Compared to Edvard’s style, Eri’s was far simpler, hardly reaching the finely wrought subtlety of her husband’s creations. Overall there was a lush, fleshy feel to her pieces, the rims slightly warped, and a lack of any refined, focused beauty. But her pottery also had an unusual warmth that brought a sense of comfort and solace. The slight irregularities and rough texture provided a quiet sense of calm, like the feeling of touching natural fabric, or sitting on a porch watching the clouds go by.
In contrast to her husband’s work, Eri’s pottery featured patterns—like leaves blown on the wind. In some cases the design was scattered over the pottery, in others gathered in one spot, and depending on how the design was distributed, the pieces felt either sad, or brilliant, or even flamboyant. The exquisite designs reminded Tsukuru of fine patterns on an old kimono. He looked closely at each piece, trying to decipher each design, but he couldn’t identify what the configurations might signify. They were odd and unique figures. From a slight distance they struck him as leaves scattered on a forest floor. Leaves trampled by anonymous animals who were quietly, secretly, making their way through the woods.
In Eri’s works, different again from her husband’s, color was simply a backdrop, its purpose to showcase the design, to give it life. The colors lightly, reticently yet effectively, served as background to the design itself.
Tsukuru picked up Edvard’s work, then Eri’s, comparing them. This couple must live in a nice balance in their real lives as well. The pleasant contrast in their artistic creations hinted at this. Their styles were very different, but each of them seemed to accept the other’s distinctive qualities.
“Since I’m her husband, maybe it’s not right for me to praise her work so highly,” Edvard said, watching Tsukuru’s reaction. “What do you call that in Japanese? ‘Favoritism?’ Is that the right word?”
Tsukuru smiled but didn’t say anything.
“I’m not saying this because we’re married, but I really like Eri’s work. There are plenty of people in the world who can make better, more beautiful pottery. But her pottery isn’t narrow in any way. You feel an emotional generosity. I wish I could explain it better.”
“I understand exactly what you mean,” Tsukuru said.
“I think something like that comes from heaven,” Edvard said, pointing to the ceiling. “It’s a gift. I have no doubt she’ll only get more skilled as time goes on. Eri still has a lot of room to grow.”
Outside the dog barked, a special, friendly sort of bark.
“Eri and the girls are back,” Edvard said, looking in that direction. He stood up and walked toward the door.
Tsukuru carefully placed Eri’s pottery back on the shelf and stood there, waiting for her to arrive.
When Kuro first spotted Tsukuru, she looked as if she couldn’t understand what was happening. The expression on her face vanished, replaced by a blank look. She pushed her sunglasses up on her head and gazed at Tsukuru without a word. She’d gone out for an after-lunch walk with her daughters, only to come back and find a man, a Japanese man by the look of him, standing next to her husband. A face she didn’t recognize.
She was holding her younger daughter’s hand. The little girl looked about three. Next to her stood the older daughter, a little bigger and probably two or three years older than her sister. The girls wore matching flower-print dresses and plastic sandals. The door was still open, and outside the dog was barking noisily. Edvard stuck his head outside and gave the dog a quick scolding. It soon stopped barking and lay down on the porch. The daughters, like their mother, stood there silently, staring at Tsukuru.