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ethanzo's review against another edition
challenging
dark
emotional
mysterious
reflective
sad
tense
slow-paced
- Plot- or character-driven? Plot
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
3.5
stefhite's review
4.0
I'm not a big fan of Japanese fiction, but this book got great reviews. It took some time to make sense of the story, but then became very compelling and was completely worth reading.
miki514's review
adventurous
emotional
funny
inspiring
mysterious
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
4.75
danaebralidze's review
adventurous
dark
mysterious
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
5.0
kellygoesgeocaching's review
2.0
A strange novel which travelled incredibly slowly, with excruciating detail at points, and then ended so abruptly I was left annoyed, frustrated and irritated. I was enjoying the pace change by that stage and hoping for a proper ending, tying up all the loose ends and rounding out the story but no. I just feel flat about it.
matchaclump77's review
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
tregina's review against another edition
2.0
Oof. I feel like I just finished a marathon. And like distance running, sometimes I was in the zone and just flying along, and sometimes I had to dig deep and push through on determination alone.
Several years ago, a friend of mine produced an abridged version of The Mousetrap for an adjudicated festival, and in conversation with the adjudicator afterwards said that some parts were easy to condense because all she had to do was to remove the constant references to the weather. The adjudicator then gently said that removing redundant bits was good, but in this case the repetition of the weather was the point and essential to the atmosphere of the play. I'm reminded of that now because there are certain elements of repetition in 1Q84 that were important, like Janáček's Sinfonietta and the moon, but so very many more redundancies that served no narrative purpose at all. Repetition needs to have a point.
There was just no reason for this book to be as long as it was. (I know it was originally published in three volumes, but my belief stands.) It was not improved by its length. We did not get to know the characters any better. It did not intensify the atmosphere or complicate the narrative. And every time there was anything sexual on the page I was just begging for it to be over. Underneath it all the book explored the nature of our connections to other people, but it didn't ultimately seem to have anything to say about it. I was never invested in Aomame and Tengo reuniting (though it was a relief when they did, because finally).
There were of course things I liked, such as just about everything to do with Ushikawa, and there were several passages that I felt were particularly interesting or moving. But they were outnumbered by my frustration with the book. Maybe I've rated it too highly and will come back and revise that later. Maybe I just felt the need, at this point, to justify having spent so much time on it. [Note: I did come back after sitting on it for a few days and bumped it down a tick.]
Maybe it was all just too postmodern for my taste.
Several years ago, a friend of mine produced an abridged version of The Mousetrap for an adjudicated festival, and in conversation with the adjudicator afterwards said that some parts were easy to condense because all she had to do was to remove the constant references to the weather. The adjudicator then gently said that removing redundant bits was good, but in this case the repetition of the weather was the point and essential to the atmosphere of the play. I'm reminded of that now because there are certain elements of repetition in 1Q84 that were important, like Janáček's Sinfonietta and the moon, but so very many more redundancies that served no narrative purpose at all. Repetition needs to have a point.
There was just no reason for this book to be as long as it was. (I know it was originally published in three volumes, but my belief stands.) It was not improved by its length. We did not get to know the characters any better. It did not intensify the atmosphere or complicate the narrative. And every time there was anything sexual on the page I was just begging for it to be over. Underneath it all the book explored the nature of our connections to other people, but it didn't ultimately seem to have anything to say about it. I was never invested in Aomame and Tengo reuniting (though it was a relief when they did, because finally).
There were of course things I liked, such as just about everything to do with Ushikawa, and there were several passages that I felt were particularly interesting or moving. But they were outnumbered by my frustration with the book. Maybe I've rated it too highly and will come back and revise that later. Maybe I just felt the need, at this point, to justify having spent so much time on it. [Note: I did come back after sitting on it for a few days and bumped it down a tick.]
Maybe it was all just too postmodern for my taste.
srjennings's review
The mystery was intriguing, but it was slow and there was a lot of excessiv sexual stuff.
Graphic: Sexual content
machete0s's review
mysterious
reflective
sad
medium-paced
- Plot- or character-driven? A mix
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.5
An interesting read, I'm not very familiar with Japanese mystical realism but it made a few logic leaps I was skeptical of. Requires a suspension of disbelief without ever having a thorough reveal of its mysteries. And nearly every scene with a woman character involves at least one sentence about her breasts.