Mieko Kawakami’s novels trace how terms of moral value evolve—how “good” and “evil,” or “pain” and “pleasure,” get affixed to ordinary interactions.
, the work takes up the theme of bullying in middle school and addresses the ultimate question of good and evil,” she has written on her Web site. It is as if she were determined to alert us to the mismatch between the well-worn preoccupations of young-adult fiction and her grand philosophical objectives; as if she wanted us to question her ability—anyone’s ability—to draw the two together.
The eye was Nietzsche’s preferred metaphor for the shifting nature of moral truth. “There are many kinds of eyes,” he wrote. “Even the sphinx has eyes—and consequently there are many kinds of ‘truths,’ and consequently there is no truth.” The narrator’s eyes function as an ingenious conceptual device—the novel would not work if the narrator were deaf or paralyzed—giving Kawakami a rationale for refusing to describe period details or local haunts.
“I love only what a person has written with his blood,” Zarathustra instructs his followers. “Write with blood and you will find that blood is spirit.” Kawakami takes the command very seriously, if not literally.
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