeral, Nurse Adachi tells him as much: “Leave that up to cats. [...] Better to think about the future” (861). In short, it is a two-part process: Only by reconciling with the past and then letting go of it can Tengo emotionally prepare himself to be Aomame’s lover and partner.
Unfortunately, Ushikawa does not learn these lessons fast enough to avoid a grim fate. Although his encounter with Fuka-Eri’s piercing glare through his camera’s viewfinder is enough to jolt him out of his lonely complacence, he takes no steps to change his life or attitude. This is expressed by the ease with which he accepts the appearance of a second moon: “Principles and logic didn’t give birth to reality. Reality came first, and the principles and logic followed. So, he decided, he would have to begin by accepting this reality: that there were two moons in the sky” (845). While Aomame’s reaction to a second moon is to believe there is either something wrong with the world or something wrong with her, Ushikawa is content to ignore these warning signs and continue on his same track—which leads to his death at the hands of Tamaru.
Before Aomame enters 1Q84, the cab driver tells her, “There’s always only one reality” (9). While that may be true, the reality of the novel seems to be highly malleable—or, at the very least, subject to wildly different interpretations based on perception. For reasons left unexplained, Tengo possesses the ability to shape the reality of 1Q84 through his writing. The most obvious example of this is the second moon that appears in the sky. Although the origins of the second moon lie in Fuka-Eri’s story, it is Tengo’s writing that brings it to life. This is confirmed by the fact that the depiction of the moon in Fuka-Eri’s original manuscript is bare and minimal, while the second moon matches Tengo’s more vivid description from his rewritten draft. It is also possible that the appearance of air chrysalises—whether at Willow House, the sanatorium, or the refrigerated room housing Ushikawa’s corpse—is also a result of Tengo’s writing.
The exact mechanics of how Tengo’s words influence reality remain obscure, so it is more helpful to think of these transformations of familiar reality in symbolic terms. The second moon, for example, appears out of the blue to Aomame, Tengo, and Ushikawa—three characters who have recently come to grips with the true extent of their paralyzing loneliness. Recalling the cab driver’s insistence that “[t]here’s always only one reality” (9), it is possible that the epiphanies experienced by these characters were so strong that they alter the characters’ perceptions of the world dramatically. The notion of a psychological or spiritual epiphany altering one’s perceptions is hardly out of the ordinary.
Once in this arena of altered perceptions, all of the characters—not only Tengo—are afforded the opportunity to rewrite their past. This, in fact, is the entire reason Tengo sets his novels in a world with two moons, not one. As he tells Kyoko, “The point of its being a world that isn’t here is in being able to rewrite the past of the world that is here” (308). This is precisely what Tengo does with respect to his father, interpreting the man’s cageyness as proof as they are not related by blood. True or not, this allows Tengo to move forward and pursue a healthy relationship with Aomame. Aomame also rewrites the past in a sense, maneuvering circumstances so she is reunited with Tengo, thereby erasing their past 20 years apart. Only Ushikawa does not take the opportunity to rewrite his story, and he pays dearly for it.
While the book champions rewriting the past on a personal level, it also identifies a dark analogue when it occurs on a political level through propaganda. As he explains the plot of George Orwell’s 1984 to Fuka-Eri, Tengo says, “Robbing people of their actual history is the same as robbing them of part of themselves” (257). Whether or not it is correct for Tengo to draw a distinction between rewriting individual history and rewriting collective history is a question the book leaves unanswered.
Particularly in the first half of the novel, violence against women and girls is a disturbingly prevalent component of the work’s narrative and themes. Virtually every female character is touched by domestic violence: Aomame loses her two closest and only friends to domestic or sexual violence; the dowager loses her daughter after she commits suicide to escape an abusive husband; and Fuka-Eri and Tsubasa are survivors of horrific child rape by Leader.
Yet these crimes do not exist as isolated incidents, divorced from the broader culture. The perpetrators of these crimes are exclusively men with wealth and power, amassed by successfully navigating capitalist systems. In turn, that wealth and power protects these men from paying for their crimes through traditional channels of justice. This is the basis for the dowager and Aomame’s repeated assassination plots. They carry out assassinations not entirely out of vengeance or anger; it’s because if they don’t stop these men nobody else will, and the men will continue to hurt women and girls.
Ayumi and Tengo’s mother are also murdered by men who are presumably their sexual partners. In Ayumi’s case, her abuse dates to childhood, when her uncle and older brother—both police officers—sexually molested her. As members of the police force, both men felt they could abuse Ayumi without facing any consequences—and they were right. Meanwhile, Ayumi grows up to be a police officer herself, joining the very organization that awarded her abusers with various awards and decorations. And while nothing is known about the men who ultimately killed Ayumi and Tengo’s mother, neither was caught, reflecting again that in both 1984 and 1Q84, sexual violence goes unpunished, save for the men killed by Aomame and the dowager.
Although the precise symbolic meaning of the Little People is unclear, they can be seen to represent those patriarchal systems which perpetuate abuse. They find their basest expression in Sakigake, an organization combining two of the most powerful arms of the patriarchy: capitalism and the church. Meanwhile, Sakigake’s Leader justifies his actions as a serial rapist by claiming his crimes are a necessary part of his religion’s rituals, as he attempts to create an heir to carry on the Little People’s message. Moreover, the Little People participate in a process of dehumanizing survivors of sexual abuse, as the air chrysalises separate young girls into mazas and dohtas, the latter of which are seen as merely “concepts” and therefore may be raped with impunity. This may reflect the psychological compartmentalization that occurs when an individual is raped by a family member.
By Haruki Murakami
Japanese Literature
View Collection
Magical Realism
View Collection
Mystery & Crime
View Collection
Science Fiction & Dystopian Fiction
View Collection
Sexual Harassment & Violence
View Collection
SuperSummary New Releases
View Collection
The Best of "Best Book" Lists
View Collection
Truth & Lies
View Collection
Valentine's Day Reads: The Theme of Love
View Collection