The year is 1984, but not for long. Aomame, on her way to meet a client--the gravid implications of which only come clear later--sits in a taxi, stuck in traffic. On a lark, she takes the driver's advice, bolts from the cab, walks onto the elevated Tokyo expressway, descends an emergency ladder to the street below, and enters a strange new world. In parallel, a math teacher and aspiring novelist named Tengo gets an interesting offer. His editor has come upon an entry for a young writer's literary prize, a story that, despite its obvious stylistic drawbacks, strikes a deeply moving chord with those who've read it. Its author is a mysterious 17-year-old, and the editor proposes that Tengo quietly rewrite the story for the final round of the competition. So begins Haruki Murakami's magnus opus, an epic of staggering proportions. As the tale progresses, it folds in a deliciously intriguing cast of characters: a physically repulsive private investigator, a wealthy dowager with a morally ambiguous mission, her impeccably resourceful bodyguard, the leader of a somewhat obscure and possibly violent religious organization, a band of otherworldly "Little People," a door-to-door fee collector seemingly immune to the limits of space and time, and the beautiful Fuka-Eri: dyslexic, unfathomable, and scarred. Aomame names her new world "1Q84" in honor of its mystery: "Q is for 'question mark.' A world that bears a question.'" Weaving through it, central motifs--the moon, Janček's Sinfonietta, George Orwell's 1984--acquire powerful resonance, and Aomame and Tengo's paths take on a conjoined life of their own, dancing with a protracted elegance that requires nearly 1,000 pages to reach its crowning denouement. 1Q84 was a runaway best seller in its native Japan, but it's more instructive to frame the book's importance in other ways. For one, it's hard not to compare it to James Joyce's Ulysses. Both enormous novels mark their respective author's most ambitious undertaking by far, occupy an artificially discrete unit of time (Ulysses, one day; 1Q84, one year), and can be read as having a narrative structure that evinces an almost quantum-mechanical relationship to reality, which is not to say that either author intended this. More to the point, the English translation of 1Q84--easily the grandest work of world literature since Roberto Bolao's 2666--represents a monstrous literary event. Now would somebody please award Murakami his Nobel Prize?