The Pachinko Parlour by Elisa Shua Dusapin was my first new book purchase in 2022, and I somehow managed to hold out until September. Whilst this perhaps isn’t great news for the book industry, particularly as I used to contribute so much of my money toward it, I have tried to focus a lot more in recent years on borrowing as much as I can from the library, and picking up the odd secondhand book from a charity shop. That said, I very much enjoyed the author’s novel Winter in Sokcho, and couldn’t resist picking The Pachinko Parlour up.
I have not personally read work by any of the authors who blurbed the novel, but it is described variously as ‘quietly melancholic, softly textured and roundly gorgeous’ (Lara Williams); ‘an exquisite, cinematic novel’ (Amina Cain); and ‘in prose so softly elegiac as it is near-sighted’ (Polly Barton). The Pachinko Parlour has been translated from the original French by Aneesa Abbas Higgins, and has so far been translated into 11 languages. The novel was also awarded the Swiss Literature Prize.
The premise here intrigued me. The novel takes place mostly in Tokyo, Japan, and follows protagonist Claire. She is in her late twenties, and is visiting her Korean grandparents from her home in Switzerland for the month of August. The plan is that she will then travel to South Korea with her grandparents during September, to the homeland which they have never returned to after fleeing the Korean Civil War. After leaving, they settled in Tokyo, and opened a pachinko parlour named Shiny, which continues to draw ‘people in with its bright, flashing lights and promises of good fortune’. For those uninitiated, as I was, pachinko is a game ‘seen as no different from casino slot machines. Everyone plays pachinko, but it’s still disapproved of.’
Claire spends the season daydreaming when she is not tutoring a rather unusual 10-year-old named Mieko Ogawa, who lives ‘in an apartment in an abandoned hotel’ with her aloof and rather stern mother. The Ogawas moved into the building when the previous owners went bankrupt, and are the only residents. Mieko is temporarily sleeping in the building which used to hold the swimming pool: ‘Arranged around the pool, a desk and a chest of drawers, a yoga mat and a hoop reflected to infinity in mirrors on either side of the pool.’
I found Claire’s perspective relatively interesting. When we first meet her, she explains: ‘I’m still feeling jet-lagged. Sitting on the sofa I have a hard time staying awake. There’s not enough ventilation, the windows are steamed up, the room feels cramped. I’m bigger and bulkier than Mieko and her mother. If I’m not careful I might break something.’ However, she is constantly comparing herself to different things and people around her, which I found a little repetitive after a while.
I was expecting great things here, but for me, this story was not as vivid as that in <i>Winter in Sokcho</i>. Whilst there were a lot of elements which I found interesting, I was not entirely convinced by Claire. I liked the exploration of her relationship with her grandparents, whom she can barely communicate with as they do not share a fluency in any single language, and also with the city of Tokyo, a character in itself. Claire makes clear the language barrier: ‘I used to be able to speak Korean but I lost it when French became my main language. My grandfather used to correct my mistakes, but not any more. We communicate in simple English, with a few basic words in Korean and an array of postures and exaggerated facial expressions. We never speak in Japanese.’ However, something about Claire’s interactions with Mieko and her mother did not quite ring true for me; I found some of their conversations to be abrupt, and unrealistic.
I would have liked more of an exploration of identity and belonging, too. The foundations which Dusapin sets out are strong – Claire says, for example, ‘… people think I’m Japanese. But I’ve never felt more foreign than I have this summer, with this child at my side’ – but there is sometimes a lack of detail that I found myself craving. I liked the stark, matter-of-fact prose to a point, but it felt as though something was missing.
Where Dusapin’s writing, and Abbas Higgins’ translation really shines is in the descriptions of place. Dusapin shows herself as a great observer, particularly of city life, and the more unusual things which occur in the everyday. As Claire looks out of the window, she describes: ‘Nippori. Pale green, to match the green of the Yamamote line trains that slice through the neighbourhood on their elevated rails. Korean restaurants, Chinese noodles, sumo stables, the vast Yanako cemetery up on the hill. And the pachinko parlour. Diamond and Merrytale on the street that goes to Nishi-Nippori; Shiny, my grandfather’s, on the street leading to Ugcysudani.’ Later: ‘I look out of the window. Mount Fuji is shrouded in darkness now. The city has become no more than a leaden mass, lifeless.’ And then: ‘The crescent moon has come into view, lying on its side. It always surprises me in Japan, the way the moon seems to be sleeping, while in Switzerland it stands upright.’
Dusapin is an author whose work I will definitely continue to read, but I admit that I was a little disappointed by The Pachinko Parlour. For me, it was not quite engaging enough, and I do wish it had been longer than its 170 pages so that themes could have been expanded upon.