1Q84 英文原版 [精装] 下载 mobi epub pdf 电子书 2025

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　　1979-2009，村上春树创造30年巅峰杰作！
　　荣获2009年日本“年度最畅销图书”第1名。
　　村上春树荣登日本“年度最受欢迎作家”第1名。
　　荣获韩国2009年“年度最受欢迎图书”第1名。
　　荣获2009年“年度最畅销图书”第1名。

内容简介

The year is 1984 and the city is Tokyo.

A young woman named Aomame follows a taxi driver’s enigmatic suggestion and begins to notice puzzling discrepancies in the world around her. She has entered, she realizes, a parallel existence, which she calls 1Q84 —“Q is for ‘question mark.’ A world that bears a question.” Meanwhile, an aspiring writer named Tengo takes on a suspect ghostwriting project. He becomes so wrapped up with the work and its unusual author that, soon, his previously placid life begins to come unraveled.

As Aomame’s and Tengo’s narratives converge over the course of this single year, we learn of the profound and tangled connections that bind them ever closer: a beautiful, dyslexic teenage girl with a unique vision; a mysterious religious cult that instigated a shoot-out with the metropolitan police; a reclusive, wealthy dowager who runs a shelter for abused women; a hideously ugly private investigator; a mild-mannered yet ruthlessly efficient bodyguard; and a peculiarly insistent television-fee collector.

A love story, a mystery, a fantasy, a novel of self-discovery, a dystopia to rival George Orwell’s—1Q84 is Haruki Murakami’s most ambitious undertaking yet: an instant best seller in his native Japan, and a tremendous feat of imagination from one of our most revered contemporary writers.

作者简介

Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into forty-two languages. The most recent of his many honours is the Franz Kafka Prize.
村上春树：著名作家。 1979年，《且听风吟》出版以来，寂寞忧郁的文字、清淡闲适的情节，尤其是独特新颖的都市感觉的写作文风，令万千读者如痴如醉。随着《挪威的森林》、《舞！舞！舞！》、《海边卡夫卡》等作品的陆续出版，逐渐赢得世界性的崇高声誉，最终形成“村上春树文学山系”。 2009年，集毕生文学之大成的巅峰杰作《1Q84》隆重出版，以席卷之势荣登日本所有畅销榜首，在整个日本、东亚乃至全球都引起巨大反响。正如媒体评论：“如此重大而复杂的题材，几可视为日本文学在新千年的伟大开篇。

精彩书评

“A book that . . . makes you marvel, reading it, at all the strange folds a single human brain can hold . . . A grand, third-person, all encompassing meganovel. It is a book full of anger and violence and disaster and weird sex and strange new realities, a book that seems to want to hold all of Japan inside of it . . . Murakami has established himself as the unofficial laureate of Japan—arguably its chief imaginative ambassador, in any medium, to the world: the primary source, for many millions of readers, of the texture and shape of his native country . . . I was surprised to discover, after so many surprising books, that he managed to surprise me again.”
—Sam Anderson, The New York Times Magazine

“Profound . . . A multilayered narrative of loyalty and loss . . . A fully articulated vision of a not-quite-nightmare world . . . A big sprawling novel [that] achieves what is perhaps the primary function of literature: to reimagine, to reframe, the world . . . At the center of [1Q84’s] reality . . . is the question of love, of how we find it and how we hold it, and the small fragile connections that sustain us, even (or especially) despite the odds . . . This is a major development in Murakami’s writing . . . A vision, and an act of the imagination.”
—David L. Ulin, Los Angeles Times

“Murakami is clearly one of the most popular and admired novelists in the world today, a brilliant practitioner of serious, yet irresistibly engaging, literary fantasy . . . Once you start reading 1Q84, you won’t want to do much else until you’ve finished it . . . Murakami possesses many gifts, but chief among them is an almost preternatural gift for suspenseful storytelling . . . Despite its great length, [his] novel is tightly plotted, without fat, and he knows how to make dialogue, even philosophical dialogue, exciting . . . Murakami’s novels have been translated into a score of languages, but it would be hard to imagine that any of them could be better than the English versions by Jay Rubin, partnered here with Philip ?Gabriel . . . There’s no question about the sheer enjoyability of this ?gigantic novel, both as an eerie thriller and as a moving love story . . . I read the book in three days and have been thinking about it ever since.”
—Michael Dirda, The Washington Post

“Fascinating . . . A remarkable book in which outwardly simple sentences and situations snowball into a profound meditation on our own very real dystopian trappings . . . One of those rare novels that clearly depict who we are now and also offer tantalizing clues as to where literature may be headed . . . I’d be curious to know how Murakami’s yeoman translators Jay Rubin and Philip Gabriel divided up the work . . . because there are no noticeable bumps in the pristine and deceptively simple prose . . . More than any author since Kafka, Murakami appreciates the genuine strangeness of our real world, and he’s not afraid to incorporate elements of surrealism or magical realism as tools to help us see ourselves for who we really are. 1Q84 is a tremendous accomplishment. It does every last blessed thing a masterpiece is supposed to—and a few things we never even knew to expect.”
—Andrew Ervin, The San Francisco Chronicle

“[1Q84] is fundamentally different from its predecessors. We realize before long that it is a road. And what the writer has laid down is a yellow brick road. It passes over stretches of deadly desert, to be sure, through strands of somniferous poppies, and past creatures that hurl their heads, spattering us with spills of kinked enigma. But the destination draws us: We crave it, and the craving intensifies as we go along (unlike so many contemporary novels that are sampler menus with neither main course nor appetite to follow). More important, the travelers we encounter, odd and wildly disparate as they are, possess a quality hard to find in Murakami’s previous novels: a rounded, sometimes improbable humanity with as much allure as mystery. It is not just puzzlement they present, but puzzled tenderness; most of all in the two leading figures, Aomame and Tengo. Converging through all manner of subplot and peril, they arouse a desire in us that almost mirrors their own . . . Murakami makes us want to follow them; we are reluctant to relinquish them. Who would care about the yellow brick road without Scarecrow’s, Woodman’s and Lion’s freakiness and yearning? What is a road, particularly Murakami’s intricately convoluted road, without its human wayfarers?”
—Richard Eder, The Boston Globe

“1Q84 is one of those books that disappear in your hands, pulling you into its mysteries with such speed and skill that you don’t even notice as the hours tick by and the mountain of pages quietly shrinks . . . I finished 1Q84 one fall evening, and when I set it down, baffled and in awe, I couldn’t help looking out the window to see if just the usual moon hung there or if a second orb had somehow joined it. It turned out that this magical novel did not actually alter reality. Even so, its enigmatic glow makes the world seem a little strange long after you turn the last page. Grade: A.”
—Rob Brunner, Entertainment Weekly

“A 932-page Japanese novel set in Tokyo in which the words ‘sushi’ and ‘sake’ never appear but there are mentions of linguine and French wine, as well as Proust, Faye Dunaway, The Golden Bough, Duke Ellington, Macbeth, Churchill, Janáèek, Sonny and Cher, and, give the teasing title, George Orwell? Welcome to the world of Haruki Murakami . . . A symmetrical and multi-layered yarn, as near to a 19th-century three-decker as it is possible to be . . . The label of fantasy-realism has been stuck to it, but it actually has more of a Dickensian or Trollopian structure . . . Explicit, yet subtle and dream-like, combining viciousness with whimsy . . . this is Murakami’s unflagging and masterful take on the desire and pursuit of the Whole.”
—Paul Theroux, Vanity Fair

“Do you miss the girl with the dragon tattoo? Do you long for the thrill of following her adventures again through three volumes of exciting, intelligent fiction? If so, I have good news for you. She’s got a sort of soul sister in one of the two main characters in Haruki Murakami’s wonderful novel 1Q84 . . . With more than enough narrative and intellectual heft to make it enjoyable for anyone with a taste for moving representations of modern consciousness in the magical realist mode, this story may easily carry you away to a new world and keep you there for a long time . . . The deep and resonant plot . . . unfolds at a leisurely pace but in compelling fashion by luring us along with scenes of homicidal intrigue, literary intrigue, religious fanaticism, physical sex, metaphysical sex 1Q84 英文原版 [精装] 下载 mobi epub pdf txt 电子书 格式

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1920年，托尔金赴利兹担任英语高级讲师，并声称是因为他而使得语言学学生的数量由5位增加至20位。他曾教授古英语英雄诗体、英语历史、许多古英语及中古英语文本、古英语及中古英语哲学、日耳曼哲学介绍、哥德语、古冰岛语及中古威尔士语。1925年托尔金33岁那年，他成功申请到盎格鲁撒克逊的Rawlinson及Bosworth教授职缺，并以其在利兹的日耳曼哲学的学生曾组成一个“维京俱乐部”（VikingClub）为傲—在俱乐部里，大学生可以自由地阅读古斯堪的纳维亚的冒险故事及喝啤酒。 私底下，托尔金被任何有关种族及语言学意含的事物吸引，并且思考著一种与生俱来的语言品味，一种他在1955年“英语与威尔士语”这场演讲中所提到的“母语”（native language），相对于自幼时所学的语言（cradle language）。他认为西密德兰的中古英语是他所拥有的“母语”，就如同他在1955年给大诗人奥登的书信中所提到：‘在血缘上，我是一位西密德兰人（并且早先在我第一眼看到西密德兰的中古英语时，我就已经视他为已知的语言）。’ 另一项与托尔金身为哲学家的专业成就并驾齐驱，有时甚至超越它而使得他的学术产出相形渺小的，就是其对人造语言创作的热爱。其中发展得最成熟的就是昆雅和辛达林，此两种人造语言的语源关系构成了大部份托尔金传说故事集系列的核心。对于托尔金来说，语言及文法，是攸关美感及谐音的重要元素，而昆雅更特别是以“语音美感”（phonaesthetic）的考量去设计；它的创造概念为“精灵拉丁语”，在语音上也是以拉丁语（Elvenlatin）为基础，并以芬兰语及希腊语为灵感来源。 托尔金认为语言及与之关联的神话传说是不可分割的，因此他终究对国际辅助语言持悲观的态度：他在1930年一场演讲“秘密的罪行”中对一群世界语的使用者说：‘你们的语言将产生一部神话’，然而在1956年他却下一个结论：‘沃拉普克语、世界语、伊多语及诺维亚语等等，诸如此类，均是枯萎死亡的语言，远比现已不被使用的远古语言死的还要透，因为他们的创作者从未创作任何世界语的传奇故事。’ 托尔金著作的流行对语言的使用，尤其是在奇幻文学类，已经产生微小但深远的影响，甚至是dwarves“矮人（复数）”和elvish“精灵的；精灵语”这两个原本自19世纪中或甚至更早一点就已经不再被使用的拼法，也在托尔金的复兴下广为现今的字典所接受，分别取代19世纪后dwarfs及elfish的拼法。其他如他所创造的新词eucatastrophe（救赎的时刻，或直译：“善战胜恶”）也在与托尔金著作相关的文章中经常被使用。

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很好，很好，很好。很好，很好，很好。

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　　4

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托尔金认为语言及与之关联的神话传说是不可分割的，因此他终究对国际辅助语言持悲观的态度：他在1930年一场演讲“秘密的罪行”中对一群世界语的使用者说：‘你们的语言将产生一部神话’，然而在1956年他却下一个结论：‘沃拉普克语、世界语、伊多语及诺维亚语等等，诸如此类，均是枯萎死亡的语言，远比现已不被使用的远古语言死的还要透，因为他们的创作者从未创作任何世界语的传奇故事。’

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　　“故事讲述谎言，但呈现真实。”

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