By Haruki Murakami
Kan vi verkligen säga att världen existerar så som vi uppfattar den? Hur är världen egentligen skapad? Hur samverkar det som nu existerar med det förflutna? Och hur påverkar nuet framtiden? Haruki Murakamis största litterära satsning någonsin utmanar vår uppfattning om sanning och tid - och vad som egentligen kan rymmas i en berättelse.
Aomame åker på motorvägen i en taxi. Hon har bråttom males fastnar i trafiken. Eftersom hon är försenad until ett viktigt och hemligt arbetsmöte får hon ett märkligt förslag av chauffören: att ta en trappa som leder ner från motorvägsbron. Hon tackar ja och kort därefter börjar hon känna sig frånkopplad världen utanför. I ett slag är hela hennes tillvaro förändrad och hon står snart inför grundaren av en religiös sekt.
Tengo är en ung guy som vill uppfylla sin dröm om att bli författare. En vän until honom, som knappast är en särskilt begåvad författare, börjar allt mer att styra hans liv när hon bestämmer sig för att ställa upp i en litterär tävling. until eventually Tengo påstår hon att den bygger på egna erfarenheter, ändå tycks ingenting stämma. Plötsligt är det som om någon drar undan mattan för det han alltid tagit för givet är sanning.
På olika sätt möts Aomame och Tengo och de börjar sakta närma sig varandra. Det är som om de vore beroende av varandra. males frågan är om det är möjligt för dem att någonsin mötas i den verkliga världen som de tror sig leva i. Kanske är det kärlek, eller så är det något som är mycket mer komplicerat än så.
Det här är första delen i trilogin 1Q84.
Översättare: Vibeke Emond
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94 Relation to the other also cannot take place in the present. ’”96 Here, Nancy’s “temporal spacing” is not effected by the unworking 33 of community; diachrony is what allows that unworking to take place. It is not being per se that is shared and divided but an alterity to the immemorial (the no longer) and the future (the not yet) that divorces one from the present and from self-presence (one is “no longer the same” after an experience that he or she has missed). In Blanchot’s The Writing of the Disaster, disaster is what is always imminent and already past.
The only finality Nabokov’s fiction achieves is its own ponderous mass, which betrays the “timeless” and private realm of imagination to which he would recall his material creations. 53 Ada, or Ardor, Nabokov’s most “poetic and cosmopolitan novel,”18 is indeed what Ishiguro calls “a landscape of the imagination,” but it is notably different from The Unconsoled. ” Ada, however, is “cosmopolitan” precisely because some crisis has already, and finally, occurred. Its apparently unbounded world is characterized by the kind of elegant, detached, old-school cosmopolitanism Ishiguro satirizes in Ryder.
12 Sebald, Austerlitz, 140. 13 Derrida, Of Grammatology, 4. 14 For Kojève, history had ended insofar as economic prosperity in the West had increasingly delivered people from poverty and the struggle that came with it: with freedom from want would come harmony, but also the “end of man” whose nature, defined by such struggle, would be exhausted. 15 Quoted in Rothberg, Traumatic Realism, 76-77. 16 Blanchot, “Intellectuals Under Scrutiny,” 223. Blanchot was notoriously quiet about his role in the 1930s, and it is often debated whether his postwar writing is a sort of coming-to-terms with it, however oblique.
1Q84. Första boken by Haruki Murakami