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After reading a review of *1Q84* by @naquoya, I immediately went to Amazon and ordered a copy. I think it was around the time I was reviewing either *Man in the High Castle* or the series *Counterpart*. I recall discussing how I enjoy science fiction based on alternate histories. Naquoya read that and recommended *1Q84*. After reading his review, I was convinced I needed to add this to my list. It took a while to get to it, but I have just completed the voluminous tome. *1Q84* takes place in 1984 in Japan. The book is a trilogy, broken up by the latter three seasons of 1984, beginning with Spring. The book I ordered has all three books in a single volume, bringing the page count to a staggering 1157 pages. It was a bit daunting to pick up a book of that heft and dive in. But you will quickly find yourself immersed in the strange parallel world created by Murakami. I ordered the paperback version rather than the Kindle version, because sometimes I just like to hold a book I am reading. I have done a lot of traveling in recent weeks, so this book has kept me company at the airport and on the plane. It's size is a bit hefty for a travel book, but once hooked, you will easily bear that cross. ![](https://cdn.steemitimages.com/DQmZjno5ubh8ciNEFfg1gwgLn38QapMGozUEzFAtT8c6op6/image.png) Murakami is a detailed writer. He infuses his story with intricate details that are so descriptive, it is easy to become lost in the story. While creating a vivid world, the descriptions might even seem tedious to some readers. The author appeals to his readers senses, vividly describing the sights, sounds, smells and tastes of his world. The writing is heavily influenced by his taste in music and countless literary references. The literary references form a spine of sorts, upon which the framework of his story can stand. I marked a couple of passages as I was reading. They were passages that could stand alone while providing a bit of insight into the style of writing readers might expect. >The express train traced a huge arc along the ocean shore beneath the towering mountains, until it reached a point along the coast where the two moons were visible, hanging side by side in the sky above the quiet sea. They stood out sharply -- the big, yellow moon and the small, green one -- vivid in outline but their distance impossible to grasp. In their light, the ocean's tiny ripples shone mysteriously like scattered shards of glass. As the train continued around the curve, the two moons moved slowly across the window, leaving those delicate shards behind, like wordless hints, until they disappeared from view. *1Q84*, at its heart, is a love story. A story of star-crossed lovers who share a deep connection that transcends the real world. They must become lost in a parallel world, desperately seeking answers that can only be found in each other. There are ominous threats that entangle them, as the *fourth wall* becomes a bit blurred. As a story within a story, the internal fourth wall disintegrates as the protagonists seem to become consumed by their own fiction. Another passage I selected somewhat illustrates the blurring of fiction and fantasy within the story. >*Not much I can do about it*, she told herself. *I'm not even sure if this world with two moons in the sky is the* real *reality of not. So it shouldn't be so strange, should it? That in a world like this, if I fall asleep and dream, I find it hard to distinguish the dream from reality? And let's not forget that I've killed a few men with my own hands. I'm being chased by fanatics who aren't about to give up, and I'm hiding out. How could I not be tense, and afraid? I can still feel the sensation, in my hands, or having murdered somebody. Maybe I'll never be able to sleep soundly the rest of my life. Maybe that's the responsibility I have to bear, the price I have to pay. Murakami introduces the parallels to *1984* by George Orwell as part of his own story. Another plot device of the story within a story. However, there is no similarity. One could delve deep into a discussion and pull out some parallels, but they are not apparent. While this story is dark and deals with a bit of extremism, it is not as direct as *1984* in imagining a world of utter totalitarianism. While the thought of *1984* was introduced into the story, and while it remained in my mind as I read (or was reminded of it by the author), I didn't find any great revelation in the story. It was its own story. A solid story that, ultimately, was about love conquering all, redemption and the closest thing one might find to *happily ever after*. In that regard, it was a rewarding read. All 1100 plus pages of it. If you can get your hands on this book, give it a read. You will quickly find yourself immersed in its pages.

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