On a canvas stretched from Manchuria to Malta, and with sound effects from strange birdcalls to sleigh bells in cyberspace, this is a fully mature, engrossing tale of individual and national destinies entwined. And yet even so, suddenly, subtly, Okada's fortunes change: Brought through the mark on his cheek into an alliance with another team of psychics, this one mother and son, he acquires the vacant house and its well-and moves deliberately toward a confrontation with the evil that took Kumiko away and all but destroyed him. And if he hadn't married Kumiko, he wouldn't have the ire of her powerful, venomous brother now turned on him. And if he hadn't heard the chilling reminiscence of an old soldier who'd been thrown by his captors into a well in the Mongolian desert at the start of WW II, he never would have wanted to see for himself what a well-bottom was like.

Of course, if he hadn't climbed into the dry well of a nearby vacant house, the teenager wouldn't have had a chance to get at him-and neither would he have had an out-of-body experience that left him with a bluish mark the size of a baby's palm on his cheek. The loss is overwhelming, but when two psychic sisters take an interest in Okada, to the point of entering his dreams, and a teenage neighbor shares with him her obsession with death, to the point of almost killing him, Okada realizes he's into something over his head. Then Kumiko goes to work one day, and he never sees her again. Then he and his wife Kumiko lost their cat. Narrator Toru Okada quit his law-office job in Tokyo. Not merely a big book from the broadly respected Murakami (Dance Dance Dance, 1994, etc.), but a major work bringing signature themes of alienation, dislocation, and nameless fears through the saga of a gentle man forced to trade the familiar for the utterly unknown.

The wind up bird chronicle about