Tengo is woken up in the middle of the night by Komatsu. Tengo has trouble going back to sleep when he’s woken up, and this really irritates him, and he’s told Komatsu not to call so late, but it hasn’t sunk in. Komatsu says he understands, but he does it anyway. So, Komatsu has talked to Fuka-Eri about Tengo’s rewrite of Air Chrysalis, and Fuka-Eri wants to meet Tengo, and have a conversation with him. Komatsu tells Tengo that he’s already set up a reservation at a cafe on Sunday and to meet Fuka-Eri there.
On the way, Tengo buys some books. He arrives a little early and starts one while he waits for Fuka-Eri, who is a little late. She finally arrives. Tengo is taken by her beauty, but not in a sexual way. There’s just something about her, Fuka-Eri’s big eyes and long straight hair. She also has a peculiar way of talking - terse sentences and doesn’t interrogatively inflect questions, leaving Tengo to figure out when she is asking him for more information. Tengo brings up Air Chrysalis and Fuka-Eri doesn’t seem to know what he’s talking about. Turns out, that wasn’t the title she gave to her story and she wasn’t the one who submitted it to the competition. But, Tengo lays out the plan to rewrite her novella and Fuka-Eri agrees.
After the meal, Tengo calls Komatsu to give him the news. Komatsu is excited and happy that Tengo was able to convince Fuka-Eri to agree to the plan, but Tengo assures Komatsu that Fuka-Eri arrived at her decision all on her own. Tengo tells Komatsu that there is something about Fuka-Eri that unnerves him, like she’s living in another world. Tengo alluded to the “Little People” from her story and Fuka-Eri tells Tengo that they are real. So, there is either something very strange or mystical about Fuka-Eri. Komatsu says that by rewriting Air Chrysalis, Tengo will be the bridge between the real world and Fuka-Eri’s world.
On the way, Tengo buys some books. He arrives a little early and starts one while he waits for Fuka-Eri, who is a little late. She finally arrives. Tengo is taken by her beauty, but not in a sexual way. There’s just something about her, Fuka-Eri’s big eyes and long straight hair. She also has a peculiar way of talking - terse sentences and doesn’t interrogatively inflect questions, leaving Tengo to figure out when she is asking him for more information. Tengo brings up Air Chrysalis and Fuka-Eri doesn’t seem to know what he’s talking about. Turns out, that wasn’t the title she gave to her story and she wasn’t the one who submitted it to the competition. But, Tengo lays out the plan to rewrite her novella and Fuka-Eri agrees.
After the meal, Tengo calls Komatsu to give him the news. Komatsu is excited and happy that Tengo was able to convince Fuka-Eri to agree to the plan, but Tengo assures Komatsu that Fuka-Eri arrived at her decision all on her own. Tengo tells Komatsu that there is something about Fuka-Eri that unnerves him, like she’s living in another world. Tengo alluded to the “Little People” from her story and Fuka-Eri tells Tengo that they are real. So, there is either something very strange or mystical about Fuka-Eri. Komatsu says that by rewriting Air Chrysalis, Tengo will be the bridge between the real world and Fuka-Eri’s world.
- I really liked how Murakami describes the way Fuka-Eri talks, how she it's like she doesn't put question marks at the end of questions. It seems a little strange at first, having Murakami describe it to you, but how else would he convey that information? In a movie, it might be possible to tell from listening to how the actress enunciates her lines. Or in some way the shot is framed by the director. But in the book, the only way is for Murakami to tell you that's how it is. I kind of like that.
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