52 pages • 1-hour read
Haruki MurakamiA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
K reads both documents twice before ejecting the disk and putting it in his bag. He wonders why Sumire, who struggled so long to write, suddenly felt the urge to write these long documents so quickly. K tries to discern any clues in the documents and realizes that the one commonality among them is that they refer to another world, on the other side of this one.
The first document details Sumire’s dream world, and the second describes Miu’s double and the loss of half of herself. He realizes that this must be what inspired Sumire to write. She wrote in the document that she did not know what she would do if Miu did not reciprocate her love. He wonders if Sumire left because of this.
K begins to wonder if Sumire crossed over to this other world. He remembers his own dreams and fantasies of being with her and how real they felt. He plays with the possibility that she is chasing the other Miu. If this is true, K wonders how she traveled to the other side, picturing a door. That night, Sumire does not return or call.
Late at night, K wakes to the sound of music. Confusion envelops him as he wonders why there would be music so late. He goes outside and realizes that there are no villages or houses around him, making the music even more strange. K follows the music, wondering if this is what happened to Sumire.
As he wanders through the night, K looks at his hand and realizes that it is not his. In fact, he feels as though his entire body is not his anymore, and a chill creeps over him. He feels disconnected and closes his eyes, descending into his own consciousness. He feels unmoored in time and space. When he feels settled again, he opens his eyes and realizes that the music stopped. He returns to the villa, believing the music was a figment of his imagination.
Two days after K hears the music, Miu returns from Athens with an official. The police begin taking their investigation seriously, but nothing turns up. K departs for Japan right before Sumire’s parents arrive. As they say goodbye, Miu assures K that she will handle Sumire’s parents and any reporters. She tells K that she likes him. On the ferry, K watches Miu until she disappears in the distance.
His flight to Japan from Athens is canceled, and K stays the night. He wanders the city and its ancient ruins but feels lonely, wondering if he should have stayed on the island. K realizes just how much he misses Sumire and how important they were to each other. The pain is intense, though he always knew their friendship would one day end because of his unrequited love for her.
K laments the loss of his special relationship with Sumire and ponders what life is like for her on the other side. He wonders if she found the other Miu and can finally have a relationship with her. He also thinks of what life could be like for him there. K knows he has no way of reaching it and realizes that he does not want to anyway.
He thinks ahead to arriving home and wonders who he will be after the loss of Sumire. He knows he will be different, having lost an essential part of himself. K lies down on the stones of the Acropolis and looks at the night sky, watching for satellites.
On the Sunday after the new school term begins, K’s girlfriend calls him in a panic. She asks if he can come to the supermarket. When he arrives, an employee directs K to the security office, where he finds his girlfriend and her son, a student he calls Carrot, and an unhappy security guard.
The security guard explains that he caught Carrot stealing eight staplers, worth ¥6,800. The guard explains to K that this is a serious offense because it is not the first time Carrot has stolen from the store. In fact, Carrot seems to only steal from this one store, and he only ever steals classroom supplies. K argues that this does not make sense, as it makes Carrot more likely to be caught.
When K asks Carrot why he steals, Carrot does not respond. K notices that Carrot seems strange, emotionless and disinterested, as though he is not really there. The guard demands that they come to some kind of resolution. When he challenges K, asking if he knows why Carrot is stealing, K pushes back. He tells the guard that he never noticed anything that would hint at Carrot stealing. He argues that when a child does this, it is usually about something else. K believes that if they do not identify what is bothering Carrot, they cannot stop him from stealing.
The guard suggests a harsh punishment and goes on to argue that not everyone is, or can be, evil. He argues that Carrot needs to learn the hard truths of the world. They are interrupted when another guard comes in, asking for the key to their storage closet. When they cannot find the key, the guard dismisses K, Carrot, and K’s girlfriend, warning that another offense will be met harshly.
When they leave, K tells his girlfriend to drive home. He will talk to Carrot and bring him home later. He takes Carrot to a café and orders him ice cream, but the boy does not touch it. Carrot will not speak, and K begins talking. He reveals that he was in Greece because his friend disappeared, and he notices that Carrot seems interested. K goes on to talk about how much Sumire meant to him and how lost he is without her. He tells Carrot about how alone he was as a child, feeling out of place at school and at home. It was not until college, K reveals, that he found someone who did not make him lonely.
As K and Carrot walk home, they stop at a bridge over a small river. Carrot takes the storage key from the security office out of his pocket and hands it to K. K realizes that the boy stole it but tells Carrot that it is too late to bring it back. He drops the key into the river and feels intense relief wash over him.
At Carrot’s house, K’s girlfriend thanks him for speaking with Carrot and offers to drive him home. She laments that she does not know how to talk to Carrot anymore and suspects that he knows about her affair with K. When they arrive at K’s apartment, K tells his girlfriend that he believes they should break up, as it is best for everyone. His girlfriend pushes back, saying it is not the best for her. She is lonely. Later, K realizes that he was not thinking of everyone when he decided to break up with his girlfriend. He was thinking of Sumire.
Time goes on, and the new year arrives. Miu never reaches out, and Sumire’s birthday comes and goes. K stops following the news, hoping for a development. Carrot moves on to the next grade, and whenever K sees him, he wonders what the child is thinking. He feels he did the right thing speaking with him, though.
K sees Miu once, driving next to his taxi. They drive next to each other for some time, but she never notices that he is next to her. As he watches, K feels as though she is an empty shell. K realizes that this is how life moves. Even after a tragic loss, time keeps marching forward, and so, too, do their lives.
At night, K dreams and often wakes hoping the phone will be ringing, with Sumire on the other end. One night, the phone does ring. It is Sumire. She tells him that she is back from her odyssey. When he asks where she is, she tells him that she is in her usual telephone box. She describes the litter in it and the “mold-colored half-moon” above her.
K says he is coming to get her, but she tells him to wait. She is running out of change and needs to figure out exactly where she is. Sumire tells him that she wants him to come, and she will call him again soon. Before hanging up, she tells K how lonely she was without him. She understands that they are a part of each other.
As K waits, he looks out his window at the sky, seeing the same moon Sumire described. He is relieved to know that, despite the distance between them, they are looking at the same moon.
Even after her disappearance, Sumire’s writing plays an important role in the story, demonstrating her character growth between the time she left K and when she disappeared. As K searches for clues in Sumire’s abandoned room, he uncovers two documents. Both give K a better understanding of what Sumire felt, as well as offering more details about Miu and their relationship. The importance of these documents lies in the information and character development they offer as well as their very existence; K reflects, “When [Sumire] first met Miu at the wedding reception, her desire to write had flown out the window. Still, here on this little island, she’d managed those two pieces in a short space of time […] Something must have driven Sumire to sit at her desk and write” (163). K’s knowledge of Sumire gives this shift meaning—he knows that Sumire’s desire for Miu prevented her from writing, and the creation of these two documents means that something within Sumire changed to allow her to write again. These documents, written in the aftermath of Miu’s admission that she cannot feel any desire for Sumire, capture Sumire’s desire for a new beginning. This understanding, fueled both by his personal knowledge and the information in the documents, leads him to believe that Sumire did not die by suicide but instead embarked on some kind of journey he cannot understand. He knows that Sumire uses Writing as a Representation of State of Mind and views these documents as the beginning of a new chapter in Sumire’s life.
Just as Sumire suggests that something or someone took her apart and rearranged her, so too does K undergo a similar transformation. Unlike Sumire, however, K believes that though he is taken apart, he is not necessarily put back together. For K, Disconnection From Reality in the Wake of Loss manifests in feelings of uncertainty and dissolution: “Someone had rearranged my cells, untied the threads that held my mind together. I couldn’t think straight. All I was able to do was retreat as fast as I could to my usual place of refuge. I took a huge breath, sinking in the sea of consciousness” (170). K feels as though his mind unravels, and he can no longer depend confidently on his own thoughts. As he confronts the nature of reality, he becomes more confused and disconnected from reality. He retreats into his own consciousness, described as a sea, creating an image of the mind as a mysterious and unexplored terrain. However, despite believing that his own consciousness is a refuge, K recognizes that to remove himself completely from reality is a mistake. When, in the quote above, he takes a breath, he takes some reality with him, preserving it until he can reenter it completely. These notions of the instability of reality and the mysteries of the mind are common themes in Murakami’s works, though most clearly explored in Hard-Boiled Wonderland and the End of the World, much of which takes place in an alternate world within the mind of the protagonist.
Murakami also uses imagery of the moon in Sputnik Sweetheart, another recurring feature in his work. Just as in 1Q84, in this novel, the moon is a signifier of the world the characters are in: In 1Q84, two moons are used to signify an alternate reality, while in Sputnik Sweetheart, the single moon provides connection between Sumire and K. When Sumire calls K at the end of the novel, he feels both shock and relief to hear her voice again. When he asks where she is, she describes the sight of the moon from the telephone box she occupies: “A mold-colored half-moon’s hanging in the sky; the floor’s littered with cigarette butts. As far as the eye can see, nothing to warm the cockles of the heart. An interchangeable, totally semiotic telephone box” (209). This description is similar to the one given earlier in the novel, leading K to believe that Sumire is back in reality, at the same telephone box she always calls from. As he waits for her to call him back, he worries that she may not actually be back, only to find relief in the moon: “Sure enough, a mold-colored half-moon hangs in the sky. Good. We’re both looking at the same moon, in the same world. We’re connected to reality by the same line. All I have to do is quietly draw it toward me” (210). K sees the same moon that Sumire describes outside his window and determines that this means that they are in the same reality. He knows that they are both looking at the same moon, and that to reunite, he must rely on their connection. The moon, therefore, draws the line between reality and unreality, its appearance an indicator of whether Sumire and K are in the same world. This connection, after the disconnection they experience throughout the novel, is enough to provide relief and a sense of connection to K.



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