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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.
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Inside the hotel suite bedroom, it is pitch black. As Aomame’s eyes adjust to the darkness, she sees a motionless mound on the bed which she only recognizes as a human body when it slowly sits up and begins to breathe heavily. The man in the bed tells Buzzcut to leave and requests that Aomame open the curtains. In the dim light, Aomame can see that Leader is around 50 years old and massively built, with long hair. She seethes at the thought of this man raping ten-year-old girls.
In an even voice, Leader tells Aomame that his body “has many special things about it” (419). In addition to a sensitivity to light, Leader’s muscles frequently go stiff for hours to the point of total immobility. When this happens, he experiences a sustained erection for the duration of the episode. With a candor that Aomame finds shocking, Leader adds that three teenage girls called shrine maidens take turns having sex with him when this happens, bringing him no sexual pleasure but causing him to ejaculate. He explains: “It is thought that these paralyses of mine are a form of grace bestowed by heaven [...]. Thus, when I am visited by those states, the girls come to me and join their bodies with mine. They are trying to become impregnated” (421). However, none of the girls menstruate. Furthermore, the episodes take an increasingly severe toll on Leader’s body, causing him unbearable pain—or as he puts it, “payment for heavenly grace” (423).
Uncomfortably with these admissions, Aomame considers that she may actually be helping Leader by killing him. When she says she doubts that her stretching and physical therapy routines will help, Leader replies, “No, I think you can do something for me—something that only you can do” (423).
Having interpreted his father’s cryptic behavior as tacit confirmation that they are not related by blood, Tengo says, “If my assumption is correct, that makes it easier for me. Not because I hate you, but—as I said before—because I no longer need to hate you” (424). As Tengo leaves the room, he sees a tear run down his father’s face.
Back in Tokyo, Tengo wakes up the following morning feeling like a weight has been lifted. The image of his mother and the man who is not his father no longer haunts him.
Two weeks later, Fuka-Eri calls Tengo from a payphone outside his apartment. She comes over and insists on staying indefinitely. When asked why, she replies, “I don’t want to be alone when something happens” (428).
Tengo leaves Fuka-Eri in the apartment to go to work. During his lunch break, Ushikawa arrives once again to press Tengo to accept his offer. This time, he explicitly states the terms of the proposal: Tengo must extricate himself from the Air Chrysalis situation and forget all about it, or else his personal safety will be at risk. Again, Tengo refuses, citing his suspicions that Ushikawa and his probable employer Sakigake were involved in Kyoko becoming “irretrievably lost.”
At the end of the school day, Tengo calls Fuka-Eri to tell her he is on his way home. She replies, “Better hurry. [...] The Little People are stirring” (434).
Leader lies on a yoga mat while Aomame carries out a painful stretch and massage routine. 30 minutes later, she asks Leader to lie on his stomach so she can perform “the finishing touch” (443). Yet as she holds the ice pick at the precise spot on the back of Leader’s neck, she feels some mysterious force preventing her from killing him. When Leader says, “I’m waiting for you to finish once and for all” (444), Aomame knows that he is aware of her murderous intent. Moreover, Aomame’s killing hand remains frozen until Leader allows it to move again.
Leader explains that the Little People grant him these powers, but in return they make their unspeakable desires his own. He adds that he is “the one who listens to their voices” (446), and therefore he must be killed to maintain a balance between the Little People and humanity.
Aomame doubts this, believing instead that Leader is simply a serial child rapist making excuses for himself. Then, as if reading Aomame’s mind, he makes a clock levitate in the air, convincing her of his supernatural powers. Nevertheless, Aomame rejects the Leader’s notion that he must be killed to maintain an earthly balance between good and evil, preferring instead to let the man live the rest of his short life in excruciating pain.
This causes Leader to take a different approach, claiming responsibility for Ayumi’s murder. Although he says he did not kill her himself, he regrets being unable to stop the Little People from doing so. When Aomame asks why they didn’t kill her instead, Leader says that Aomame is a “special being” whom they cannot kill. He also encourages Aomame to kill him as revenge against the Little People, depriving them of their vessel. This too fails to convince her.
Having exhausted all other tactics, Leader proposes a deal: If Aomame kills him, he will spare Tengo’s life. Shocked that Leader knows of her love for Tengo, Aomame says, “But you can’t possibly tell that much, Tengo’s name has never taken a step outside my heart” (449)—to which Leader replies that both Aomame and Tengo entered 1Q84 for a reason, and that they “will be assigned [their] proper role here” (449). He even uses the term “1Q84,” even though Aomame made it up and never shared it with anyone.
Tengo returns to his apartment to find Fuka-Eri looking exceptionally beautiful to him. After dinner, he remarks that a thunderstorm is brewing, to which Fuka-Eri replies, “Because the Little People are stirring” (457). Although it is only nine in the evening, Fuka-Eri insists on going to sleep and having Tengo read her a story in bed. He paraphrases “Town of Cats” for her. After he finishes, Fuka-Eri says that Tengo went to his own “town of cats” when he visited his father, and now he needs to do a “purification.”
Aomame asks Leader if 1Q84 is a parallel world. Leader says no, adding that 1984 “no longer exists anywhere” (462) for Aomame and that there is no way to return. He also points out that the two moons exist only to differentiate 1Q84 from 1984, and therefore very few people are aware of them. He quotes the song “It’s Only a Paper Moon,” singing, “Without your love, it’s a honky-tonk parade” (463). Leader also suggests that the Little People exist only in 1Q84, not in 1984. He theorizes that some countervailing force pulled Aomame into 1Q84 as a bulwark against the Little People.
Leader goes on to explain that the Little People emerged through his daughter—who at this point is assumed to be Fuka-Eri. The Little People then made Leader their agent; Fuka-Eri filled the role of Perceiver, while Leader became a Receiver. He says he and Fuka-Eri became one, to which Aomame replies that that is merely a euphemism for the fact that Leader raped his own daughter. Leader counters that Fuka-Eri was merely a “concept [that] took on human shape” (465), which he refers to as a dohta, or a sort of double.
Meanwhile, the “real” Fuka-Eri escaped to fight the Little People by aligning herself with a man named Tengo Kawana. Leader goes on to explain that Fuka-Eri and Tengo collaborated to create an “antibody” for the Little People’s “virus” in the form of the popular book Air Chrysalis. Aomame herself has a role to play in the fight against the Little People by killing Leader, their current vessel. Leader says that Aomame and Tengo arrived in 1Q84 because they were drawn to one another. He adds that Tengo has loved no other woman but Aomame.
Leader then elaborates on the choice he presented to Aomame before: If she kills Leader, the Little People will look for a new vessel and leave Tengo alone. However, Sakigake will hunt Aomame down and likely kill her. In either scenario, a reunion with Tengo is very unlikely. With tears in her eyes, Aomame agrees to Leader’s terms. As thunder and heavy rain roar outside the window, Aomame presses the needle into the back of Leader’s neck, killing him.
Fuka-Eri asks Tengo to hold her in bed so they can undergo a “purification.” They drift to sleep. When Tengo wakes up, he and Fuka-Eri are naked. Tengo cannot move, and his penis is erect. Fuka-Eri climbs on top of him and tells him to close his eyes. When he does so, he is back in the classroom holding hands with ten-year-old Aomame. Just like in his memory, Aomame lets go of his hand and runs out of the classroom, at which point Tengo ejaculates inside Fuka-Eri.
After it is over, Fuka-Eri says, “I will not get pregnant” (481), cryptically placing the emphasis on the “I.” She also says that the Little People have stopped stirring. While Fuka-Eri showers, Tengo realizes he must do everything in his power to find Aomame.
Aomame leaves the bedroom and tells Buzzcut to let Leader sleep for at least two hours. As Aomame walks down the hall to the elevator, she is prepared to pull out her gun and shoot herself should Buzzcut or Ponytail pursue her, but no one follows her.
In a taxi, she heads to Shinjuku Station as Tamaru instructed. There, she removes a travel bag filled with basic necessities and cash from a coin locker. Using a payphone, she calls Tamaru who gives her the address of a safe house in Koenji—the same neighborhood where Tengo lives. The plan is that Aomame will stay there for a week before traveling far away and having her appearance changed.
The next morning, Tengo struggles to go about his normal routine. Having not heard from Komatsu in weeks, he calls his office, only to be told that Komatsu has been out sick for over a week. Both Tengo and the person on the phone doubt that Komatsu would let himself be away from the office so long no matter how sick he was.
Leaving Fuka-Eri behind in his apartment, Tengo makes good on the promise he made to himself to find Aomame. He goes to the telephone company where there are telephone books for each of Tokyo’s wards but finds nobody with Aomame’s name. He calls their old school and retrieves a forwarding address from when she moved, but she no longer lives there.
Tengo returns home with no leads as to Aomame’s whereabouts. After pondering Aomame’s name for a few moments, Fuka-Eri says, “She might be very close by” (509).
Aomame finally meets Leader, the head of Sakigake who is also confirmed to be Tamotsu Fukada, Fuka-Eri’s father. With that meeting comes a dizzying amount of worldbuilding and exposition surrounding 1Q84, Sakigake, the Little People, and air chrysalises. Yet despite the reveal of all these pieces of information, exactly how the pieces fit together remains unclear, creating more questions than answers. To the extent that the information comes together to make a cohesive whole, it appears that the Little People enter the world through the existence of Perceivers like Fuka-Eri. By creating an air chrysalis, the Little People split the Perceiver’s soul or essence in two into a maza and a dohta. (This information is conveyed in the next chapter grouping, but it is instructive to consider it at this juncture). Then, the Little People speak to a Receiver—in this case, Leader—through a rape ritual in which the Receiver, paralyzed but erect, sexually assaults the dohta.
It is difficult to say what bearing the details of the Little People’s activities have on the broader narrative and thematic strands of the novel. Leader implies that the dohta is somehow less-than-human. For example, when Aomame rightly castigates Leader for causing grievous damage to Tsubasa’s reproductive organs, he replies, “What you saw was the outward manifestation of a concept, not an actual substance” (465). This may reflect the extent to which rapists dehumanize their victims in an effort to justify their own actions. At the same time, Leader frames his actions as outside of his control, casting himself as a pawn of the Little People—whose motivations, by the way, aside from reveling in pain, suffering, and anti-logic, remain intentionally obscure. Thus, Leader treats his malicious, predatory, and traumatizing sexual acts as the result of some external force, another tactic used by abusers to excuse their crimes. Finally, Leader calls his bouts of paralysis “a form of grace bestowed by heaven” (421), reflecting an ugly tendency among leaders of religions or cults whose supposed connection with God gives them license to engage in sexual crimes.
This interpretation might have held more weight had the narrative remained firmly in the realm of the metaphorical. Up until this point, the novel has maintained a measure of ambiguity concerning whether or not supernatural elements hold sway in the world of 1Q84. However, the scene in which Leader makes a clock levitate in the air—combined with Leader’s apparent omniscience—firmly places the narrative in a supernatural setting. To be fair, one can still read 1Q84 in purely symbolic terms, and furthermore Murakami’s work has long been defined by an uneasy juxtaposition between realism and fantasy. Yet Aomame seems all too ready to conclude that, given the supernatural things she witnesses in the hotel room, she must accept what Leader tells her and act according to these new fantastical rules of engagement. She does precisely what Leader asks her, despite the fact that he is a serial rapist of prepubescent girls. She even seems convinced of Leader’s efforts to downplay these acts of sexual violence because the victims were merely dohtas. Granted, Aomame primarily follows his directives in an effort to protect Tengo, and her original plan was to assassinate him with or without his consent. Yet she also accepts Leader’s explanation behind the strange and illogical happenings of 1Q84, which seems to undercut the themes relating to patriarchal sexual violence that have come to dominate the narrative up until this point.
Complicating matters further is the “purification” ritual that takes place between Fuka-Eri and Tengo. During the ritual, Tengo is cast as Leader, frozen in place with an erect penis. Meanwhile, Fuka-Eri plays the role of her ten-year-old self, being forced to engage in the Little People’s incestuous rape ritual with her father. On one level, the purification could be seen as a reclamation of the Little People’s ritual, situated in a less toxic context. Despite Fuka-Eri’s youth, both she and Tengo are technically considered consenting adults under Japanese law, and they are not related by blood. Moreover, the outcome of this sexual act will be to impregnate Aomame, creating a living representation of the love between Tengo and Aomame. On its face, this is a happier outcome than that of Leader’s rape ritual, which seems to exist primarily to perpetuate trauma.
Yet one cannot brush aside the fact that neither Tengo nor Aomame consent to this. The book treats it as a given that Aomame will be happy to carry Tengo’s child though she has no agency over its creation. In turn, Tengo himself becomes the victim of rape, though he is not so much traumatized by the event as he is made to feel awkward by it. Needless to say, the events in these chapters muddle the book’s sexual politics, which up until now seemed to be firmly on the side of victims of sexual assault.
Finally, these chapters cast doubt on Fuka-Eri’s motivations, not to mention her very nature as a human entity. Up until now, Fuka-Eri has been framed as a beautiful enigma, mysterious yet ultimately lacking in substance, at least compared to other female characters like Aomame and the dowager. Now, it seems that Fuka-Eri quite literally lacks substance, in that she may be a dohta. She certainly plays the role of a dohta in her purification ritual, and it would explain her emotional detachment, albeit while undercutting the more likely explanation which is that she is the victim of sexual abuse. Thus, two possible interpretations emerge: The first is that Fuka-Eri is a maza who escaped Sakigake and seeks to defy the Little People by writing Air Chrysalis. These are her stated motivations. A second interpretation, however, is that Fuka-Eri is a dohta and an agent of the Little People, impregnating Aomame with Tengo’s baby to create a new heir for Leader. Under this interpretation, the fact that she wrote Air Chrysalis was merely a ploy to get closer to Tengo. In the generic conventions of Murakami’s beloved noir, Fuka-Eri transforms from helpless ingenue to femme fatale.
By Haruki Murakami
Japanese Literature
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Magical Realism
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Mystery & Crime
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Science Fiction & Dystopian Fiction
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Sexual Harassment & Violence
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