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.
Content Warning: This section of the guide includes discussion of sexual content.
K takes a break in telling Sumire’s story to introduce himself. He is not confident in his ability to do so, considering himself to be a subjective storyteller, especially on the topic of himself.
From a young age, K isolated himself, struggling to relate to other people and keeping them at a safe distance. He loved to read, though, and took refuge in books and music. K also struggled to relate to his family, and when he earned grades good enough to attend university, he left for Tokyo. There, he spent much of his time reading literature, though he earned a degree in history.
Knowing that he did not want to find a corporate job, K elected to become a teacher. Though he never thought much of the profession, the reality of it instilled in him a newfound respect. In his role teaching young students, he found a better sense of himself. Despite this, he still felt lost, unsure of what to do with his life. His friendship with Sumire helped him, as their deep conversations and acceptance of each other encouraged him.
Even though he tried to resist his feelings, K felt an intense desire for Sumire. It was both romantic and sexual, though he knew that she did not feel the same way. This desire was so intense that he found it painful, but he didn’t want to lose her and so looked for distraction. He began pursuing other women, and every affair he had was with a married or partnered older woman. K’s current partner is the mother of one of his students.
One day in July, K takes his students on a hike and comes home exhausted. Sumire calls and asks if they can meet the following afternoon. K agrees, saying he can meet until four o’clock, as his girlfriend is visiting at six o’clock.
When they meet, K once again does not recognize Sumire. Her weeks with Miu have transformed her. K asks if she sees this as a positive development, but Sumire laments that, despite the positives, she still cannot write. K suggests that it is because she has a new life, and therefore, the kind of fiction she writes will change, too. He tells her to give it time. She understands but explains that she feels lost, as though she were a satellite drifting through space.
The friends see each other two weeks later, when K helps Sumire move into a new apartment. He is sad that she is moving farther away from him, but it is important for her to move, as she is now working with Miu five days a week. When Sumire asks if K would still be her friend if she were a lesbian, K assures her that he would, saying his life would be miserable without her.
In this moment, K wants nothing more than to hold Sumire. He becomes aroused and hides his erection. The pain of the desire makes him tear up. He understands that this is the same way Sumire feels about Miu. Sumire asks if K wants to get dinner, but K, scared of his fantasies about Sumire, declines. Sumire promises to treat K to dinner soon and waves goodbye from her door. It is the last time K sees her. In August, she sends him a letter.
The letter arrives in a large envelope with an Italian stamp. Though Sumire’s name is not on the envelope, K recognizes her writing and is curious about why she sent it from Rome. He opens the envelope, surprised that the letter is five pages long.
Sumire apologizes for breaking her promise to treat him to dinner. She explains that a trip to Europe with Miu for business came up suddenly. Though she enjoys the travel and is writing from an outdoor café in Rome, she feels as though she is no longer herself. She feels as though someone took her apart and put her back together in her sleep. Despite all of her confusion, she misses K, feeling lonely without him.
Miu invited Sumire on what was meant to be a two-week business trip to Italy and France as her personal secretary. They first arrived in Milan, where Miu rented an Alfa Romeo. Sumire’s desire for Miu swelled as she watched her drive the car, as well as when they were shopping. She exuded confidence and style while shopping.
The women have separate rooms in each hotel, though one night they shared a room with two beds. Sumire struggled that night, her desire for Miu manifesting in the need to be held by Miu.
Sumire writes the letter while Miu is out visiting friends. Without Miu, Sumire feels lost and experiences no desire to sightsee or do anything. All of her energy is devoted to Miu. As she concludes the letter, Sumire explains that her feelings of not being herself are fading, which is a relief to her. She tells K she will be back in mid-August, and they will have their dinner then.
Five days later, a shorter letter from France arrives. Miu and Sumire traveled to Burgundy, and Sumire is obsessed with how great the wine is. She tells K that she will not be returning to Japan when she expected. An Englishman she and Miu met offered them his villa on a Greek island. Miu and Sumire decide to stay there for a real vacation.
K waits for Sumire to return, feeling lost and lonely without her. He tries calling her, but she does not pick up. He figures that she is enjoying her vacation. He sees his girlfriend and thinks that if he did not know Sumire, he could fall for her. However, with his desire for Sumire, he cannot love this other woman.
One night, K’s phone rings at two o’clock in the morning. It is Miu.
Miu asks K to come to the Greek island where she and Sumire are staying. She tells K that something happened to Sumire but will not explain what. K agrees to come, but before Miu can reveal any other details, their connection fails.
K packs for his trip, wondering if any part of it will feel like a vacation. He finds the island on a map, near the Turkish border. He cannot fall back asleep, worried about Sumire. He wonders what happened to her and is unsettled by the fact that Miu does not seem to know.
The next morning, K heads to the airport. He will fly to Amsterdam, then Athens, and then Rhodes, where he will take a ferry to the island. The new school term is starting in 10 days, and K calls a coworker to cover for him, saying he has a family emergency. K is anxious during his travels but makes it to Rhodes on time. Though it is late in the day, he manages to catch the evening ferry to the island.
He looks for Miu, who said she would meet him at the ferry. When she does not arrive, K sits at a local café and reads a pamphlet from a nearby kiosk. The island is sparse but has a rich history. It was a major trading nexus when Ancient Greece was at its peak. Turkey eventually took control of the island, facing fierce resistance from its inhabitants. Eventually, rebels won back the island, only to be occupied by the Nazis during World War II.
As the sun begins to set, Miu arrives and apologizes, saying she was busy at the police station. Before discussing Sumire, Miu takes K to dinner. It is the first time they meet, and K is taken with Miu’s beauty and elegance. He is impressed by how she embraces aging. After their meal, Miu reveals that Sumire disappeared without a trace. Miu suggests they walk to the villa before she tells K the story. She offers him Sumire’s room at the village.
When they arrive at the villa, Miu explains that this is her eighth day on the island. Sumire disappeared without a trace four nights prior.
Miu starts her story by reviewing the route they took through Europe. She explains that she felt connected to Sumire, shocked by how easy it was to be around her. They decided to take the English gentleman’s offer to relax at his Greek villa. They both wanted the rest, and though returning to Tokyo later than expected would cause some issues, Miu thought it was worth it.
Every morning, the two women rose and immediately went to a nearby beach. The sand and surf were beautiful, and they could swim and sunbathe naked. They would walk back to the villa and spend the days relaxing, visiting the village, and listening to music. Miu assures K that they both enjoyed life on the island.
On their fourth morning, Sumire read an article to Miu about a woman in Athens whose cats ate her after she died in her apartment. They debated what punishment would be fitting for the cats, whether they should be incarcerated or reformed. This reminded Miu of her days in a Catholic school when a nun asked if the students should share food with a cat while stranded on a desert island. The nun said no, because a cat is not chosen by God.
After this, Sumire told Miu a story about her childhood cat. One day, the cat went into a frenzy, running around the yard before climbing a tree. Sumire waited for the cat to come down, but it never did. Her family told her the cat would eventually come down, but no one ever saw it again. After a week of waiting, Sumire gave up. She was so upset about the loss that she never adopted another cat, confident that she could not love it the same.
K interrupts to ask why Miu called him instead of Sumire’s family. She tells him that it is because Sumire trusted him. When she asks if he wants to know the truth of what happened, he tells her he would not be on the island if he did not want to. She reveals that something happened later that night.
The most significant example of how Sumire’s desire for Miu impacts her life is the change it brings to Sumire’s relationship with writing, establishing how unrequited desire impacts all aspects of her life and developing the theme of Writing as a Representation of State of Mind. Writing is a core part of who Sumire believes she is and wants to be, but when she falls in love with Miu, she loses any desire or ability to write. Sumire immediately recognizes this shift and attributes it to her new, overwhelming passion for Miu: “Other than wanting to be a novelist, I’ve never wanted anything so much. I’ve always been satisfied with exactly what I have. But now, right at this moment, I want Miu. Very, very much. I want to have her. Make her mine. I just have to” (66-67). This need echoes the way that Sumire talks about writing, as a necessity in her life. She no longer cares about being a novelist, and instead only wants to pursue Miu. Her unrequited desire is so central, suddenly, that Sumire feels the impact on her long-term plans and her day-to-day life. She refocuses her entire life, taking a new job and learning a new language to fulfill her need to be near Miu. These changes mirror the changes Sumire made in her life when she initially quit university to pursue writing, taking a risk to follow her dreams. As Sumire drifts closer and closer to Miu, she disconnects from writing, only worsening the turmoil she feels over Miu’s lack of desire for her, as she has always used writing to explore her feelings. Because she is no longer writing, she loses it as a practice of self-expression, making it even more difficult for her to understand these intense feelings.
The magical realism of Sputnik Sweetheart, like most of Murakami’s works in the genre, is subtle. Both K and Sumire describe feelings of losing a grasp on reality as a lurking anxiety. It is not something that they can necessarily pinpoint or tie to any specific events; instead, they intuit it as a subtle disconnection from reality. For both characters, Disconnection From Reality in the Wake of Loss manifests in the corresponding loss of their own identities, a feeling of disconnection even from themselves. When Sumire writes to K while traveling with Miu in Europe, she describes feeling as though something changed her: “I have this strange feeling that I’m not myself anymore. It’s hard to put it into words, but I guess it’s like I was fast asleep, and someone came, disassembled me, and hurriedly put me back together again” (71). Sumire cannot determine exactly when or how she began to feel different, but she is sure that something is wrong. By using this metaphor, Sumire suggests that she feels fundamentally different, put back together with pieces either missing or in the wrong place. This only contributes to her sense of unease about her identity and the nature of reality in general. As the border between reality and unreality blurs, neither she nor K can fully understand how or why it is happening, as it manifests so subtly and fundamentally. Just as desire unmoors both characters, so, too, do their encounters with unreality make them feel lost.
Throughout the novel, Murakami uses vivid imagery to create a vibrant world. With so much of the narrative depending on the blurring of reality and unreality, the use of imagery creates a clear reality that stands in contrast to the characters’ experiences of unreality. Imagery plays a significant role in establishing the Greek island on which Sumire disappears, establishing a concrete reality from which she departs. She writes to K in vivid language about the experience: “The two of us lying on the pure white beaches of the Aegean, two beautiful sets of breasts pointed toward the sun, sipping wine with a scent of pine resin in it, just watching the clouds drift by” (76). With this imagery, Murakami cultivates the beauty of the island and the relaxation Sumire feels and also captures Sumire’s struggle with unrequited desire. This one sentence creates a scene that, though it could be romantic, does not convey any romantic feelings. The women are on “the pure white beaches of the Aegean,” creating a sense of classical beauty connected to Ancient Greece. Additionally, they are half-naked, drinking wine, but the use of “pure white” emphasizes the innocence of their interaction and the lack of reciprocation in desire. Despite the wine and being half-naked, their attention is not on each other, but on the clouds, demonstrating that while they do have a strong relationship, it is merely friendship. At the same time, this vivid image represents a clear, defined reality just before Sumire’s disappearance.



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