Download 1Q84. Första boken by Haruki Murakami PDF

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 eventually 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 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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Extra resources for 1Q84. Första boken

Sample text

As do I when roles are reversed, or so I have always assumed. This oneness of purpose, of action, of words, is essential to the Pact. For this reason I do not insist that I go back & delete those lines above, where I promise a revelation of my secret. ) However, no revelation of my secret may be made, & is not even to be considered again. I must hobble a while longer. I am ignoring the fact that Rupert Angier yet lives! I do indeed sometimes put him from my mind, wilfully drawing veils of forgetfulness across him & his deeds, but the wretch continues to draw breath.

By the evening of the first day, alone in my bedroom, I had mastered Three Card Monte, and was setting to work on the other techniques I had briefly seen. One day, his painting work completed, Noonan left the yard and went out of my life. I never saw him again. He left behind him an impressionable adolescent boy with a compulsion. I intended to rest at nothing until I had mastered the art that I now knew (from a book I urgently borrowed from the lending library) was called Legerdemain. Legerdemain, sleight of hand, prestidigitation, became the dominant interest of my life.

It is difficult to think back to that time, because the dispute between us has gone on so long, and has taken so many different forms. If I committed both wrong and right at the outset, Angier must accept the blame for keeping the feud alive. Many times, sick of the whole thing, I have tried to get on with my life and career, only to find that some new attack was being mounted against me. Angier would often find a way of sabotaging my magical equipment, so that a production I was attempting on stage went subtly wrong; one night the water I was turning into red wine remained water; another time the string of flags I pulled flamboyantly from an opera hat appeared as string alone; at another performance the lady assistant who was supposed to levitate remained unmovably and mortifyingly on her bed.

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