The Japanese Lover

There are many spirits and references to spirits in the novel, which form a motif of forces beyond the individual lives of the characters. The first introduction to spirits is in Emily and her son, the ghosts who live at Lark House. However, not all of the spirits referenced in the novel are ghosts. For example, Alma tells Ichi that she can feel the spirits at the Vietnam War Memorial, implying a more ambiguous definition of spirit. This open-ended use of spirits allows Allende to expand the world of the novel beyond the physical plane in which the characters operate. As Ichi says in his final letter to Alma, it could be that “everything takes place simultaneously in the universe’s infinite dimensions” (322), which allows the reader to envision a universe in which Ichi and Alma are continuously circling back to one another forever.

At the same time, the motif of spirits allows the narrative to take on a supernatural quality, in which extremes of character become possible, such as Ichi’s unending patience or Alma’s exceptional strength and resolve. By including spirits as a constant background, as well, Allende plays with the idea of a perpetual audience, such as Ichi’s ancestors, Alma’s family, Irina’s grandparents, and even spirits like Emily and her son, who are perpetually viewing the action occurring in the novel. Such an audience reinforces the concepts of connectedness promoted by the text. Every character is dependent on others, and the spirits are both supportive of and dependent on the characters of the novel. In the end, Ichi’s spirit provides the final support to Alma, opening the possibility that the spirits could be manifestations of the characters’ feelings and desires.

The Japanese Lover is filled with art created by the characters, and different works and characters reveal different concepts and characterization in the text. Art, in general, is used in the novel to show emotion, passion, and the characters’ innermost thoughts. Alma’s art is eclectic, consisting of paintings and designs created through her workshop, but they are inspired by her travels and experiences. Though Alma’s character can be cold and distant, her art is a means by which she can express herself in full color and vibrancy. Her desire to keep her art exclusive, maintaining only a single workshop and avoiding mass production, is indicative of her character; she maintains fierce independence and resists attempts to pierce through her tough exterior.

Nathaniel, interestingly, creates a single collection of art in the novel, the photographic portraits of Alma. These are described as “sensual without having any sexual overtones,” despite “her husband’s clinical gaze” (181), which reveals Nathaniel’s view of Alma as a woman. The pictures show how Nathaniel appreciates and loves Alma without being sexually attracted to her, and the gallery scene foreshadows the later reveal that Nathaniel is gay. His art is an observation, rather than a direct creation, which may reflect the absence of passion in their marriage.

Ichi’s art embodies the process of healing after incarceration, and Ichi notes that he has very little time to devote to art, much as he has little time to devote to passion. Initially, Ichi seems to be obsessed with recreating Topaz, and Alma even keeps a painting of Topaz that Ichi made in her apartment. However, a critical transition for Ichi is his trip to Japan to scatter his father’s ashes, another healing event, after which he begins painting Japanese landscapes. This transition, and the art that results, are symbols of Ichimei’s journey as a nisei who experienced incarceration. His ultimate position as a “master” in the Japanese American community shows how he strengthens himself with his heritage against the discrimination he experiences as an immigrant.