Many of the characters will spend time before a mirror at one point or another.
She is still in her bed and she continues to sleep. Eri Asai moves into the room with the man. A camera shows the front of his head but it is impossible to identify him since some kind of plastic covers his face. He is covered with dust and sits in a chair. The unplugged television set turns on and shows an empty room. Mari’s sister meanwhile is sleeping and in the company of a narrator we enter her bedroom and look about us. She finds and prints out his image and gives copies to the pimp. The young Chinese woman’s pimp takes her away and Kaoru searches the computerized record of the motel’s surveillance camera for the man that beat her up. Mari goes with her and Kaoru warms to her, invites her to spend any or all of the night at the motel. Kaoru has learned about Mari from her friend Takahashi. This is Kaoru, manager of a love motel, who needs an interpreter for a young Chinese prostitute who has been savagely beaten by a client who takes her clothes and her cell phone and leaves her naked and bleeding. Mari is not ready to talk to him but this doesn’t bother Takahashi who is an incorrigible conversationalist.Īfter he leaves, Mari returns to her book, but she has not been reading long when a woman comes in search of her.
He remembers that they had sort of dated two years before with Mari’s beautiful older sister Eri Asai. She is reading a book when she is accosted by Takahashi, a rather unkempt young man on the way to a rehearsal of his music group. This is Murakami’s twelfth work of fiction. It is late at night and Mari, a young student, sits in a Denny’s restaurant in Tokyo.
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