Banana YoshimotoBesprekingen

Moon Shadow Moon Shadow

Translated by Megan Backus
Read by Yolande Bavan

I’ve given Banana Yoshimoto’s pen name because it was the name she gave herself in the 1980s when the book was published. Her birth name is Mahoko Yoshimoto, and the title “Kitchen” was the “borrowed-name” of the book; it was the original title and not translated from Japanese.

The book is divided into two parts, the novel “Kitchen” and the novella “Moonlight Shadow”.

I decided to read Kitchen after discovering it was an instant best seller when it was published in Japan, and I was intrigued by the title and the author’s name. I was expecting from these, a quirky novel, along the lines of some other Japanese books I’ve read.

It’s not quirky at all. Both the novel and the novella embrace the themes of coping with the sudden death of a loved one. Both are optimistic, with the survivors moving forward after periods of mourning.

The prose in both stories come across as choppy in parts. I first thought this was due to the translations, but later read it was the original Japanese. What was interesting about the book was the subtle and tender way it dealt with the emotions of mourning. At times the novella Moon Shadow was extremely touching. This may have been because of my own experience of young love. In any case I liked the novella more than I liked the novel.

There were times of unintended humor. Being a lover of Japanese food it was surprising to read of young people praising meal of Kentucky Fried Chicken. Here and there there are signs of Western influence in the writing, and this plus the choppiness of the prose takes from the gentle feel Mahoko Yoshimoto engenders so well in the two stories.

If you like Japanese literature, Kitchen delivers a pleasant read. For me Kitchen is a good but not a memorable book and I rated it a nuanced 3.

I liked this collection of stories, but didn't love it. The first story, Newlywed, was really interesting though, and elevates this collection for me. These stories do capture a feeling of the early '90s, the ennui, the changes in society that were happening unseen to many of us, and of course, the struggle to find identity, purpose, and hope are universal. I was intrigued enough by this collection that I will read more of Yoshimoto-san's works.½

I have read Kitchen by Banana Yoshimoto as a part of the #52booksin52weeks challenge. The book has been written very beautifully, capturing the emotions of the characters. A simple yet brilliant narration. The stories give you a vibe of sadness and hope. My favorite is the second story, which gives a strong message about life. Reading the book was a heartfelt encounter. But I felt that the stories needed completion. They ended abruptly, leaving the reader wanting more.

After reading the book, I think that people should think more positively about life. Depression and loneliness change a human being, and they forget to live their lives. It was a short read, and I finished it within a day. Definitely, the book deserves 4 stars.

A trifle forgettable but nonetheless readable, Yoshimoto's two novellas are musings on the living dealing with death and the supernatural . The stories are not morbid however, they are light and thoughtful and a nice vehicle to entertaining ideas that are slightly far-fetched and otherworldly. I have also read Kitchen by Yoshimoto and even though I don't think Banana is the greatest novelist, I like her innocent and airy style and have enjoyed her offerings thus far!

It took me a while to get into this one, for whatever reason, but once I did I was completely immersed. Like many of Yoshimoto’s novels, this is about rebuilding your life after a loss. About mourning, and grief, and all that changes about your life and what you thought it would be. This one in particular is about Yocchan, who is living with her mother after losing her father (and her mother losing her husband) to a murder-suicide with his mistress. So there is a lot going on! The loss of a parent or spouse, the secret affair and what that meant to your relationship. Her mother redefining herself outside of the marriage.

And it’s Yoshimoto, so it is all soft, melancholy, almost underwater in a way. These aren’t characters who act out in big noisy ways. Things change, if slowly, until they realize they have ended up somewhere they never imagined.

The afterword about Yoshimoto losing her own father (after writing this book, but before it was through the publication process) makes it even more bitter sweet.

Yoshimoto talks about people criticizing her writing for being unrealistic, but I think this is just the sort of novel I would want to read after a major loss.

This book is also a love song to a neighborhood, the kind with lots of independent little restaurants and shops, where the people who work there also live there, that has its own distinct character even in the middle of a giant city.

A lovely read to start off the year!

Finalmente mi sono decisa a leggere un altro romanzo di Yoshimoto, dopo l’enorme delusione di Moshi moshi: che sfiga, ai tempi, aver sfilato dallo scaffale della biblioteca quello che è uno dei suoi libri peggiori. Magari adesso non aspetterò dieci anni prima di leggere Kitchen.

Il dolce domani non è uno di quei romanzi inequivocabilmente belli, ma è uno di quei libri che mi sento di consigliare perché capace di fare bene all’anima. Avendo come il tema il lutto, potrebbe essere particolarmente indicato per affrontare quel genere di dolore, ma è così delicato e garbato che credo possa essere una lettura lenitiva in senso lato.

Infatti, Yoshimoto dichiara nella postfazione al romanzo di averlo scritto in seguito al terremoto del Tōhoku dell’11 marzo 2011, che, tra morti accertate e persone disperse, ha fatto più di 20.000 vittime. Il dolce domani non parla di quella catastrofe, ma vuole comunque essere un abbraccio affettuoso a chiunque sia rimastǝ dopo un evento luttuoso. E, secondo me, riesce molto bene a trasmettere quel calore umano.

"È così semplice, in fondo, l'uomo: non è solo di cibo che si nutre ogni giorno. Si nutre anche di atmosfere, di pensieri, di mille altre cose che gli assomigliano."

Non potevo iniziare l'anno con lettura più azzeccata.

I love Banana Yoshimoto, and not just because she has a great name or because the first picture I saw of her was the best author shot ever (knowing, impish smile; witchy-poo shoes; and on the "backside" of the picture, she was hiding a bouquet of wildflowers in her hands, that you couldn't see from the front. It's on one of the tradepaper editions of Kitchen). I love wheat she writes about: quirky people who are real, but not necessarily likeable and in situations that aren't probable, but ring true. (I'm also told by reviewers that she does this with a "Japanese sensibility, whatever that means.)

Goodbye Tsugumi is certainly like this: an unlikeable girl making those around her miserable(at least when the book starts; part of its beauty is that her behavior is no more likeable by the end of the book, but through understanding Tsugumi, I came to like her anyway).

Unfortunately, I feel like the book cheaps out at the end. That last chapter becomes too neat and too nice. What was a book that nods at how human nature is messy and conflicted neatens up the way I'd expect some YA novel to. I liked that I never knew how the book was going to end (I thought I did, but I didn't), but this was not even the far-left-field ending, it was the we-were-playing-field-hockey-but-now-I'm-going-put-the-8- ball-in-the-corner-pocket ending.

Save yourself the pain- read the book (it's a quick read, and takes place at a beach, so maybe nice for summer?) but just skip the last chapter and choose your own ending.

Story: 7 / 10
Characters: 6.5
Setting: 6
Prose: 4.5

Un libro fresco e delicatissimo.

Ancora una volta, Banana Yoshimoto riesce a descrivere la natura umana nella sua interezza in pochissime pagine che scorrono in modo velocissimo senza risultare mai ridondanti.

"Se non si fa nulla di innaturale, la Natura trova il tempo adatto a tutte le cose."

Il secondo libro della Yoshimoto che leggo. Uno stile pulito, ordinato e unico. Divorato in un paio di giorni, compagno di tempo che doveva trascorrere velocemente ad ogni costo. Per questo l'ho trovato molto di compagnia; ritrovarsi improvvisamente in una candida mente adolescenziale mi ha davvero fatta sentire protetta e convinta. Non ho idea di cosa, di dove, di come, semplicemente così.

È il primo libro di Banana Yoshimoto che leggo nella mia vita.
Sinceramente, non sapevo proprio cosa aspettarmi, pur conoscendo in parte quanto sia diversa la letteratura giapponese dalla nostra.
Credo di essere rimasta senza parole e di non riuscire ancora ad articolare nessun pensiero coerente con quanto ho appena finito di leggere. Sarà perché ho letto il libro tutto d'un fiato mentre andava preso a piccole dosi..non so.
Sta di fatto che, in quelle parole, c'è tanta di quell'immensità da perdersi completamente..rimanendo nudi di fronte all'essere, al non essere, alla vita, alla morte..insomma: davvero pazzesco.

I suoi movimenti erano così fluidi che qualsiasi posa assumesse dava un’illusione di immobilità. Per quanto la musica potesse essere fragorosa, lei sola sembrava esistere in un mondo senza suoni.

♥

Sentii un senso di perdita assoluto, come se il mondo dovesse finire.

♥

Il corpo, senza uno spirito che mi guardi, è solo un contenitore. E quindi lo si può guarire, come si aggiustano le macchine, pensai.

♥

Per esempio quando tu chiudi gli occhi, in quel preciso istante il centro dell’universo si raccoglie dentro di te.

♥

Dato che la memoria è energia, se non viene liberata rimane nel corpo e intristisce.

♥

Convenzioni, strane regole non scritte… ce n’è un’infinità, e proprio perché creano tante piccole limitazioni, all'interno di un ambiente ristretto hanno una forza assoluta. Stereotipi che agiscono ancora prima del giudizio morale...

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Insomma, a parte la differenza di atmosfera, la percentuale di persone speciali e di quelle insulse era la stessa dappertutto.

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Parole che in quel momento potevano riferirsi solo a me, e che a un altro sarebbero parse insignificanti, banali. Le persone che pronunciano parole così lo fanno come per caso, come se non avessero nessuna importanza, ma in realtà, in qualche parte profonda di loro, devono conoscere il potere di quello che hanno appena detto. Sentire di averti dato qualcosa che hanno portato da chissà quale meraviglioso luogo infinitamente distante.

♥

La mia casa sono solo io, il mio posto è solo dove sono in quel momento, e però questa realtà non si può isolare: è un processo continuo come la bellezza azzurra dell’aurora che dopo un istante si trasformerà in un’alba che possiede una diversa bellezza non meno meravigliosa. È più o meno la stessa cosa.

♥

E potrei andare avanti ancora per molto...
È qualcosa che tocca nel profondo.

A bit unsettling and sparsely written to great effect. In general, a bystanding narrator with an untraditional life who somehow gets pulled into a complicated web of relationships, that's always going to pull me in. But even at the end of the story, did I enjoy the story? I did finish reading it which is a feat in itself since I'm happy to abandon a book whenever. Everything was done just enough to keep me going, the plot, the writing, the length of the book. It was an immersive experience to be in the world but one I'm happy to leave behind. It has kept the door open for me to more Yoshimotos, but perhaps I'll go for a better-loved one.

Desperately trying to catch up on books I've read in 2023, before it turns 2024. Don't think I'll make it. Full review (hopefully) to come later.

A bittersweet story about sisters and first love.

Oh, what a delight! There is magic in every sentence. I really love the way Japanese authors (and artists of every kind) find beauty in everyday things. There is so much heartbreak in the pages of Kitchen, yet this is the kind of book that warms your heart.

Banana Yoshimoto’s Kitchen was wonderful, so I was very happy to find this short story collection. I found five beautiful slice of life stories, told in lovely, simple, and lyrical prose.

House of Ghosts

My favourite story! It’s about finding your way in life and becoming the person you need to be.

There are so many details here that make your heart beat faster. What can a family restaurant or a bakery do for its regular customers? It’s never “just a restaurant” or just a bakery, right? It’s heartwarming.

“Being a cook meant any meal I made could end up being someone’s last.”

We meet a couple of ghosts and end up in the nicest and most touching ghost story I’ve ever read. There’s romance too, of the quirky (all this talk about “holes”, come on :D), cozy, shining kind.

“My soul spoke, and what it said was: We’ve been lonely for so long, and this was why. We were so lonely we couldn’t even know it.”

Mama!

Old and new traumas come together in harrowing way, yet the main character survives this. A small act of kindness can save you.

Not Warm at All

A tapestry of thinking deeply about things, childhood memories and family tragedies.

Tomo-chan’s Happiness

You’ve been through so much, Tomo-chan. And yet…

“...Tomo-chan was safely held. By the velvety glow of the night, the touch of the wind as it drifts softly past, the blinking of stars, the voices of insects and things like that.
Somewhere deep down, Tomo-chan knew this all along. And so she was never really alone.

Dead-End Memories

A young woman lives through betrayal and heartbreak. There is a beautiful friendship, understanding what one wants out of life, and the healing that comes from spending time away from familiar things.

“That time had been a gift from fortune, like a blanket gently laid over me by the heavens.”

The ending is gorgeous.

It would have been a pleasure to savour this book slowly. It was a pleasure to read it in one day.

Im Zentrum des Romans stehen junge Menschen voller Lebenshunger und Sehnsucht nach Liebe.
N.P. hat die Spannung eines Thrillers, aber die subtile Beunruhigung, die der bizarren, doch taghellen Logik des Unbewußten entspringt. Noch meisterhafter als in
Kitchen gelingt es der jungen Autorin, die Verstrickungen von Jugendlichen in erotische Leidenschaften, ihre sexuelle Unruhe zu schildern.(lovelybooks.de)

I ended this book and just said "What?" out loud. The book suddenly switches with no warning into the format of a romance story except with all of the bits which might explain their connection and why they care about each other cut out.

Somehow despite the book being first person I never really developed much of an idea about the main character, except that she's in grief, sort of. The romance interest I have absolutely no clue. He likes her cooking? Even she admits she doesn't really understand him at all.

The most developed character is Eriko, a trans woman who runs a gay club. She insists on taking the main character (Mikage) in at the start of the novel when Mikage's grandmother dies for some vague reason. She mostly gets she pronouns but thankfully the author semi-regularly inserts reminders she's a man so you don't get confused. It's weird cause otherwise it feels like a decent portrayal for 1988 but it's like the author couldn't just leave it be. It's frustrating.

Wonderful atmospheric
Great prep read for a trip to Tokyo.

Two short but powerful novellas whose lines are worth savoring slowly. Both are about coming to terms with grief through the power of kindness and love. Miyage and Yuichi are dealing with their respective losses. It is only when they channeled their grief into care and love for each other that the world became a bearable place to live in.

Kitchen consists of a novella and a short story. The novella follows a young woman, Mikage, whose grandmother and last living relative has died. She knows she needs to move to a smaller and less expensive apartment, but grief makes it hard to get anything done. Enter Yuichi, a young man who was friends with her grandmother, who invites her to come live with his mother and him as they have plenty of space. What Mikage is especially drawn to is their well-appointed kitchen, and for awhile they form a new family.

In retrospect I realize that fate was a ladder on which, at the time, I could not afford to miss a single rung. To skip out on even one scene would have meant never making it to the top, although it would have been by far the easier choice. What motivated me was probably that little light still left in my half-dead heart, glittering in the darkness. Yet without it, perhaps, I might have slept better.

The short story, Moonlight Shadow, concerns another young woman. After her lover's death, Satsuki is lost in grief, until an encounter with a stranger encourages her to believe that she will enjoy life again.

Both stories concern characters dealing with grief and sudden death, but are both hopeful and even whimsical in tone. This book manages to be charming without being saccharine. Yoshimoto's characters are well-drawn and the stories have an impact despite their brevity.

Took me a while to get through this one--I like the idea of short stories but because I need time between finishing one and starting the next it takes me forever to finish a collection of them. I still love my Banana Yoshimoto but I do prefer her novels and I think in some ways she was a gateway into Japanese literature for me who has since been ever so slightly surpassed by works from other authors I have read since and connected to a little bit more. Don't get me wrong; there were some beautiful moments here. I think the last story ("Dead-End Memories") may have been my favorite.

Questo romanzo è per me un grande punto interrogativo. Teoricamente parlerebbe dell'elaborazione del lutto di due donne, madre e figlia, che hanno perso, rispettivamente, il marito e il padre. In pratica si tratta di uno straparlare lungo 200 pagine.

La protagonista, Yoshie, è capace di risolvere i suoi dilemmi interiori da un paragrafo all'altro. È così efficiente che alle volte veniamo a conoscenza dei suoi dubbi solo quando trova la soluzione. Se in un paragrafo è seccata dalla convivenza non desiderata con la madre, in quello successivo ne comprende i motivi ed è felice che sia andata ad abitare con lei. Mooolto bene. Più che una ragazza sembra un processore di ultima generazione.

Dal canto suo, la madre decide di vivere una seconda giovinezza. Non sarebbe un problema se la scrittrice non ce la presentasse come una specie di folletto in perenne stato di eccitazione.

Ebbene, queste due donne devono confrontarsi con l'omicidio-suicidio dell'amante e del padre/marito. Questa parte viene gestita malissimo dall'autrice. Si ha l'impressione che neanche lei sapesse bene come sviluppare questa trama. Pare perennemente in bilico tra il giallo da risolvere e il mistero irrisolto. Finisce solo per creare aspettative disilluse nel lettore. Si arriva in fondo al romanzo con un gran senso di vuoto: cosa ha voluto trasmettermi questo romanzo? Alla fine si rimane solo con un pugno di parole senza scopo.

This book was a perfect fit for my quiet mood when I started reading it (yesterday), but today I wasn't feeling it; I had to force myself to finish. LOTS of skimming is the only way I made it through. The best parts throughout were the food descriptions.