We are all sick people

  Let’s take a test. There are five chairs here, soul, death, loneliness, love, and good and evil. Who do you think should come first? Not having fun anymore? frown? If you put good and evil first, it is up to you to decide whether it is good or evil; if you put love first, how long will your love last, how long would you dare to die for it; if you put loneliness first, who would dare to sell your loneliness? When death flies a zither, people are horrified when they see it, and the world is approaching it; then put the soul first, and Qing asks: Have you been redeemed by the Lord?   ——Inscription
Haruki Murakami’s long-awaited masterpiece “1Q84” released all three volumes, which quickly topped the major bestseller lists, and was highly praised by Murakami fans in various Asia-Pacific regions, once again confirming the immortal myth of Murakami style.
This majestic “1Q84”, Murakami himself said, is a comprehensive novel. What is synthesis? Murakami was quite ambitious, and Dostoevsky thought so too. His “Brothers Karamazov” failed and went to another world to continue writing; Faulkner also said: “I have a Balza Ke’s ambition is to put the whole world into one book.” Sadly, he called the curtain early. Murakami has kept his promise. This melting pot tempers “some kind of obscene, some kind of funny, some kind of profound, and there is a chaotic situation that cannot be concluded in one sentence.” Infiltration, but it is gratifying that it is gradually approaching the writer’s self-defined “synthetic novel”.
  After reading the three thick volumes, I couldn’t help but be astonished: What theme is Murakami talking about? The world of 1Q84 is full of intricate human entanglements such as detection, crime, pure love, and eroticism. It is not difficult to see that the novel spares no effort to show the entanglement complex of the core characters, from the pulse of the inner complex of the characters to find the symptoms, to explore the spiritual awareness of the characters and the interpretation of the spiritual level of the whole society. At this point, the work not only discusses the danger of religious, moral, and political radicalism, but also touches on whether the fragile nervous tissue of today’s sickly youth can be redeemed. Murakami went to pan for gold from the ancient Greek temple, fully excavated the love father, mother love, pedophile and voyeur complex of the core characters, reflecting the psychopathology of today’s urban youth, and used surrealist techniques to reproduce the story of the novel’s strength and deterrence , the theme meaning of old altar with new wine.
  What Murakami wants to describe is a surreal work of seeking and being perceived, perceived and sought. The first person at the beginning of the novel entered 1Q84 from 1984.
  Iraq Terra Complex
  Aomadou , Aomame Yamei, what a poetic name, the blue bean is as sweet and lovely as the “Princess Pea” or “Thumbelina” written by Andersen, but the character of Aomadou is quite different from the princess in the fairy tale. She works as a personal fitness trainer in a club, and her body shows the beauty of all women. In addition to her own breast flaws, she also shows tough resistance and a sense of revenge in her heart. Such a “princess” went through the mental process of finding and being found, perceiving and being perceived during the search for the “prince”. The lover she is looking for is the expression of the writer’s pursuit of the ultimate in life, and it is a reflection of the love level of contemporary young men and women. To like someone is simply to like, to love is to love, and to never forget the beauty of each other. This reminds me of another Murakami in the Japanese cultural circle. When Mr. Ryu Murakami analyzed the love of food and drink, he made a very powerful stroke: “If you don’t miss that person, that person will be gone. Then, what is there? Is there a way not to let people forget? I don’t think so.” Because of “no”, Aomame pursues her own happiness without hesitation, even if her life is on the line.
  However, the story of the search is mutual, as the so-called heart-to-heart connection can only achieve positive results. And Murakami’s prominent core personality, Aomame, is manifested in her hidden life experience and the tension-filled Iraqi Terra complex—the Electra complex. Aomame’s Electra complex is embodied in her flamboyant sexuality. She likes to play one-night stands with older bald middle-aged men, not motivated by money, but simply “playing the house” sex games. This is proof of the lack of fatherly love in Aomame’s childhood, and she wants to fill in the image of her father in the game with middle-aged men. But even so, Aomame loved her prince from the beginning to the end, and even though she had copulated with another man, it was only a passing moment and would never leave any trace. By leaving no trace, she meant not being in love with any man other than her lover. From her point of view, “love and sex” are two weights to balance a marriage; they are completely different two-way lanes, there is no need to have a conservative attitude towards sex for the sake of a lover, not to mention that Aomame is involved in a revenge plan at this time. . She wants to indulge in sex with a strange middle-aged man, in order to release her childhood heavy body from the barrier of desire, so as to achieve a quiet and peaceful destination. It can be seen from this that she sees the issues of spirit and flesh very broadly and divides them very finely. Sex is sex, and there is no such thing as the nourishment of love without sexual impulses. In today’s era of provocation of ethics and morality, when love corrupts after three seconds, “everlasting” love is more and more precious to Aomame, so , “I love you, it has nothing to do with the body” and other popular words always lead the values ​​of urban young men and women.
  Complex Tengo, Kawana Riango, the prince whom Aomame Masami was looking for all his life, a math teacher with a novelist temperament but a training institution. Murakami looks for the ancient Greek story of murdering his father and marrying his mother in this young man who is both literary and intellectual and has a slightly feminine personality – the Oedipus complex that expresses human nature – the Oedipus complex. Such a theme is expressed in the gloomy prince Tengo. Complement each other.
  The novel shows its strong Oedipus complex at the beginning of the “Tengo Chapter”, so that Tengo maintains a long-term lover relationship with a married woman ten years older than himself. He discovered from intercourse with his lover that he had a pair of voluptuous breasts that were similar to those of his mother in memory. Due to the lack of maternal love in childhood, Tengo searched for his mother’s caress in the dying days of countless sexual encounters. When it comes to Tengo’s way of life, it is not difficult for readers to imagine that when he did not find the princess in his life, he lived the “living in one place all his life and sleeping next to one person all his life” advocated by young people nowadays. Lean Tianming, enjoying the happy days of life, but after finding Aomame, the place where he lived changed, and the people who slept with him naturally changed. This is not only a reflection of Tengo’s mentality, but also the writer’s desire to reflect the living conditions of today’s young people – he always likes to enter his own world, very deep. Tengo will also lose himself in the search and feel helpless and distressed. So, is the theme of “searching” proposed by this novel the writer’s tricks, or does it really have the magic power of searching for perception? Haruki Murakami expresses our perception: “Every human being is looking for a precious thing, but not many can be found. Even if you are lucky enough to find it, what you find has actually been fatally damaged many times. Nevertheless, we continue to look for it. Because if we don’t do this, the meaning of life itself does not exist.”
  Tengo has been living a normal life, and his lover Kyoko Yasuda adds a touch of color to her, not only her body and mind. It is also a sedative for Tengo to relieve loneliness. Loneliness is the sticky agent invented by modern people – the more you try to escape, the more sticky it becomes. It was because Tengo chose this sedative to prevent his soul from becoming rigid after being detached from the lonely body; and Ms. Yasuda became more and more plump and hydrated in this indecent love. Perhaps loneliness in the world of 1Q84 is not used to dispel, but to fully enjoy. It is the most common form of expression of human desires endowed by nature. Its natural catharsis is fully perceived. It is like air. It only stays in the human body for a while without being noticed. Yet so necessary.

  Pedophile complex
  Pedophile complex, pedophile. The head-level figure in the book, the leader of the “Pioneer” sect, Mr. Fukada Yu, has a pedophile complex driven by the desire to have sexual relations with many underage girls.
  The whole book asks the world about the “Pioneer” organization: “What is good and what is evil?” Readers who are entangled in this may wish to look at the “Pioneer” organization’s way of life. The people in the “Pioneer” subordinate material pleasures To the lowest level, cultivate the land, abandon famous brands, do not use any household appliances or only use electrical appliances picked up and repaired from garbage cans, maximize the subtraction of life, and keep only one external window-exchange green vegetables with other cities to survive right to go down. This way of life, everyone will wear colored glasses to examine, but it is difficult for us to measure “evil”, it is almost impossible, this may be to point out another possibility of life for people who are troubled and suffocated in the material society, even if it has never been No success. However, it is the people living under the concocting of modern civilization who should really reflect. We have never slowed down our lives. We are constantly doing additions for ourselves every day. To compete, layer upon layer, constantly expand inner desires, even unscrupulous, the balance of good and evil has long been out of balance, and evil thoughts naturally breed. The writer does not fall into the rut in the discussion of good and evil, and jumps out of the predicament to reach the realm of the only way – good and evil depend on personal standards, and balance is a kind of good.
  When it comes to good and evil, it is undoubtedly the “pioneer” leader Fukada Bao, who has suffered from the entanglement between good and evil. He is the puppet of the little people, driven by his power to have sex with underage girls, this evil wave is not caused by Fukada. In the eyes of the old woman, this unforgivable and heinous leader also seems to have a lot of pain, and in his conversation with Aomame, there is a powerful act of kindness-he told Aomame that Tengo always remembers you, and he loves you too. You will only meet in 1Q84, and the best result is that you will walk out from here holding hands. The moment Aomame was about to stab the special ice pick into the back of his neck, Fukada understood everything, and he accepted it with equanimity, expecting such relief. Almost all the mysteries in the whole book are alluded to in the final dialogue between Fukada Yu and Aomame. The death that has been removed from the body appears calm as water. “Death is the disappearance of water into water.” (Borges “Mystery”) Afterwards, everything was flat; Everything is cloudless. This kind of silent death is like the traditional Japanese cherry blossoms and Mount Fuji, which is infinitely alive. Fukada Bao left quietly like this, making the plot twist again in the fate of Aomame and Tengo.
  Peeping Complex
  Niu He and Mr. Niu He Lizhi are respectable characters in the whole book. In the third volume, Niu He not only becomes the third narrative object, but is elevated from a supporting role to a subject narrative, which shows how much the writer attaches importance to it. , he was the third person besides Aomame and Tengo to see two moons hanging in the sky. And it is such a person, who was lifted high by the author and fell heavily – he was strangled alive by Tamaru in the world of 1Q84. At this time, many readers will applaud and say that the hated Niu He has finally died. I read here that the sadness comes from Niu He’s unfortunate death, which is extremely embarrassing.
  Most readers dislike Niu He, presumably because of his ugly and embarrassing appearance, he is also performing the reconnaissance and voyeurism task explained by the “Pioneer” organization. It should be noted that Niu He’s voyeur complex is arranged by the organization to monitor Tengo and Aomame. Movement, although he has no peeping hobby, his actions are annoying. Calm down and think about Niu He’s no malice since he appeared on the stage. This little guy has always wanted to live a happy life for ordinary people, but he was repeatedly frustrated because of his ugly appearance. Fortunately, Niu He has a bright mind. With his own talent and hard work, he has made a breakthrough and obtained a happiness that even he is amazed at. But the good times didn’t last long. After the lawyer’s license was revoked, his wife and children separated. In order to survive, he accepted the task of the “pioneer” organization and started this voyeuristic job.
  In fact, from the beginning to the end, I don’t know where Niu He was wrong, he just struggled to survive and to be recognized. Those who have been working hard have to suffer such a sin, and perhaps the result is too cruel. If you really want to say who created the tragedy of Niuhe, this society that judges people by their appearance is like an ice pick. If Niu He’s parents did not hate their son out of vanity; if this society could provide a better platform for the introverted and intelligent Niu He; if Niu He’s wife did not marry him out of greed for money, would Niu He end? A big improvement?
  From the narrative technique of the novel, Niuhe Lizhi will die. Because writing here he has lost the value of use, and staying here will only destroy the integrity of the work. Hemingway said in his novel writing experience: “When a story is told to a certain level, you will find that only death is the best ending.” From the writer’s creative thinking, it is not difficult to see that Niu He You is the first and second volumes of the novel. The supporting role has become one of the protagonists and has the right to speak. In this case, the writer has to give him an official exit. However, according to the development of the novel, if Tengo or Aoma hadn’t died, it would have been Niuhe’s turn. The two are inherently opposites. At this time, it is impossible for Murakami not to let Tengo and Aoma meet again. Therefore, Niuhe will die.
  In the world of 1Q84, everything that happens in this surreal story, the more bizarre it is, the closer it is to the reality of life. We are all sick people. The above-mentioned various complex morbid chronic illnesses of young people today reveal the suffering of our young people living in this bizarre world. Can we find another way out in the resistance with little people? Some people say why angels can fly? It’s that it takes everything lightly. The morbidity of contemporary young people is that their lives are too complicated, they want everything, and they are not willing to throw away anything. The expansion of inner desires is even more trapped in the emptiness of the soul.
  Of course, the morbidity of the young people in the book, in Murakami’s view, is mainly the absence of faith. In view of the highly materialized Japanese social and economic system, the blind pursuit of a moment of social tranquility brought about by the bubble finance, if things go on like this, what will directly fall is the loss of contemporary youth beliefs.
  All the real weirdness produced by the novel under the germination of surrealism is the reading atmosphere created by the writer, aiming to pull the reader into the weird 1Q84, such as the title “1Q84”, the two moons suspended in the sky, little people The surreal metaphors such as the woven air chrysalis undoubtedly strive for the reality of life with grotesque expressive techniques. Let’s hurry into 1Q84, which is full of surreal metaphors.
  Look at 1Q84 with a magnifying glass.
  Before taking out the magnifying glass, the word “weird” needs to be clarified. Weird is absurd, but this “weird” is a little weird. The reason why the novel is grotesque has to start with the title “1Q84”. The title of the book is 1Q84, and the letter “Q” here means “question” – “question; question”. In Japanese, the pronunciation of Q is very similar to the Arabic numeral 9. If the number 1 is taken as the English letter l, the title of the book can be translated as: “I found that there were problems in 1984” (or “84 was a problematic year”); if expanded a little, it would be “I want to ask the whole 80s question. “; If “Q” is regarded as a magnifying glass, it means that the writer wants the world to see: “What is missing in the 1980s?” (Note: “Q” in Chinese is the capital letter of the Chinese character “Qi”) All in all, the title of the book, 1Q84, is a metaphor for the beautiful 1980s in Japan. To say it was beautiful, it was the beauty of being soaked in. It is reported that it was the golden age of Japan’s capital accumulation and consumption. Called the arrival of Japan’s prosperity. No one seems to have expected that the Aum Shinrikyo sect was established in 1984, and a few years later the sect attacked the Tokyo subway. In the prosperous world where everything seems to be safe, turbulent undercurrents are wantonly eroding every corner of society, so don’t look at the surface, just as Murakami emphasized at the beginning of the book: “This is a circus-like world, everything is fake.” On the title of Aomame’s appearance, it was strikingly written: “Don’t be deceived by appearances”, because there is often only one reality. In the glitzy world of Japan in the 1980s, the evil consequences of reality had already been planted long ago.

  Therefore, “1Q84” is to metaphorically reconstruct people’s spiritual world through a fable, which is close to the spiritual predicament of Japanese youth in Japanese society after the bubble economy.
  The moon, the moon, which one did I see?
  When it comes to the “moon” image in “1Q84”, readers can’t help but murmur. The moon, the moon, which one do I see? The two moons hanging in the sky are like the shape of the buns on the heads of ancient women, so realistic and difficult to distinguish. In the novel, the metaphor of the moon image is quite rich, you can think of it as a different portrayal of two worlds, a reality and an illusion; “Character is Yin, and “Aomame” is Yang); you can boldly judge it as the spiritual gap between the two, but in the world of 1Q84, “If you believe me, everything can become true.”
  In this case, the author is more willing to believe that the two moons hanging in the sky are the writer’s interpretation of Aomame and Tengo’s projection of each other’s hearts. Looking at the bizarre ups and downs that the two lovers have experienced along the way, I can’t help but think of the late contemporary poet Yu Yu. Long wrote a verse about the moon: “When the moon is full, you are blessed; when the moon is short, you are tested.” This pair of lovers cherished each other and never gave up until the end. Going out of the Capital High School Line 3, from the entrance in 1Q84 back to the exit in 1984. The levitating moon gradually turned into a gray-white slice hanging on the horizon.
  You are still busy, little people.
  After reading all three volumes of “1Q84”, the most confusing thing for readers is littlepeople.
  Is the world represented by little people good? Evil? What is the metaphor of the air chrysalis they weave? A series of questions, such as overwhelming, impact the reader’s bottom line. We’d better put aside the question mark and start with the appearance of the little guy who never forgets his work.
  As soon as they appear, the little people are always busy. It is not so much that they are weaving the empty air chrysalis of the metaphorical human heart, but it is the writer’s implication of resisting the absurd society. Murakami undoubtedly inherited the mantle of absurdist writers, using the stories of little people to debunk this society inflated by lies. At this moment, the little man is in a relationship with the society, how long can this force last? We don’t know, but the evil thoughts in Keren’s heart are ultimately hard to blame, and the empty air chrysalis will be woven tighter and tighter by the little people, and finally suffocate and die. The world of little people is like this. The stories they weave are more real than life; the life we ​​live in is more absurd than stories.
  Sometimes I can’t help but sigh, you guys are still busy!
  Closing the last page, I froze, all the surreal reverie before, returning to reality has become so illusory, we are all sick people, can we only live in our own heterogeneous world , when the truth comes quietly, we are so vulnerable. When Haruki Murakami wrote about the topic of “rebirth”, he said: “Why did you die?” “In order to be reborn like this.” “What does regeneration need?” “One cannot regenerate for oneself. It is for others.” Undoubtedly the most important dialogue in the book. It shows the author’s ultimate concern for the true nature of human nature and gratitude for the praise of life. We are all sick people, and we all live in our own fictional 1Q84. Sometimes our illnesses are not illnesses when we think about them, and one day will heal, that’s when you come out of IQ84. This reminds me of the St. Francis Prayer, which Mother Teresa asked attendees to recite at the Nobel Peace Prize ceremony in 1979:
  ”I beseech the Lord to make me a messenger of peace.
  Where there is hatred, let I plant love;
  where there is harm, let me plant forgiveness;
  where there is doubt, let me plant faith;
  where there is depression, let me plant hope; where   there
  is darkness, let me plant light;
Where there is sorrow, let me sow joy.
  O Almighty Lord,
  let me ask no one to comfort me, but that I can comfort others;
  ask no one to understand me, but that I can understand others;
  I don’t ask people to love me, but I hope I can love people.
  Because we reap what we give, we receive
  forgiveness in forgiveness, and we gain
  eternal life by losing our lives. ”