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To this day, I still think about that disquieting powerhouse of a novel on a regular basis. During a sweltering hot summer in Tokyo, our protagonist, Claire, divides her time between tutoring French to a twelve-year-old girl and spending time with her Korean grandparents who own a pachinko parlour a pinball-type arcade game.
At the end of the summer, Claire plans to visit Korea with her grandparents, the home they fled along with thousands of others over fifty years ago during the civil war.
Both of her novels share interconnected themes and motifs — absence and abandonment, cultural history and identity, belonging and otherness, language and connection — and Dusapin is beginning to really carve out a distinct style to her writing. Like many of her counterparts Sayaka Murata, Toshikazu Kawaguci etc , Dusapin paints Tokyo as a cultural melting pot, a place where many of its inhabitants feel like outsiders, together but separated from each other by the barriers of culture and language.
They attempt to communicate in broken English but this often results in awkward, off-kilter interactions between the two generations. To contrast this, we see a blossoming relationship form between Claire and Mieko, the young girl she is tutoring in French. Their unlikely friendship, much like the unlikely romance between the pair in Winter in Sokcho , was my favourite element of the novel. The Pachinko Parlour is a masterclass in subtlety and control with not a single word wasted or out of place.
