From the Barnes & Noble website:
“Haruki Murakami is one of those writers who’s tipped each year as a Nobel contender; widely acclaimed as a genius, his distinctive magical-realist style is both deceptively simple and dense, delving into the interior lives of his characters in a very literal fashion. He’s a writer whose work seems to speak personally to everyone who reads it, because the lush imagery and universal themes of loss and nostalgic regret are easily and powerfully imagined as coded references to our own secret existence. In that sense, Murakami’s a literary magician.
While every Murakami novel is great, and some might shy away from ranking the work of such a complex artist, we fear nothing and have many opinions. Here’s our ranking of the not-so-best Murakami novel to the best Murakami novel…”
From: Akins, Midori Tanaka (2012) Time and space reconsidered: the literary landscape of Murakami Haruki. PhD Thesis. SOAS, University of London:
“…Yoshiya’s day is narrated through interior monologues in the third-person mode. His memories and dialogues from the past, and many questions are expressed in crisp and simple sentences. They interject his stream of consciousness, pointing to his desire for an earnest communication with others and to bravely face his own ‘beasts’. Murakami’s metaphorical references in All God’s Children Can Dance remain close to the dark images of fear, rage and the unknown; ‘beasts’ in ‘a forest’ and ‘ominous groans in the darkness’, ‘hidden currents of lust’, ‘wriggling slimy worms’ and ‘the nest of the earthquake’ , all of which, according to Yoshiya, lie dormant beneath the ground he stands on. Murakami links atrocity, violence and the destructive force of the earthquake and what lurks underground with the Aum Shinrikyō’s attack on the Tokyo underground that attempted to overturn the order of Japanese society…”