Mary acts indifferently towards her sister Eri, but the fact is that she rejects any memory of her as she can't cope with her persistent deep sleep and pill abuse. They meet each other not on purpose but by accidental circumstances that force them to admit one to another a common major truth. A room that seems to float into space, with a bed, a ‘'paranormal” T.V set and a haunting, abnormal male figure sitting in a chair.ĭo these people romantically blend into the night? I guess not. While the “deviation” is culminating with the help of Murakami's mesmerizing use of language, we observe Eri deeply sleeping in the unsettling environment of a room that is taken straight from a traditional Japanese horror story. There's a voyeuristic sense when we first notice Mari sitting alone in a table and later when Tetsuya randomly accompanies her in a casual dinner and subsequently takes her out in a date in the park. From the very first page of the book, Haruki Murakami introduces us to voyeurism. The reader is quickly identified as a no stranger to this kind of characters. Of course, there's always a seemingly preppy pervert hidden in the night named Shirakawa and a team of good Samaritans in an unfitted place, a love hotel named Alphaville, Kaoru, Korogi, and Komugi. Another might practice his trombone with his jazz band until the first morning hours like Tetsuya Takahashi – a proper slacker. One may read a book in a family restaurant like Mari Asai.
A variety of activities can be done after midnight next to sleeping.
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