From Shunji Iwai's ”Love Letter” (1995) to Zhang Yimou's ”Under the Hawthorn Tree” (2010), ”jun-ai,” or ”pure love,” films, TV dramas, and their original novels have been hugely popular in Asia for well over a decade. A causal look at the genre would give the impression that such works are mere ”tear-jerkers,” naively celebrating the myth of eternal love and exploiting simple plot devices involving separation and death. However, a closer scrutiny will show that some ”pure love” stories offer detailed descriptions of how lovers face impending death, mourn for their beloved, and about the subtle psychological mechanisms involving the maintenance and displacement of affections, as well as the ”gift economy” concerned. Focusing on the Japanese novel ”Socrates in Love” (Sekai no chûshin de, ai o sakebu; 2001) and its film adaptation ”Crying Out Love, in the Centre of the World” (2004), this paper offers a reading highlighting ”untimeliness,” gaps, and lack in ”pure love,” making sense of the importance of death and mourning in the stories concerned. The second half of the paper proceeds to discuss the meanings of some dominant objects in these written and film narratives, including photographs, ashes, and recorded voices. I also wish to explore the relations between desire, the body, and other material forms.