Lesbian sweetheart

04.07.2018 2 Comments

K has become adept at concealing his true feelings and offers advice and support - but much of the narrative involves his detailed reconstruction of Sumire's desire. The effect is a dreamlike, detached quality. Her desire, although not her affection, is unrequited by glamorous wine merchant Miu, a woman 17 years her senior. There's a suspicion here that his apparent sagacity stems from ulterior motives, but he staunchly represses his desire for Sumire, and they talk concepts and metaphors instead. Even Sumire's name for her lover, Sputnik Sweetheart, is based on Miu mishearing her reference to Beatniks in their first tentative conversation. No ordinary anguish here - Sumire, the sulky object of his desire, has 'disappeared. Despite allowing himself a certain amount of grief that Sumire does not feel for him 'as a man', he seems to have her best interests at heart - or does he?

Lesbian sweetheart


There's a sense of rootlessness and a dislocation from their immediate surroundings in K and Sumire's conversations on dead icons, and this enhances the sense of the characters being adrift in a foreign land which is their own. Even Sumire's name for her lover, Sputnik Sweetheart, is based on Miu mishearing her reference to Beatniks in their first tentative conversation. It's unclear, but the structure of retelling is fascinating: There's a suspicion here that his apparent sagacity stems from ulterior motives, but he staunchly represses his desire for Sumire, and they talk concepts and metaphors instead. Murakami doesn't engage in any conventional coming-out discussion - initially Sumire feels that Miu 'happened to be a woman' - but, again, the interest lies in K's ambivalent response to the fact. No ordinary anguish here - Sumire, the sulky object of his desire, has 'disappeared. Murakami treads an intriguingly fine line. What's the point of it all? He takes the bare bones of a narrative and fleshes it out with the trademark surreal, labyrinthine imagery that has won him legions of fans worldwide. K has become adept at concealing his true feelings and offers advice and support - but much of the narrative involves his detailed reconstruction of Sumire's desire. Despite allowing himself a certain amount of grief that Sumire does not feel for him 'as a man', he seems to have her best interests at heart - or does he? Murakami omits direct Japanese cultural references - the friends listen to Bach, love Marc Bolan and discuss Kerouac which, combined with the American English translation, gives the novel a strange flavour. Her desire, although not her affection, is unrequited by glamorous wine merchant Miu, a woman 17 years her senior. Only gradually did these clashing currents settle. As the book opens, Sumire is experiencing first love, 'a veritable tornado sweeping across the plains'. If 'resolution' isn't a key word, you may be in for a treat, as Murakami's novel is a slippery fish which consistently defies categorisation. The effect is a dreamlike, detached quality. Sumire updates her best friend K on developments in urgent chain-smoking 3am communications from a phone box.

Lesbian sweetheart


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2 thoughts on “Lesbian sweetheart”

  1. He takes the bare bones of a narrative and fleshes it out with the trademark surreal, labyrinthine imagery that has won him legions of fans worldwide.

  2. He takes the bare bones of a narrative and fleshes it out with the trademark surreal, labyrinthine imagery that has won him legions of fans worldwide.

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