Banana Yoshimoto

YOSHIMOTO BANANA

Introduction

Yoshimoto BananaÐ'Ѓfs name was oblivious to me before I came to Tokyo, and I first heard it amongst a novel discussion had by my colleagues. How curious I was to learn of a novel named Ð'ЃeKitchenÐ'Ѓf, that I held on to that name for 2 years before I finally got around to buying the novel and falling in love with it. However, before reading YoshimotoÐ'Ѓfs first work, I first read another novel of less popularity– in Chinese. The novel Ð'ЃeLizardÐ'Ѓf came as a surprise when I was shopping for a Chinese novel to read in Hong Kong.

I felt challenged by the first story Newlyweds and left the novella on the shelf thereafter.

Perhaps this was because of itsÐ'Ѓf Chinese translation. The fact that it flowed in a different manner to the books I had read (albeit it is but a handful), I had to read it over several times to complete the scene. This process made the novel rather unpalatable.

Dissatisfied with the last, I attempted Asleep (English Version) last winter vacation to seek solace. Thereafter, I shared the novel with other friends who also thought it to be a very clever, interesting and simple read.

From this experience, I realized the importance of translation and how much difference and clarity there was in the English versions. I never looked back. The charm, rhythm and calmness in her writing, the perception it shares with the reader is like a breath of fresh air.

With this thought, I aim to present an overview of the certain facets of Yoshimoto BananaÐ'Ѓfs work (For example, Ð'ЃeKitchenÐ'Ѓf, Ð'ЃeAsleepÐ'Ѓf and Ð'ЃeLizardÐ'Ѓf and Ð'ЃeGoodbye TsugumiÐ'Ѓf), to which I believe has captured so many millions of fans around the world, including myself.

I endeavor to write this overview covering topics such as her language, the Shojo of her stories and the relationships, Life and Death and Healing.

Overview

Ð'ЃgBanana Yoshimoto writes such beautiful, haunting, spare prose that somehow, without being ridiculous or over-the-top or Hallmark-card-esque, she can make you cry.Ð'Ѓh(2)

While a lot of writers and readers may criticize Yoshimoto BananaÐ'Ѓfs writings as being Ð'Ѓgless than mature and her style as undistinguishedÐ'Ѓh(1), many others have become attached to her way of weaving the characters together and giving the featureless individual more character through their every thought.

Ð'ЃgMostly, though, I'm thrilled to death at what her characters are thinking, and she lets us know, as she brings them to their epiphanies, exactly what road they're taking.Ð'Ѓh(3)

Not only is this apparent in Lizard, as mentioned by Maureen McClaron3Ð'Ѓ@Ð'Ѓ@, but also in others such as Goodbye Tsugumi:

For ten years I had been protected, wrapped up in something like a blanket that had been stitched together from all kinds of different things. But people never notice the warmth until after theyÐ'Ѓfve emerged. You donÐ'Ѓft even notice that youÐ'Ѓfve been inside until itÐ'Ѓfs too late for you ever to go back – thatÐ'Ѓfs how perfect the temperature of that blanket is. For me it was the ocean, the whole town, the Yamamoto family, my mother, and a father who lived far away. All this embraced me back then, ever so softly. Now IÐ'Ѓfm having lots of fun, and IÐ'Ѓfm really happy here in Tokyo, but every once in a while the memory of my life in that town hits me so hard that I can hardly stand it, and I start feeling sad. (pg.32)

There is nothing difficult about YoshimotoÐ'Ѓfs language and, in itsÐ'Ѓf simplicity, it gives guidance to each of the characters and clarity to the direction of the story.

A lot of readerÐ'Ѓfs and reviewers have recognized that Yoshimoto often writes with a female narrative in an autobiographical way. Through this method, (also known as Ð'ЃeThe ShojoÐ'Ѓf) Yoshimoto allows her readers to read with an unspoilt mind, accepting of new feelings, perspectives and perhaps even values. Ann Sherif, under A Note on Shojo1Ð'Ѓ@Ð'Ѓ@, addresses this topic and mentions the defining characteristics of Ð'ЃeThe ShojoÐ'Ѓf (adolescent female) by Ogura Chikako1Ð'Ѓ@Ð'Ѓ@:

1) because they are not adults, they can perceive things that those in control of the society cannot;

2) because they are not young men, they can see things that those who will someday rule society cannot see; and

3) because they are no longer children, they are fully aware of who controls Japan.

(Mitsui and Washida, pp. 69-70; quoted in Ann Sherif, "Japanese without Apology: Yoshimoto Banana and Healing," Oe and Beyond: Fiction in Contemporary Japan Edited by Stephen Snyder and Philip Gabriel, University of Hawai'i Press, 1999, p. 282)

Moreover, it adds certain sweetness to the characters and also allows certain complex feelings to be eluded. It is particularly amazing how Yoshimoto chooses (in many cases) to avoid the mention of the appearance of her main characters throughout a whole novel. There is a lot of modesty and appreciation of inner beauty (more so than that of outward appearances) of the supporting characters in her writings. Though her writing is said to reflect the world of the Shojo, it is in another sense, her main characters hardly share the characteristics of the typical Shojo. Such examples are; the Tanabe family in Kitchen – Yuichi and his mother who is a man (single parent), Terako in Asleep - who engages in a relationship with a man whose wife is in a coma, Maria in Goodbye Tsugumi – who, with her mother, awaits the return of the father who has yet to divorce the wife he has in Tokyo and Marika in MarikaÐ'Ѓfs Sofa – where Marika is abused by her father and consequently develops a mental condition. Despite this, pain and calamity through the eyes of her characters are with expressed with great coolness and calmness, never erratic or violent. This is evident when Mikage recalls the death of Eriko in Kitchen (pg.44):

Eriko died late in the autumn.

A crazy man became obsessed with her and killed her. He had spotted her on the street and liked what he saw; when he followed her he discovered that the place where