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Written by Haruki MurakamiAuthor Alerts:  Random House will alert you to new works by Haruki Murakami



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On Sale: May 22, 2001
Pages: | ISBN: 978-0-375-41346-9
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On Sale: October 15, 2013
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Synopsis|Excerpt

Synopsis

Haruki Murakami, the internationally bestselling author of Norwegian Wood and The Wind-Up Bird Chronicle, plunges us into an urbane Japan of jazz bars, coffee shops, Jack Kerouac, and the Beatles to tell this story of a tangled triangle of uniquely unrequited loves.

A college student, identified only as “K,” falls in love with his classmate, Sumire. But devotion to an untidy writerly life precludes her from any personal commitments–until she meets Miu, an older and much more sophisticated businesswoman. When Sumire disappears from an island off the coast of Greece, “K” is solicited to join the search party and finds himself drawn back into her world and beset by ominous, haunting visions. A love story combined with a detective story, Sputnik Sweetheart ultimately lingers in the mind as a profound meditation on human longing.

Excerpt

Chapter 1
In the spring of her twenty-second year, Sumire fell in love for the first time in her life. An intense love, a veritable tornado sweeping across the plains-flattening everything in its path, tossing things up in the air, ripping them to shreds, crushing them to bits. The tornado's intensity doesn't abate for a second as it blasts across the ocean, laying waste to Angkor Wat, incinerating an Indian jungle, tigers and all, transforming itself into a Persian desert sandstorm, burying an exotic fortress city under a sea of sand. In short, a love of truly monumental proportions. The person she fell in love with happened to be seventeen years older than Sumire. And was married. And, I should add, was a woman. This is where it all began, and where it all wound up. Almost.
At the time, Sumire-Violet in Japanese-was struggling to become a writer. No matter how many choices life might bring her way, it was novelist or nothing. Her resolve was a regular Rock of Gibraltar. Nothing could come between her and her faith in literature.

After she graduated from a public high school in Kanagawa Prefecture, she entered the liberal arts department of a cozy little private college in Tokyo. She found the college totally out of touch, a lukewarm, dispirited place, and she loathed it-and found her fellow students (which would include me, I'm afraid) hopelessly dull, second-rate specimens. Unsurprisingly, then, just before her junior year, she just up and quit. Staying there any longer, she concluded, was a waste of time. I think it was the right move, but if I can be allowed a mediocre generalization, don't pointless things have a place, too, in this far-from-perfect world? Remove everything pointless from an imperfect life, and it'd lose even its imperfection.

Sumire was a hopeless romantic, set in her ways-a bit innocent, to put a nice spin on it. Start her talking, and she'd go on nonstop, but if she was with someone she didn't get along with-most people in the world, in other words-she barely opened her mouth. She smoked too much, and you could count on her to lose her ticket every time she rode the train. She'd get so engrossed in her thoughts at times that she'd forget to eat, and she was as thin as one of those war orphans in an old Italian movie-like a stick with eyes. I'd love to show you a photo of her, but I don't have any. She detested having her photograph taken-no desire to leave behind for posterity a Portrait of the Artist as a Young (Wo)Man. If there were a photograph of Sumire taken at that time, I know it would be a valuable record of how special certain people are.

I'm getting the order of events mixed up. The woman Sumire fell in love with was named Miu. At least that's what everyone called her. I don't know her real name, a fact that caused problems later on, but again I'm getting ahead of myself. Miu was Korean by nationality, but until she decided to study Korean when she was in her midtwenties, she didn't speak a word of the language. She was born and raised in Japan and studied at a music academy in France, so she was fluent in both French and English in addition to Japanese. She always dressed well, in a refined way, with expensive yet modest accessories, and she drove a twelve-cylinder navy-blue Jaguar.

The first time Sumire met Miu, she talked to her about Jack Kerouac's novels. Sumire was absolutely nuts about Kerouac. She always had her literary Idol of the Month, and at that point it happened to be the out-of-fashion Kerouac. She carried a dog-eared copy of On the Road or Lonesome Traveler stuck in her coat pocket, thumbing through it every chance she got. Whenever she ran across lines she liked, she'd mark them in pencil and commit them to memory like they were Holy Writ. Her favorite lines were from the fire lookout section of Lonesome Traveler. Kerouac spent three lonely months in a cabin on top of a high mountain, working as a fire lookout. Sumire especially liked this part:

No man should go through life without once experiencing healthy, even bored solitude in the wilderness, finding himself depending solely on himself and thereby learning his true and hidden strength.


"Don't you just love it?" she said. "Every day you stand on top of a mountain, make a three-hundred-sixty-degree sweep, checking to see if there're any fires. And that's it. You're done for the day. The rest of the time you can read, write, whatever you want. At night scruffy bears hang around your cabin. That's the life! Compared with that, studying literature in college is like chomping down on the bitter end of a cucumber."

"OK," I said, "but someday you'll have to come down off the mountain." As usual, my practical, humdrum opinions didn't faze her.

Sumire wanted to be like a character in a Kerouac novel-wild, cool, dissolute. She'd stand around, hands shoved deep in her coat pockets, her hair an uncombed mess, staring vacantly at the sky through her black plastic-frame Dizzy Gillespie glasses, which she wore despite her twenty-twenty vision. She was invariably decked out in an oversize herringbone coat from a secondhand store and a pair of rough work boots. If she'd been able to grow a beard, I'm sure she would have.

Sumire wasn't exactly a beauty. Her cheeks were sunken, her mouth a little too wide. Her nose was on the small side and upturned. She had an expressive face and a great sense of humor, though she hardly ever laughed out loud. She was short, and even in a good mood she talked like she was half a step away from picking a fight. I never knew her to use lipstick or eyebrow pencil, and I have my doubts that she even knew bras came in different sizes. Still, Sumire had something special about her, something that drew people to her. Defining that special something isn't easy, but when you gazed into her eyes, you could always find it, reflected deep down inside.

I might as well just come right out and say it. I was in love with Sumire. I was attracted to her from the first time we talked, and soon there was no turning back. For a long time she was the only thing I could think about. I tried to tell her how I felt, but somehow the feelings and the right words couldn't connect. Maybe it was for the best. If I had been able to tell her my feelings, she would have just laughed at me.

While Sumire and I were friends, I went out with two or three other girls. It's not that I don't remember the exact number. Two, three-it depends on how you count. Add to this the girls I slept with once or twice, and the list would be a little longer. Anyhow, while I made love to these other girls, I thought about Sumire. Or at least, thoughts of her grazed a corner of my mind. I imagined I was holding her. Kind of a caddish thing to do, but I couldn't help myself.

Let me get back to how Sumire and Miu met.

Miu had heard of Jack Kerouac and had a vague sense that he was a novelist of some kind. What kind of novelist, though, she couldn't recall.

"Kerouac . . . Hmm . . . Wasn't he a Sputnik?"

Sumire couldn't figure out what she meant. Knife and fork poised in midair, she gave it some thought. "Sputnik? You mean the first satellite the Soviets sent up, in the fifties? Jack Kerouac was an American novelist. I guess they do overlap in terms of generation. . . ."

"Isn't that what they called the writers back then?" Miu asked. She traced a circle on the table with her fingertip, as if rummaging through some special jar full of memories.

"Sputnik . . . ?"

"The name of a literary movement. You know-how they classify writers in various schools of writing. Like Shiga Naoya was in the White Birch School."

Finally it dawned on Sumire. "Beatnik!"

Miu lightly dabbed at the corner of her mouth with a napkin. "Beatnik-Sputnik. I never can remember those kinds of terms. It's like the Kenmun Restoration or the Treaty of Rapallo. Ancient history."

A gentle silence descended on them, suggestive of the flow of time.

"The Treaty of Rapallo?" Sumire asked.

Miu smiled. A nostalgic, intimate smile, like a treasured old possession pulled out of the back of a drawer. Her eyes narrowed in an utterly charming way. She reached out and, with her long, slim fingers, gently mussed Sumire's already tousled hair. It was such a sudden yet natural gesture that Sumire could only return the smile.
Ever since that day, Sumire's private name for Miu was Sputnik Sweetheart. Sumire loved the sound of it. It made her think of Laika, the dog. The man-made satellite streaking soundlessly across the blackness of outer space. The dark, lustrous eyes of the dog gazing out the tiny window. In the infinite loneliness of space, what could the dog possibly be looking at?

This Sputnik conversation took place at a wedding reception for Sumire's cousin at a posh hotel in Akasaka. Sumire wasn't particularly close to her cousin; in fact, they didn't get along at all. She'd just as soon be tortured as attend one of these receptions, but she couldn't back out of this one. She and Miu were seated next to each other at one of the tables. Miu didn't go into all the details, but it seemed she'd tutored Sumire's cousin on piano-or something along those lines-when she was taking the entrance exams for the university music department. It wasn't a long or very close relationship, clearly, but Miu felt obliged to attend.
In the instant Miu touched her hair, Sumire fell in love, like she was crossing a field and bang! a bolt of lightning zapped her right in thehead. Something akin to an artistic revelation. Which is why, at that point, it didn't matter to Sumire that the person she fell in love with happened to be a woman.

I don't think Sumire ever had what you'd call a lover. In high school she had a few boyfriends, guys she'd go to movies with, go swimming with. I couldn't picture any of those relations ever getting very deep. Sumire was too focused on becoming a novelist to really fall for anybody. If she did experience sex--or something close to it--in high school, I'm sure it would have been less out of sexual desire or love than literary curiosity.

"To be perfectly frank, sexual desire has me baffled," Sumire told me once, making a sober face. This was just before she quit college, I believe; she'd downed five banana daiquiris and was pretty drunk. "You know-how it all comes about. What's your take on it?"

"Sexual desire's not something you understand," I said, giving my usual middle-of-the-road opinion. "It's just there."

She scrutinized me for a while, like I was some machine run by a heretofore unheard-of power source. Losing interest, she stared up at the ceiling, and the conversation petered out. No use talking to him about that, she must have decided.

Sumire was born in Chigasaki. Her home was near the seashore, and she grew up with the dry sound of sand-filled wind blowing against her windows. Her father ran a dental clinic in Yokohama. He was remarkably handsome, his well-formed nose reminding you of Gregory Peck in Spellbound. Sumire didn't inherit that handsome nose, nor, according to her, did her brother. Sumire found it amazing that the genes that produced that nose had disappeared. If they really were buried forever at the bottom of the gene pool, the world was a sadder place. That's how wonderful this nose was.

Sumire's father was an almost mythic figure to the women in the Yokohama area who needed dental care. In the examination room he always wore a surgical cap and large mask, so the only thing the patient could see was a pair of eyes and ears. Even so, it was obvious how attractive he was. His beautiful, manly nose swelled suggestively under the mask, making his female patients blush. In an instant-whether their dental plan covered the costs was beside the point-they fell in love.

Sumire's mother passed away of a congenital heart defect when she was just thirty-one. Sumire hadn't quite turned three. The only memory she had of her mother was a vague one, of the scent of her skin. Just a couple of photographs of her remained-a posed photo taken at her wedding and a snapshot taken right after Sumire was born. Sumire used to pull out the photo album and gaze at the pictures. Sumire's mother was-to put it mildly-a completely forgettable person. A short, humdrum hairstyle, clothes that made you wonder what she could have been thinking, an ill-at-ease smile. If she'd taken one step back, she would have melted right into the wall. Sumire was determined to brand her mother's face on her memory. Then she might someday meet her in her dreams. They'd shake hands, have a nice chat. But things weren't that easy. Try as she might to remember her mother's face, it soon faded. Forget about dreams-if Sumire had passed her mother on the street, in broad daylight, she wouldn't have known her.

Sumire's father hardly ever spoke of his late wife. He wasn't a talkative man to begin with, and in all aspects of life-like they were some kind of mouth infection he wanted to avoid catching-he never talked about his feelings. Sumire had no memory of ever asking her father about her dead mother. Except for once, when she was still very small; for some reason she asked him, "What was my mother like?" She remembered this conversation very clearly.

Her father looked away and thought for a moment before replying. "She was good at remembering things," he said. "And she had nice handwriting."

A strange way of describing a person. Sumire was waiting expectantly, snow-white first page of her notebook open, for nourishing words that could have been a source of warmth and comfort-a pillar, an axis, to help prop up her uncertain life here on this third planet from the sun. Her father should have said something that his young daughter could have held on to. But Sumire's handsome father wasn't going to speak those words, the very words she needed most.

Sumire's father remarried when she was six, and two years later her younger brother was born. Her new mother wasn't pretty either. On top of which she wasn't so good at remembering things, and her handwriting wasn't any great shakes. She was a kind and fair person, though. That was a lucky thing for little Sumire, the brand-new stepdaughter. No, lucky isn't the right word. After all, her father had chosen the woman. He might not have been the ideal father, but when it came to choosing a mate, he knew what he was doing.
Haruki Murakami|Author Q&A|Author Desktop

About Haruki Murakami

Haruki Murakami - Sputnik Sweetheart

Photo © Elena Seibert

Haruki Murakami was born in Kyoto in 1949 and now lives near Tokyo. His work has been translated into more than fifty languages. The most recent of his many international honors is the Jerusalem Prize, whose previous recipients include J. M. Coetzee, Milan Kundera, and V. S. Naipaul.

Author Q&A

A Conversation with Haruki Murakami, author of Sputnik Sweetheart

Q: In 1978 you were in the bleachers of Jingu Stadium watching a baseball game between the Yakult Swallows and the Hiroshima Carp when Dave Hilton, an American, came to bat. According to an oft-repeated story, in the instant that he hit a double, you suddenly realized that you could write a novel. Had you always wanted to write a novel? When you were growing up in Japan, did you dream of being a writer?

A: I like to read, and ever since I became a sentient being, I’ve been reading a lot. So then one would expect that I would want to become a writer, but in fact I never seriously thought that I wanted to become a novelist. Rather, I was more interested in making movies and in college I majored in cinema and theater arts at Waseda University.

The reason I did not think of becoming a writer is very simple. I felt that I possessed neither the talent nor the qualifications to be a good novelist. So I never felt like penning a novel. Rather than writing an inconsequential novel, I would much rather be on the side of reading good novels. But that April afternoon, as I was watching the game at the stadium, I had the sudden notion that "perhaps I too can write a novel." I don’t know why. I think it was a so-called epiphany.

Q: It’s ironic that this epiphany happened at a baseball game, because your work is infused with Western culture -- its celebrated writers and pop music. As a writer, do you see your novels within the tradition of the great Japanese writers like Kawabata, Abu, and Mishima or as a part of a new international literary tradition?

A: I don’t think I am particularly Westernized nor do most of my Japanese readers. Led Zeppelin, California Merlot, and Tom Cruise are all part of our daily lives. As a matter of fact one could say that, today, there’s a very natural exchange of information between the East and West, at least on a superficial level. We are variously stimulated by these differing points of view.

I am not part of the immediate tradition of Japanese literature, but I do think a new tradition, which will include myself, is going to be created. That is, needless to say, a wonderful thing.

Q: The publication of Norwegian Wood in Japan was life-changing for you. What has changed since the book’s publication in 1987 and the publication of the English translation this fall?

A: Until Norwegian Wood was published, I was an avant-garde "cult" author popular among young readers. Most of my books sold 100,000 copies but no more. But Norwegian Wood was picked up by readers across generations, sold over 2 million copies and became a phenomenal bestseller.

I’m not really interested in writing novels about realism, but Norwegian Wood is a novel of 100 percent pure realism. I wanted to experiment. I thought it was time to try another genre. And the result was that it sold. I started writing it on a whim, and I didn’t expect it to become a bestseller, so I was surprised.

I personally love this work, but looking at it objectively, I think it is an anomaly among my works. After Norwegian Wood, I have not written any purely realistic novels and have no intention of writing anymore at this time.

Q: Your new novel, Sputnik Sweetheart, seems anchored in everyday life, yet the narrator gradually discovers a world of divided souls and mysterious disappearances. What inspired this story?

A: What inspired me to write this kind of novel? I don’t know. This sort of story comes naturally to me. Rather than stories of "abnormal things happening to abnormal people" or stories of "normal things happening to normal people," I like "stories of abnormal things happening to normal people."

Q: In Sputnik Sweetheart Sumire notes in her journal: "don’t write dreams." So much of your own writing has an other-worldly, dreamlike quality. If you aren’t inspired by your dreams, where do you get your inspiration?

A: Writing a story is like playing out your dreams while you are awake. It’s not about being inspired by your dreams, but about consciously manipulating the unconscious and creating your own dream. I think I am graced with the ability to do that.

Q: With Sputnik Sweetheart you return to a number of recurring motifs and images from your earlier novels. There are women with complicated interior lives, who exist on the edge of insanity; and there is a central character whose cool, detached outlook on life makes him attractive to these women. What is it about this dichotomy that intrigues you?

A: I may have the ability to discern a sort of insanity within women. Why? I don’t know. Aside from that, women serve as mediums (shamans) in my stories. They guide us to dreamlike things, or to the other world. Perhaps this corresponds to something within my own psyche.

Q: You recently wrote your first work of non-fiction, Underground, about the sarin gas attack. What drew you to this story?

A: Everyone asks me that question, but I can’t answer it very well. My most honest answer is that I felt that "I should do it."

I wanted to listen to as many stories and in as much detail as possible from the people who were riding the subway that morning. I was certain that therein lay something worth knowing. Now that I have finished writing the book, that certainly has remained unchanged. Interviewing 65 of the victims at length over the course of a year remains an irreplaceable experience for me.

Q: Did you feel limited or liberated by your role as a journalist? How is non-fiction different from writing novels?

A: Simply put, as a "storyteller" I brought out live accounts from the people’s experiences. Rather than "what is true," I emphasized "what they felt to be true." That’s where the story begins. In that sense, although this is in form a non-fiction work, it is much more a novelist’s work, without a doubt.

Q: How did the Japanese public receive the book?

A: Via letters and e-mail, I received a lot of information from those who were also victims of the attack. But most had suffered light injuries. I wanted to listen to more accounts, but most of my interview requests to the bereaved were turned down. I was sorry about this. In Japanese society, it is thought that those who suffer unfortunate deaths should be left in peace. If a similar thing had occurred in the U. S., I imagine a lot more information would have been made public.

There was a great response from the general readers. Many had been fed up by the monotonous reports made by the television and newspapers, so they were very shocked by this information, which had a completely different angle. That is exactly what I’d been hoping for.

One of the themes I wanted to write about in this book was, "What is Japanese?" By writing a detailed account of the people who happened to be riding the subway the morning of March 20, 1995, I wanted to get to that question. This question intrigues me because I’ve found that in this gigantic capitalist society, it is difficult to be an individual.

Author Q&A

View photos taken to give American readers a sense of Japan--some of which are of places directly mentioned in Sputnik Sweetheart, such as Inogashira Park, Shinjuku, and the Kinokuniya Bookstore. Plus, read an email roundtable, "Translating Murakami," with Jay Rubin and Philip Gabriel (translators of Murakami), and Gary Fisketjon (Murakami's editor at Knopf), and see the cover and the interior of the original Japanese edition of Sputnik Sweetheart.

Praise

Praise

“Grabs you from its opening lines. . . . [Murakami’s] never written anything more openly emotional.” –Los Angeles Magazine

“Murakami is a genius.” –Chicago Tribune

“Murakami has an unmatched gift for turning psychological metaphors into uncanny narratives.” –The New York Times Book Review

“An agonizing, sweet story about the power and the pain of love. . . . Immensely deepened by perfect little images that leave much to be filled in by the reader’s heart or eye.” –The Baltimore Sun

“[Murakami belongs] in the topmost rank of writers of international stature.” –Newsday

“Murakami’s true achievement lies in the humor and vision he brings to even the most despairing moments.” –The New Yorker

“Perhaps better than any contemporary writer, [Murakami] captures and lays bare the raw human emotion of longing.” –BookPage

“Murakami . . . has a deep interest in the alienation of self, which lifts [Sputnik Sweetheart] into both fantasy and philosophy.” –San Francisco Chronicle

“Not just a great Japanese writer but a great writer, period.” –Los Angeles Times Book Review

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