From Publishers Weekly
In this ebulliently imaginative cross beween bildungsroman and fable, Barker makes magic with both her language and her subject. Janet, the protagonist, is born in Edinburgh during WW II. Her inattentive, eccentric parents, after a course of alternately baiting and tolerating their daughter, finally leave her to her own devices–serious mischief, books and the isolation of a misunderstood intellectual adolescent–while they increase their fold by four more offspring. By then the family has moved to a sprawling old castle in the lonely north of Scotland called Auchnasaugh (“the field of sighing”). Darker intimations of mortality mix with childhood escapades as Barker’s quick, urbane narration and high-flown, wicked humor convey as well the passions and pain of her protagonist. The fate awaiting Janet in the final pages, though clearly foretold in the preface, comes with a shock, as this entrancing first novel, winner of Britain’s David Higham Prize, casts a spell that will make readers willingly forget what they know.
Copyright 1992 Reed Business Information, Inc. –This text refers to an out of print or unavailable edition of this title.

From Library Journal
This touching coming-of-age story takes as its heroine Janet, one of five children growing up after World War II in a gloomy, underheated castle in northern Scotland. As a headstrong, bookish young girl, she goes to comical lengths to rid herself of her irksome younger sisters–who, fortunately, come to no harm. Preferring animals to humans, Janet manages to alienate her family and, through an ungainly adolescence, remains aloof and friendless. Her mother’s many schemes to cultivate Janet’s femininity and to bring her out socially all meet with failure as the girl continues to favor birds over beaux. Barker, the wife of English poet George Barker, has written a poignant first novel whose quirky but appealing heroine meets an untimely fate.

Amazon.com
Bad things come in threes for Toru Okada. He loses his job, his cat disappears, and then his wife fails to return from work. His search for his wife (and his cat) introduces him to a bizarre collection of characters, including two psychic sisters, a possibly unbalanced teenager, an old soldier who witnessed the massacres on the Chinese mainland at the beginning of the Second World War, and a very shady politician.

Haruki Murakami is a master of subtly disturbing prose. Mundane events throb with menace, while the bizarre is accepted without comment. Meaning always seems to be just out of reach, for the reader as well as for the characters, yet one is drawn inexorably into a mystery that may have no solution. The Wind-Up Bird Chronicle is an extended meditation on themes that appear throughout Murakami’s earlier work. The tropes of popular culture, movies, music, detective stories, combine to create a work that explores both the surface and the hidden depths of Japanese society at the end of the 20th century.

If it were possible to isolate one theme in The Wind-Up Bird Chronicle, that theme would be responsibility. The atrocities committed by the Japanese army in China keep rising to the surface like a repressed memory, and Toru Okada himself is compelled by events to take responsibility for his actions and struggle with his essentially passive nature. If Toru is supposed to be a Japanese Everyman, steeped as he is in Western popular culture and ignorant of the secret history of his own nation, this novel paints a bleak picture. Like the winding up of the titular bird, Murakami slowly twists the gossamer threads of his story into something of considerable weight. –Simon Leake —

The Atlantic Monthly, Phoebe-Lou Adams
Mr. Murakami’s long and devious novel opens in a resolutely mundane way, with the narrator cooking spaghetti. The significant items in the ensuing phantasmagoria soon appear, however–a dry well, a house abandoned because of a series of tragedies, a so-called alley blocked at both ends, the statue of a bird looking sadly unable to fly, and the unidentified wind-up bird that creaks invisibly in a nearby tree. “Wind-up” can mean either an end or a preparation for action. Whether his target is Japan or the world, Mr. Murakami’s work sums up a bad century and envisions an uncertain future. His protagonist is a harmless fellow who merely wants to recover his cat and his wife. The troubles, real and delusional, that he encounters can be seen as extravagant metaphors for every ill from personal isolation to mass murder. The novel is a deliberately confusing, illogical image of a confusing, illogical world. It is not easy reading, but it is never less than absorbing.