Inside and Other Short Fiction edited by Ruth Ozek (Kodansha America)

Editor Ruth Ozeki writes in the Foreword of how she feels the perception of Japanese women has transformed over the years. Ozeki is a half-Japanese woman who grew up in rural New England. She says when she was a little girl, an older gentleman who worked in a feed store used to call her “Suzy”. It wasn't until she was older when she discovered the old guy was an army veteran who served in the Pacific Theater and that the name “Suzy” came from a Chinese prostitute Suzy Wong from the 1960 movie [The World of Suzy Wong]. 

Not too long ago, Ozeki saw an ad for a California-based skateboard company, which gave a different impression of Japanese women. Their boards featured an “anime-style image of a saucer-eyed, knock-kneed schoolgirl, dressed in a blood-spattered, miniskirted school uniform and sailor blouse, carrying a chain saw and dragging a severed head.”

Ozeki finds it fascinating that the perception of Japanese women had gone from the “docile submissive Madame Butterfly of the early 1900s, or the docile, submissive pan-pan or geisha-girl of the post-World War II occupation, or the docile, submissive office lady or salaryman’s wife of the ‘80s and ‘90s”. 

According to Ozeki, the image of Japanese women today has transformed into something different. She says, “The new Japanese woman is not only redefining her sexual prowess; she is even acquiring supernatural powers: the demure schoolgirl has morphed into a superheroine, or antiheroine, out to save or to destroy the world.”

Ozeki introduces the eight writers whose stories are collected in this anthology. Many of them are prizewinning popular Japanese novelists who have never before been published in English. Their stories portray a different type of Japanese woman in today’s modern society. 

Inside and Other Short Fiction is a collection of short stories by contemporary Japanese women writers whose main protagonists are all women. There are a total of eight stories featuring works by Tamaki Daido, Rio Shimamoto, Yazuki Muroi, Shungkiku Uehida, Chiya Fujino, Amy Yamada, Junko Hasegawa, and Nobuko Takagi. 

Three of the stories are written from the point of view of a teenager. Three other stories are told through the voice of working women. The final two stories are told by a divorced woman and a woman who is married to a doctor. 

Milk is about a teenage girl who takes us into her world where she and her three close friends date older men for money. . How close friendships change when they become high school students, and about making a choice to have sex with her boyfriend or not. 

Inside focuses on another teenage girl whose boyfriend wants to become more intimate but is unaware of his girlfriend’s home life. It’s a story about love, friendship, and trust. 

Piss is not a story for the faint of heart. It is the story of a sex-worker in Kabukicho who is about to turn twenty-years old. One of her regular customers doesn’t have sex with her. All he wants to do is drink her urine. Although the story is quite graphic, its main theme is about love and betrayal and having the courage to go on when things look bleak. 

Other stories included in this anthology are My Son’s Lips, Her Room, Fiesta, The Unfertilized Egg, and The Shadow of the Orchid. 

The subjects of the stories range from love, sex, marriage and even the supernatural. The stories are diverse and innovative. It is a great introduction to modern Japanese women writers and is most likely to make you a fan of Japanese fiction. ~Ernie Hoyt

Dirty Kitchen by Jill Damatac (Simon & Schuster)

By all standards, Jill Damatac’s parents were prime candidates for achieving the American Dream. Both had earned university degrees and were fluent in English. Both were from a country that had strong ties with the United States, who had dominated the Philippines for almost half a century. Filipino men who had fought with U.S. troops in World War Two were allowed legal immigration. Damatic’s parents were not.

Her father had been trained as an architect. Her mother had left a successful career as a banker in Manila. Neither are allowed entry on H-1B visas, which are given only to Filipinos who arrived as doctors, nurses, teachers, engineers, or domestic workers.

Entering the U.S. on tourist visas, the Damatac family swiftly fell into the category of illegal immigrants. When they applied for Social Security cards, only Jill’s mother benefited from a careless mistake. She receives a “clean” card that isn’t stamped with the words, “Not Valid for Employment.” Jill’s father erases that statement from the other three cards with skillfully transformed photocopies. 

This gives him no advantage in the U.S job market, where he finds menial jobs in small grocery stores. Jill’s mother, after many unsuccessful interviews, eventually is hired as a management trainee at a bank and once again carves out a place for herself that befits her skills and experience.

Humiliated, her husband becomes violent and his daughter often bears bruises from his brutality. Finding that academic success alleviated his cruelty toward her, she excels. However her wage-earning potential is more important to her father and he forces her into the workplace. Years later, as an adult working the sort of dead-end jobs that are available to those without college diplomas, she finds that he has used her Social Security number to open credit cards in her name and has plunged her into insurmountable debt. 

In one of those stranger-than-fiction moments, Damatac falls in love with a man from England and her life changes forever. 

She is, she asserts, a woman with three countries: “a country of birth, a country of death, and a country of rebirth.” “I wrote this book to document myself into existence,” after growing up in America, who persistently refused to allow her existence.

Damatac vividly and terribly explores the hellish lives of undocumented immigrants in the U.S. But threaded through this is her inheritance given to her by the Philippines. When she left at the age of nine, her grandfather gave her three komik books filled with mythic gods and goddesses from her native country. When she arrives, she is accompanied by the memories of the food that has nourished her, the flavors that her mother and aunts do their best to recreate in America.

Throughout her account of cruelty and deprivation, a girl assailed by beatings and sexual assaults never loses sight of the heritage that is hers. Linking her life to the myths of her homeland and learning how to make the food that is her country’s legacy, Jill Damatac places the “dirty kitchens” of the Philippines with their fresh, flavorful  ingredients and their outdoor settings against the gleaming sterility of refrigerators and microwaves that characterize American kitchens. These threads are what gave her the strength to discover “life, liberty, and the pursuit of happiness despite the United States.”~Janet Brown

A Suitable Boy by Vikram Seth (HarperCollins)

Some books exist as intellectual challenges: War and Peace, Moby-Dick, anything written by Thomas Pyncheon.  Others appear to be constructed with only a word count in mind, bizarre exercises that sprawl and meander without discipline. And then there are noble efforts that demand attention, even when readers know this adventure will end badly, leaving them in a state of rage and frustration, mutterings things like “Where was its editor?”

It took Vikram Seth six years to write his 800.000-word novel, A Suitable Boy. A writer who became known for his poetry, he composed his first novel entirely in verse. Even its front cover rhymed: Golden Gate by Vikram Seth. To follow up that literary groundbreaker, Seth essentially broke the art of the novel into jagged little pieces, creating a work that follows an 18th century construct in length while dashing itself to bits against the sheer unwieldiness of 20th century historical events.

Beginning with an ambitious mother and a rebellious daughter, the first sentence promises the sparkle of Jane Austen. “You too shall marry a boy I choose,” the matriarch announces at a lavish family wedding. However Seth is much too original to stick with this overused trope. Setting his novel in 1950, when India is still struggling with the wound dealt by Partition and the dilemma of uniting a feudal society of princely states into a cohesive government, Seth has a multiplicity of competing threads clashing within the first hundred pages, with 1373 more to go. (In its paperback edition, it weighs in at 1473 pages and is around six inches thick. Surprisingly, the binding holds it all together after days of reading.) 

Grappling with the intricacies of the caste system, the inevitable clash between Muslims and Hindus, the need for land reform that will strip the Rajas and Nawabs of their fiefdoms, the clash between Westernized “brown sahibs” and rural populists, the transformation of localized economies into a national globalized whole is dizzying enough. Throw in a cast of characters that burgeon into a mob scene and suddenly there are several books in play, all jostling for their own spotlight. 

Seth provides a family tree that gives a helpful map for forty-three of his characters, while leaving readers to flounder through at least another sixty. Be warned. Falling in love with any of them is a recipe for a headache that will defy any analgesic. This novel demands its own spreadsheet, or perhaps several. That it was published In 1993, long before Microsoft became a household staple, only proves the thoroughly diabolical nature of Seth’s creative genius.

His characters are enticing, his descriptions vivid, his ear for dialogue is unmatched and untrammeled. In one portion a family that converses in rhymed couplets takes over, in the next there’s a satirical rendition of pompous courtroom speeches. No interchange is too trivial. All of the characters, even a couple of very young children, are allowed full spate. 

Somewhere around the nine hundredth page, the clashing plots and the prolix characters blur together into a muddle that defies any form of intelligibility. Early on, Seth compares writing a novel to composing a raag (or raga as it’s known in English), with musical improvisations deviating from the main theme and at last increasing to a climax. Within another hundred pages this process becomes a banyan tree that sprouts and grows and spreads with branches that become trunks or intertwine with other branches. When finally, one hundred pages from the end, a character declares, “I hate long books: the better, the worse,” anyone who has reached this point is ready to stand up and cheer.

For decades, Seth promised a sequel to A Suitable Boy, based upon one of its concluding sentences that echoes the first one of this book. A Suitable Girl proved to be unpublishable and it’s hard not to wish that the same thing had been decided of its predecessor. What began as a suitable novel should have been turned into several slimmer and more digestible pieces of fiction.~Janet Brown

The Narrow Road to Oku by Matsuo Bassho, translated by Donald Keene, illustrations by Masayuki Miyata (Kodansha International)

Matsuo Basho is probably the most famous Japanese poet from the Edo era. He is recognized as a master of haiku, a short form of poetry. Traditional Japanese haiku consist of three phrases composed of seventeen morae, known as on in Japanese and are very similar to syllables, in a five-seven-five pattern. 

The Narrow Road to Oku is a book written as a haibun, a poetic diary that combines prose with haiku. It has also been translated as The Narrow Road to the Deep North and The Narrow Road to the Interior. The original title of the book in Japanese is 奥の細道 (Oku no Hosomichi). It was written by Basho over three hundred years ago. He wrote it while traveling from Edo (modern day Tokyo) to the northern interior of Japan, known as Oku. He traveled over one hundred fifty days and covered about 1,500 miles or almost 2.400 kilometers, mostly on foot.

He was joined by his friend Sora Kawaii. to visit places that were mentioned by ancient poets whom Basho admired and who he references quite often in his diaries. Their journey took them to the Toshogu Shrine in Nikko in present day Tochigi Prefecture, the Shirakawa Barrier in present day Fukushima Prefecture, the islands of Matsushima, Hiraizumi in present day Miyagi Prefecture, Sakata in present day Yamagata Prefecture, Kisakata in present Akita Prefecture, and present day Toyama Prefecture which was known in Basho’s time as Etchu.

This modern English edition was translated by Donald Keene, an American who was well known for being a Japanese scholar, historian, teacher, and writer. He has also translated many works of Japanese literature. The book also includes illustrations by papercutting artist Masayuki Miyata, who took on the task of creating images related to Basho’s haiku. Miyata said, “If you misread that one point, the work will instantly become something that has nothing to do with Basho’s spirituality and will end up being just an illustration to accompany a haiku poem”. He further expounds, “I couldn’t let a single word of the seventeen characters go unmentioned”. 

The book begins with Basho’s prose before he even starts his journey. He writes, “the months and days are the travellers of eternity. The years that come and go are also voyagers. Those who float away their lives on ships or who grow old leading horses are forever journeying, and their homes are wherever their travels take them”. 

Before leaving he composed the following poem: 

Kusa no to mo Even a thatched hut

sumikawaru yo zo May change with a new owner

hina no ie Into a doll’s house

Before leaving on his journey, it is believed that Basho sold his house to a man with small daughters. At the time of the Momo no Sekku (Peach Festiva)l, currently known as the Hina Matsuri known in English as “Girl’s Day” or “Dolls Festival”, the dolls would be displayed in the house. As Basho was a life-long bachelor, dolls had never been displayed in the house. 

Keene’s translation of Basho’s travel diary and haiku make it easier for the modern reader to understand the deeper meaning of each haiku poem as it relates to Basho’s travels. It also helps the reader to have the footnotes explaining in more detail about many of the poets and poems that Basho makes references to. He often cites Confucius, Saigyo, Du Fu, ancient Chinese poetry, and The Tale of the Heike. 

This book has inspired many people to follow in Basho’s footsteps and perhaps it will inspire you to as well, although I don’t recommend going on foot as the journey would take you approximately four and half months. ~Ernie Hoyt

Friend of My Youth by Amit Chaudhuri (New York Review of Books)

Two aspects of the city that he still calls Bombay are what dominates the attention of a writer who grew up in this place but left it long ago. His visit is one that takes place only because of his work, drawn here for a public reading of his latest novel. Choosing to stay in the neighborhood of his childhood, he finds his focus is concentrated upon the legendary Taj Mahal Hotel and his friend Ramu. 

Both the building and the friend are being reconstructed after going through violent destruction. The Taj was the site of a massacre when Pakistani terrorists descended upon it in 2008. The palatial hotel became a scene of slaughter and destruction over a period of three days. Two years later, the writer finds portions of it are off-limits. Its damage is still being repaired.

Ramu is off-limits as well. After decades of going “in and out of addiction,” he’s committed himself to a two-year program of detox, rehab, and isolation. He can have no visitors nor telephone conversations. 

When the writer visits the Taj, he looks at it with an unfamiliar point of view. In discussions of the attack with shop owners and hotel staff, he frequently hears “I closed the shop early that evening” or “I was not here that day.” These words strike him harder than the description of the attackers. “Terrorist …through sheer repetition has lost all meaning,”  while ‘Muslim’ has taken on a whole new weight. As he makes his way through the city, the writer looks for traces of Islam in taxi drivers, journalists, passersby on the street. When he satisfies his yearning for dishes that originally came from the Middle East, he often stresses that this is Parsi cuisine, made and sold by Zoroastrian Christians.

Although he clings to his childhood home by refusing to call it Mumbai, he recognizes it as “Bombay, least changeless of all cities!” Still, he says, “I long to visit the city I grew up in.”

But this time he roams through it without Ramu and that absence overwhelms what he sees. “I’ve always expected to see him again, whether or not I wanted to.” There’s a veil over this visit. “Behind the veil is Ramu,” and caught in memories of their friendship, the writer moves in and out of time, a kind of living ghost, feeling “no nostalgia,”only an “impossibility.” In Ramu’s absence, Bombay is closed to him.

Amit Chaudhuri is a novelist who feels “a surge of bile” against that form of writing, who says, “when I can, (I) undermine the genre I work with.” Although he and the writer in this book share the same name, the same background, the same literary creations, he claims it’s a novel because “the author and the narrator are not one.” 

However Friend of My Youth has no characters and no plot, deficiencies which keep it from reaching even the status of a novella. What Chaudhuri gives readers is a malnourished travel memoir, with an old friendship serving as a Proustian madeleine, calling up a patchwork of memories. It floats through 164 pages without emotion or engagement, laboring under a title that Chaudhuri has stolen, without shame, from the Canadian writer, Alice Munroe. 

Even after a second reading, this book feels as if it’s an elaborate practical joke, witless and lazy, by a man who is clearly smart enough to have done much, much better than this.~Janet Brown

It's a Shodo World by Gakusho Furuya, illustrated by Shoko Matsui (Taiseido)

It’s a Shodo World is a great introduction to the world of Japanese calligraphy. The subtitle is 日本の伝統 墨のこころ (Nihon no Dento : Sumi no Kokoro) whichtranslates in English to Japanese Tradition : The Heart of Ink. It is the author’s hope that this book “will give its readers Japanese true aesthetic pleasure by looking at intensely expressive and beautiful Japanese writing symbols and fascinating sumi paintings”. 

Shodo written in kanji characters is 書道. It translates to the Way of Writing in English. It is “an art to draw characters on hanshi (Japanese paper for calligraphy) with a Japanese brush in sumi (India ink)”.  It is a form of Japanese calligraphy that originated in China during the Tang dynasty (618-690). 

There are many different scripts that are used in shodo. Three of the basic styles are kaisho, gyosho, and sosho. Kaisho is a square style, gyosho is a semi cursive style, and sosho is a cursive style.

The calligrapher controls the thickness and shading of the characters with every stroke of the brush. It is an art form “to express one’s spirit and ideas”. A great calligrapher not only has to train to master the brush techniques but they must also train their mind.

I had the chance to speak to a calligraphy artist who told me that the most difficult style to write is the kaisho script. As a novice to calligraphy, I thought the square style would be the simplest to write. The artist told me that sosho script is the easiest. As it’s the fastest form of writing, the calligrapher said artists writing in that script often cover up their mistakes. 

After talking to the calligraphy artist, I went through the book a second time to see the different styles the book’s artist used. I could now understand how the kaisho script is the most difficult to master. Although the characters look simple, the artist controls the thickness of the character and also controls the flow of the brush. 

The accompanying sumi-e or ink-paintings give more meaning to each character or characters that are written. The sume-e next to the kanji character for sky (空) is of some koinobori (carp streamers) which are displayed on Children’s Day (May 5th).  Although the holiday is called “Children’s Day”, it is a festival for boys. Legend has it that a courageous carp managed to climb a waterfall.The koinoboriare cloth streamers have an open mouth which the wind can blow through, making the carp appear to swim in the sky. Koinobori  “symbolize parents’ hope that their sons will have a splendid physique and a courageous spirit”.

The latter part of the book include haiku written in the gyosho script. Haiku is a short poetic form which includes three phrases composed in seventeen syllables in a five-seven-five pattern and includes a kigo or seasonal word or phrase. 

Reading and taking the time to look at how the characters were written and how the sume-e relate to the characters will give the reader a new appreciation for the art of calligraphy.  Some readers may even be tempted into writing calligraphy for themselves.

I don’t think I have the discipline to study calligraphy but I still enjoy looking at it as art. I even collect calligraphy written by monks and priests from temples and shrines. They are called goshuin and include stamps of the temple or shrine. Then the priest or monk writes calligraphy on top of the stamp and writes the name of the place of worship, the date of the visit and sometimes the name of the deity housed in that particular place. ~Ernie Hoyt

The God of Small Things by Arundhati Roy (Random House )

In a large house by a river, an extended family that has been warped by cruelty live together. The patriarch of the household is dead but his behavior has sent his relatives in random directions, searching for what they never had. His wife, who bore the brunt of his rages and bears scars from the beatings he gave, has never recovered from the loss he dealt when he smashed her beloved violin into splinters. His sister fell in love with a Catholic priest when she was young, an unrequited passion that she still nurtures as an aging spinster. His beautiful daughter, Ammu, fled from her father’s brutality into a hopeless marriage that sent her back into the family home with two young children, a boy and a girl, fraternal twins. His son, Chacko, married an English girl when he was receiving a British education, a union that disintegrated after they had a daughter. All of them have in some way, transgressed against India’s Love Laws, “the laws that laid down who should be loved and how. And how much.”

The story begins with hints of a tragedy, the funeral of Sophie Mol, the child of Chacko and his English wife. Slowly and inexorably the threads tighten, weaving back and forth through time, setting the scene for death and separation in a way that is unstoppable and inevitable.

Estha and Rahel, the twins, are linked from birth, not by appearance but by mind and spirit. Each can taste what is in the other’s mouth. They feel each other’s pain and know each other’s memories, until the death of their young cousin severs them from each other. When Estha returns as an adult, he has stopped speaking. When Rahel returns, she is desperate to find the connection that once made them a single entity that lived within two bodies. 

More than anyone in their family, the twins still live with the death of Sophie Mol. What they don’t know is this was propelled by their mother, a woman who fell in love with  Velutha, the one man who showed her children true kindness, a man who was born a Paravan, an Untouchable.

In India, in 1969, caste rules were a keynote of society. Even when The God of Small Things was published in 1997, a relative told Arundhati Roy that the sexual relationship between the Christian Ammu and the Paravan Velutha was a “physical impossibility” since the two of them belonged to different species. Roy and her novel were taken to court with charges of “obscenity and corrupting public morality.” 

Meanwhile Roy’s uncle gleefully introduced himself by saying, “Hello. I’m Chacko,” and her mother, when asked if she had experienced the affair that Ammu had embarked upon, countered with “Don’t you think I’m sexy enough?”  Roy’s brother, amused, told his sister, “All of them want to be the people in the book…You’ve turned all the monsters into nice people.”

However none of this background information is why Roy won the Booker Prize with her first novel nor is it why it’s still in print and sought after almost thirty years after it was published. Her descriptions are richly lush, her characters are ones we all have known, in different countries and under different guises. Their tragedies are ones that in some degree have touched every living human, who in these pages find their own histories clothed in unforgettable words, in a story that lives on “like jet-streaks in a church-blue sky.”~Janet Brown

Maneki Neko : The Secret to Good Luck and Happiness by Nobuo Suzuki, translated from Spanish by Russell Andrew Calvert (Tuttle)

Nobuo Suzuki is a Japanese writer and philosopher. He studied art and literature in Europe before focusing on zen buddhism, creativity, and personal development. His first book was Wabi Sabi : The Wisdom in Imperfection in which he “considers the beauty of imperfection and how understanding this concept can deeply transform our lives”. 

In Maneki Neko, Suzuki writes about good luck": “lucky symbols, lucky numbers, lucky charms and luck-creating rituals”. He asks himself, “How is it that a disciplined and hard-working people like the Japanese are so invested in the idea of luck? And what exactly does “good luck” mean?” (The book was first published in Spanish as Maneki Neko : il Libros Japones de la Buena Fortuna in 2023 by Ediciones Obelisco.)

Anyone new to Japan will be surprised at how seriously the Japanese rely on luck and good fortune. They go to shrines and temples and buy amulets and good luck charms, known as omamori, for a variety of reasons—good health, wealth, traffic safety, a safe birth, and success in education and business. 

In his preface, Suzuki says, “Luck is not a question of chance.” He has always been fascinated by the concept of good luck and bad luck. When he was a child, he often thought, “Why are there some people for whom nothing ever goes right, while others always achieve their objectives?”

Suzuki introduces the Western reader to some of Japan’s most common icons of good luck: the maneki neko, known in English as the “beckoning cat”, the daruma or “lucky Buddha”, the senzaburu or “thousand cranes”, the seven lucky gods of fortune, and explains how the Japanese people use these items to improve their lives. Before delving into the history of the lucky charms, he talks about the four types of good luck. 

Suzuki references James A. Austin’s book Chase, Chance and Creativity : The Lucky Art of Novelty, describing how Austin defined the four types of good luck as blind luck which is out of our control, luck through perseverance and action which is partly under our control, luck through opportunity hunting and luck through invitation which are also partly under our control. 

Out of the four types of good luck, only blind luck is completely out of our control. Some examples would be being born into a wealthy family, winning the lottery, having good or bad weather on a trip. The other types of luck require a bit of effort on our part. Suzuki says, “In these pages, we’ll meet a concept of luck that is not a question of chance, but is gently simmered with three ingredients essential to Japanese culture—effort, wisdom, and confidence”.

The Japanese have a word for effort. Ganbatte roughly translates in English to “do your best”. It’s about perseverance. It is “the basic ingredient for progressing and achieving good results”. 

Wisdom is about knowing the key to success, “what makes money flow and what makes you lose it”. Suzuki believes it is the second keystone to good luck. For confidence, Suzuki refers to a popular saying - “If you believe it, you create it”.

Although the book is more of a self-help book about improving your life through good luck, it is a great introduction to the mysteries surrounding the icons and symbols of good luck in Japan. Most Americans probably pray for good luck but how many Americans do you know who carry a rabbit’s foot or a four-leaf clover? ~Ernie Hoyt

Mother Mary Comes to Me by Arundhati Roy (Scribner, release date September 2025)

Being the daughter of a hero isn’t easy. Just ask Arundhati Roy. Her mother Mary gave her the childhood that nightmares are made of, while pursuing dreams that verged on the impossible. Taking an enduring form of revenge, Arundhati took those nightmares and turned them into a Booker Prize winner, her debut novel, The God of Small Things, which Mary Roy embraced as a tribute.

With 89 turbulent and fearless years to her credit, Arundhati’s mother created a life that defied any form of epic fiction, one that breathes pure fire throughout her daughter’s memoir. With two small children, a Bachelor’s degree in education, and no family fortune to support her, Mary Roy left her feckless husband and began to fight for her dreams. She took on the inheritance laws of the state of Kerala, battled them in court, and won a victory for all the women who had been left penniless in favor of their brothers. She met an eccentric architect who agreed to work with her in building a school on a hillside that was deemed unusable and she turned that school into one that is still in existence today, famed for its progressive and creative form of education.

Pallikoodam School was, according to Mary Roy’s daughter, an achievement that took precedence over her two children and became the youngest child in the family. Arundhati’s early years are overshadowed by her mother’s ambition and overwhelmed by her mother’s asthma. As Mary struggles to breathe, her daughter does her best to become her third lung, “one of her valiant organs…breathing my life into hers.” In return she is the primary focus of her mother’s relentless rage and cruelty. 

Running away is the only way for Arundhati to claim her own separate life. As a child  she finds sanctuary on the banks of a nearby river, where for those hours she lives a free and feral existence. At sixteen she leaves home for Delhi where she studies architecture and “gradually, deliberately, transformed myself into somebody else.” By the time she’s eighteen, she stops going home, changing her relationship with her mother from loving her “Irrationally, helplessly, fearfully, completely” to viewing her “coolly, rationally, and from a safe distance--I often failed.”

In the process of detachment, Arundhati creates a life that is less obsessive but as transformative as her mother’s. Famous for her fiction, she has nine works of nonfiction that illuminate her country, her politics, and what she calls in a book title her “seditious heart.”  Unflinchingly she looks at environmental depredation, politically spawned massacres, and the suffering caused by the military occupation of Kashmir. “In the process, like a suicide bomber, I had blown myself to smithereens…I could actually, physically, feel my heart breaking.” In doing this, she receives an accolade from Mary Roy, an expression of love in the words, “baby girl.”

“Wrecked and heart-smashed” when Mary Roy died, Arundhati Roy shows the immense power of her mother’s life as it gives her the impetus for  the achievements of her own. Mother Mary Comes to Me, Arundhati says at the outset, was written so “my mother, my gangster, shall live.” She does indeed. So does her daughter in a work of brutal honesty and blazing love.~Janet Brown

Imposter Syndrome by Kathy Wang (HarperCollins)

Julia is the second highest executive in one of the most prominent tech companies in the world. Alice Liu works in tech support, one of the lowest echelons of this company. Julia is famous, rich, and intimidating. Alice is remarkably easy to ignore. Julia, her picture-perfect husband, and their new baby are prominently  featured in expensive magazines. Alice puts on sweats the minute she comes home to the apartment she shares with her cousin Cherie, whose only connection to the world of tech comes from the CEOs and VPS she dates. Alice is a graduate of MIT. Julia’s education has come from the SPB, the best intelligence agency in Russia.

Noticed in a Moscow orphanage by Leo, a recruiter who is now her handler, Julia is given stolen facial recognition software purloined from a company so gigantic that its loss is inconsequential. “Something to remember about America,” Leo tells her, “waste is part of their culture.”

After her launch of VisionMatch, Julia becomes an integral part of Tangerine, the social network that is used all over the world. Her power is unassailable to the point that she even challenges Leo. Unfortunately, the SPB never gave her a grounding in Greek mythology and the dangers of hubris.

Silicon Valley is a place where status and position reign and the plebian principles of democracy are as ignored as Alice Liu. However meritocracy extends even to Alice’s level. She would never have been hired without her prestigious degree, which she has only achieved because of her intelligence. Behind her drab exterior lurks a very proficient brain that’s bored with her daily tasks. Crawling under the desks of tech magnates as she fixes their phones isn’t the way to network, although it does give her access to unguarded conversations. Alice hears a lot but doesn’t realize the importance of this until the evening she notices unusually high activity in a server in a data center. “There’s a lot of data being transferred,” she remarks to a coworker, “Does that seem off to you?” Her colleague dismisses this but Alice is intrigued by the amount of data being transferred at the end of the day.  She pursues the matter and discovers God Mode, through which a handful of elite users are able to see anything that appears on Tangerine: browsing, messaging, and posting, anywhere in the world. Through God Mode, Alice finds out the name of the user who has downloaded all of the data that first sparked her curiosity. It’s Julia. But why?

This is only the beginning of Imposter Syndrome, a novel that owes a lot to the Aesop fable of the Turtle and the Hare, with flash and flare pitted against dogged brainpower. It’s a book that dazzles with so many facets that it’s hard to keep track of them all: the subterfuge of the intelligence community, the cut-throat world of high tech, the juggling act of successful women who struggle to balance career, marriage, and motherhood, and the debilitating effects of sexism and racism on women of color as they work within a system that’s rigged against them. Kathy Wang dissects all of this with a sharp blade of satire, taking no prisoners, leaving no victors. Everybody has something to prove and a lot to lose. As Alice says in her last words, “But this isn’t the end of anything.” (AI, anyone?)~Janet Brown

Jungle Emperor Leo : Leo Edition by Osamu Tezuka (Jitsugyono Nihon-sha)

After reading Mighty Atom : Best Selection, I decided to read one other manga by Osamu Tezuka which was published in the same format. I chose Jungle Emperor Leo : Leo Edition. The original manga and anime series is titled ジャングル大帝 (Jungle Taitei). “Taitei” is a Japanese word for “Great Emperor”. 

Jungle Emperor Leo : Leo Edition is a coming-of-age story of a young white lion who is born on a ship en route to London. Leo is the son of Panja, a fierce lion who was also known as the King of the Jungle. It was Panja who fought against the humans to keep the animals in the jungle safe. 

After Panja is killed by humans, the killers capture Panja’s mate and plan on taking her to a zoo in London. Leo is born while the ship is in transit and is discovered by a member of the ship’s crew. The Captain says they only need to take the mother lion to London and that they should just toss the infant lion into the ocean. However, the crew member suggests another plan. The ship is full of mice and as lions are also felines, he suggests to the Captain that the cub could get rid of the mice on the ship. 

The Captain thinks it’s a good idea but doesn’t know the lion cub will befriend all the mice instead. During the trip, Leo’s mother says to him, “You are the son of Panja. You must go back to Africa and become a great leader, like your father.” Leo doesn’t want to leave his mother but she is adamant that Leo shouldn’t stay on board. And since Leo didn’t get rid of the mice, the Captain is angry and shouts for the crew to throw him overboard. 

Fortunately for Leo and one of the mice, a kind-hearted crewman sets them on a little raft and leaves them to drift in the ocean. While the two are adrift, they are attacked by a large shark. However, Leo’s instincts take over and he overpowers the shark. The defeated shark says to Leo, “You’re such a strong one. I thought you were just a child, but you’re more than that”. The shark then asks, “Where will you be heading now?”.

Leo says he’s headed for Africa and asks if it’s far. The shark says, “If you keep floating around here, you’ll never reach her shores. Not unless you swim there yourself”. Swim? To Africa?

The sharks says, “Just move your body like me, and you can swim”. Leo asks the shark if it could teach him. However, the shark says he can’t, he knows his end is near. He tells Leo to see the fish attached to his bellies. He tells Leo that they are called sharksuckers, a type of fish that have a symbiotic relationship with sharks.

The shark tells Leo to “detach them from my belly and put them on yours. They will swim for you”. Leo and his companion attach the sharksuckers to their bellies. The mouse also spots a kaleidoscope of tiger butterflies and says their in luck. He explains that the tiger butterflies migrate from continent to continent so if they follow them, they will find land.

Unfortunately, they don’t land in Africa. They find themselves in a place full of people and cars—and people fear animals—especially wild animals, even when the animal happens to be a white lion. One human, a young boy, does befriend the lion and convinces his schoolmaster to let the white lion stay in the school. 

Follow Leo and his adventures with humans and animals alike in a story of friendship and survival. Leo does make it back to Africa eventually after a few other episodes among his human hosts. However, he has become more of a house pet than a wild animal. Will Leo be able to survive in the real jungle? Will he be able to follow in his father’s footsteps and become “King of the Jungle”? You will have to read this book to find out. ~Ernie Hoyt

The Satisfaction Cafe by Kathy Wang (Simon & Schuster, release date July 2025)

Joan Liang “was married for only six weeks before she stabbed her husband.” 

She had never expected to do that but then she had never expected that, in the pornography section of their local video store, her husband would hit her when she refuses to bestow sexual favors upon him under the eyes of his best friend. After the second blow strikes her face, Joan pulls out a pair of calipers that she had just purchased at an art store, rakes her husband across the cheek, and announces “I want a divorce.”

While growing up in Taiwan, before she came to Palo Alto to get a master’s at Stanford, Joan had encountered married women, including her mother, who “were melancholy, if not outright miserable.” When she calls her parents to tell them her marriage has ended, they see this as confirmation of the disappointment Joan has been to them since the day she was born a girl. After her mother hangs up on her, Joan realizes the punitive power of what her parents think of her has been “blurred by distance.” She resumes her life of studying, working as a hostess at a Chinese restaurant, and doing light housekeeping for an elderly woman in exchange for an attic room. 

Then one afternoon in a park, while listening to a raving man who appears so regularly that she’s given him a name, The Screamer, she meets Bill. Although he’s been married three times and is 51 years old to her 25, with adult children who are 24, Bill is “cultured, smart, and kind.” When he falls in love with her, Joan accepts his proposal.

She’s briefly taken aback when he sets up a prenuptial meeting for her with his attorney but Joan does her research and calmly sets her terms. For each year of the marriage she will receive a percentage of ownership in the architectural showcase that is Bill’s home, with it becoming legally hers in joint ownership after ten years of marriage. When Bill dies, they’ve been wedded for thirteen years and the house is Joan’s--but only for a short period. On the night of his father’s funeral, her stepson, enraged by losing his childhood home, finds a can of gasoline.

Joan takes refuge in another dream, one of opening a restaurant where people are nourished by conversation as well as food. When she finds that a building is for sale, the place that once held the video store where she had stabbed her husband and ended her first marriage, that dream begins to unfold.

Kathy Wang masterfully burnishes the writing class cliche “Show, don’t tell.” Readers are never given a description of Joan, not of her background, her looks, or her accomplishments. Bill tells her she is “beautiful, just absolutely lovely.” His attorney assesses her as “pretty enough,” but “would not do well at, say, a charity lunch.” When early in their relationship, Bill asks Joan how she mastered English, her response is that’s true of anyone in Taipei who goes to “a good school.” She attains her master’s degree in mathematics with this feat mentioned only in passing, and when she has children, she reveals her love for them by admitting to herself that if either were to die, “This was how God would break her heart.” Her equanimity is unshattered when Bill resumes his lifelong habit of infidelity and she realizes “No one gets perfect.”

Her one “shimmering bubble of fantasy” is revealed when she falls in love with Bill’s magnificent house, where she feels a warmth, as if the place was wrapping her in a hug. 

What makes this woman unforgettable is her straightforward behavior, rooted in kindness, which turns her into a character who is lovable, yet never saccharine. From her Jane Eyre-like beginning, when she’s almost an orphan, living in an attic, to the final order she directs at her children, written on an index card: “BE NICE To EACH OTHER,” Joan’s life spins out with a well-considered cleanliness of action that is absolutely wonderful, in the truest sense of that word.~Janet Brown

Intimacies by Katie Kitamura (Riverhead Books)

Everyone who moves to a new city in another country feels this: “We live in a state of I know but I do not know.” 

Leaving New York after the death of her father when she “no longer knew how to be at home there,” a young woman takes a job as an interpreter at the International Criminal Court in The Hague. Equipped with the English and Japanese languages that were the mother tongues of her parents, she learned French as a child in Paris and learned Spanish and German “to the point of professional proficiency.” As an interpreter, her job is to “bridge the chasms between words,” with nuance and intention as important as accuracy and clarity. 

Concealed in a small booth, isolated from “the high theatrics” of the court, she focuses so heavily on interpreting that “language loses its meaning” while she translates words that describe “the unspeakable.”

“More than susceptible to the promise of intimacy” in a city that is “almost strenuously civilized,” she eavesdrops on conversations as she begins to learn Dutch. She makes friends with an American museum curator and starts a relationship with a man with whom she has “an intrinsic ease.”

Then she becomes engulfed in “uncertainty, blooming like mold.” Her American friend becomes obsessed by the lack of safety in her neighborhood after a man is attacked and badly beaten near her doorstep. At a cocktail party, a stranger reveals intimate details of her lover’s past, a marriage with children that is still in place. Soon after that, her nascent relationship takes a lonely twist when the man she’s involved with leaves to ask his wife for a divorce. Within a week he goes silent.

Her job, which has been impersonal, takes on a weird dimension when she’s sent to the Court’s Detention Center, to interpret for a jihadist when he enters the Center. The closeness demanded by this is physical, during which she sits beside the accused man and speaks quietly into his ear. He fosters this by requesting her as an interpreter during meetings with his defense attorneys and she becomes “the only company he could now bear.”

Lines blur. Work loses its anonymity and holds emotional demands. The relationship that had “a deep familiarity superseding our many differences” fades into a void. The social rules of this new community become more baffling when the interpreter begins to meet local residents. She suspects that the “docile surface” of The Hague conceals “a more complex and contradictory nature.” At the same time she begins to understand the damning gulf that lies between morality and legality, and experiences the danger that’s bred when false intimacy is combined with brutal truth.

As in her other novels, Katie Kitamura has created a nameless narrator of unrevealed origins. In Intimacies however, she has given this narrator a plot that is more grounded in detail than the figures in her other novels received. Interpreting the state of loneliness and disorientation with precision and brilliance , Kitamura concludes with her narrator no longer feeling that “equanimity was either tenable or desirable,” a thought that bears the resonance of truth in our uncertain century.~Janet Brown

Mighty Atom : Best Selection by Osamu Tezuka (Jitsugyono Nihon-sha)

Osamu Tezuka was a Japanese manga artist, movie producer, and animator. He was appointed President of Toei Company, Ltd. in 2020, one of Japan’s largest movie production companies. He held the position until his death from pulmonary artery thrombosis in 2023. 

He is the creator of Mighty Atom, Phoenix, Jungle Emperor Leo, Black Jack, and a number of other mangas. Many of them have been adapted into an anime series. Mighty Atom, known in the United States as Atom Boy is probably his most popular.

Mighty Atom : Best Selection is an English-Japanese bilingual edition and is a compilation of the manga’s best stories. Although the main comic is written in English, as with a typical Japanese manga, you read the book from the right to left and the panels all read from right to left and top to bottom. The English is written in the panels while the Japanese is written right outside of the panels. 

At the end of each episode, Japanese translations of words that may be a little difficult for beginners of English are provided (some upon request). The Japanese translation of the manga is exactly as it is in the original manga. At the end of the book, there is a section that features colloquial expressions in English which could be very useful in English conversation. 

Mighty Atom : Best Selection features eight popular episodes. The opening story is The Birth of Atom. Also included in this volume are Giant Uran, Atom’s First Love, Touch and Go for a Slippery Snake, Atom the Second, and The Story of Foolish Ivan. 

The Birth of Atom introduces us to Mighty Atom or Atom Boy. Atom Boy is a robot with human emotions. He was created by Doctor Tenma, the Director of the Science Ministry, to replace his son Tobio, who died in an automobile accident. At first the doctor seemed very happy to have his son back but he discovered a fatal flaw in his creation—as a robot, Tobio would never grow up. Tobio was eventually sold to a circus. Another scientist, Doctor Ochanomizu, realized the boy was no ordinary robot and took him away from the circus to become his guardian. 

Thanks to Doctor Ochanomizu, Tobio, the boy robot, “soars through the sky on jet boosters and becomes a rocket in space. He knows sixty languages and can sense the good and evil in others. He has super-human hearing and has sarchlights in his eyes. He has machine guns in his bottom, and is as strong as 100,000 horses. Thus, young Tobio is reborn…as MIGHTY ATOM!”. 

Darling Uran introduces the readers to Mighty Atom’s siblings, Cobalt and Uran. Cobalt is Mighty Atom’s younger brother and Uran is his younger sister. Mighty Atom decides to show his siblings around Tokyo but finds that their understanding of the human world is still a bit limited. He then takes his siblings to a robot tournament. He explains to them, “it’s a tournament where robots duel each other once a year””. After the three find seats to watch the tournament, the two boy robots realize Uran is missing. They spot her in the middle of the ring. People cannot believe she is a competitor but she defeats the reigning champion easily and becomes fond of taking part in the tournament which highly troubles Mighty Atom. 

Atom vs. Atlas pits Mighty Atom against another robot who was built to defeat Mighty Atom. Unfortunately for Atlas’s creators, Atlas befriends Mighty Atom and helps him to defeat evil in the world. 

As this publication is a compilation of some of the best episodes, the stories do not follow a linear pattern. The introduction of Cobalt and Uran was quite sudden as it was the second episode to be featured in this book. However, if you read each episode as a separate story, you can still enjoy Mighty Atom and his adventures. The stories are timeless and fun. They can be enjoyed by both adults and children alike. ~Ernie Hoyt

White Tears by Hari Kunzru (Vintage Contemporaries, Random House)

Seth is obsessed with finding “hidden sounds below the every day” and wanders New York’s streets capturing everything he hears on a portable recorder. His ambition is to “store the world and play it, without change or addition.” His college friend, Carter, is obsessed with collecting vinyl recorded by obscure Black blues musicians from the past. A man with a healthy trust fund, he recognizes that Seth’s daily discoveries can be incorporated into music and sets up a sophisticated recording studio that makes this happen. Seth, believing “the old world was dissolving in digital rain” and “the future is reflective, metallic,” wants to turn sounds into art while Carter wants to turn them into wealth.

While walking through Washington Square, Seth watches two old chess players. When the game is over, the victor walks away, singing a scrap of the blues. Later when Seth replays his discoveries of that day, he finds what he has recorded is an entire song, one that captures him, and Carter too.

Carter, as a collector and connoisseur, can’t resist playing with this song in the studio. He finds some ragged, weird guitar playing that Seth picked up on the street, incorporates it into the chess player’s blues, scans “an authentic-looking label,” and gives the singer a made-up name. Then he puts the audio file sung by “Charlie Shaw” on an Internet site frequented by collectors.

It’s an experiment, a joke, one that might possibly get enough hits to become profitable. Instead the posted song attracts a viewer who demands to hear the record’s flip side. “I haven’t heard Charlie Shaw since 1959.”

Out of curiosity, Seth agrees to meet the man who calls himself Jumpjim and through this encounter is drawn into a miasma of death, dark-ops, and prison work camps, where time and racial identity shift without warning. Generational wealth, Carter’s family money, is based upon slavery that has morphed into international “Correctional Services.” Seth, who wanted most of all to avoid slippage, is pulled into a reality so slippery that it has no definition and no borders.

“It’s a post-racial America. All you got to do is get them into the system…Speeding tickets. Public nuisance. Once they’re in, your boot is on their neck.”

White Tears begins as a mystery. It quickly becomes as unsettling and revelatory as Ralph Ellison’s Invisible Man. Rocketing through New York, Mississippi, rural shacks where the blues were born, the madness of collectors, and the cruelty of unchecked greed, this is a novel that is bizarre, scathing, and a clear mirror of our times.

Born in England with a father from Kashmir and a British mother, parents who endowed him with a classical education, journalist and novelist Hari Kunzru came to Brooklyn well equipped to observe the effects of 9/11 on New York and on the world. “Toilet blocks in Afghanistan.” “The Occupy crowd.” “A behemoth of tentacles” that turn pain into money.

Back in the 20th Century, people talked about The Great American Novel--was it written by Twain, Fitzgerald, Hemingway, Steinbeck? The contenders were all male and all white. Almost 100 years later, this may well have been written by a man who is neither American or white, one with the distance that’s needed to see America without blinders.~Janet Brown

The Reason I Jump : One Boy's Voice from the Silence of Autism by Naoki Higashida, translated by KA Yoshida & David Mitchell (Scepter)

I recently read a news article that I found to be unbelievable. However, after checking a number of different sources, it is no falsehood that the head of the United States Department of Health and Human Services once again made a speech which drew the anger of many citizens who listened to it. 

He said and I quote, “Autism destroys families.”. He went on to say, “These are kids who will never pay taxes, they’ll never hold a job, they’ll never play baseball, they’ll never write a poem, they’ll never go out on a date, many of them will never use a toilet unassisted.”. This is one of the most absurd things I’ve ever heard a government official say. 

Unfortunately, it’s not surprising, as these falsehoods were said by a known conspiracy theorist and anti-vaxxer. It’s a mystery why the current President of the United States appointed someone who is totally unqualified for the position. In my humble opinion, I find Robert F. Kennedy, Jr. to be an embarrassment to the Kennedy family legacy. 

I desperately wish to send R.F.K. Jr. this book. The Reason I Jump was written by Naoki Higashida. It is the account of “One boy’s voice from the silence of autism”. Higashida was only thirteen years old when he wrote this book. He tells his readers he has learned a method to communicate via writing. 

The book was originally published in the Japanese language with the title 自閉症の僕が跳びはねる理由 (Jiheisho no Boku ga Tobi Haneru Ryu) in 2007 by Escor. The direct translation of the title would be Why the Autistic Me Jumps. The English version was translated by KA Yoshida and David Mitchell who have a close association with autism as their son was diagnosed with the condition when he was three years old. 

Higashida tells his readers that he learned how to communicate via writing by using the “Alphabet Grid”, a method used for non-vocal communication. Higashida says, “You might think that speech is the only way to get your points and intentions across, but there is another way to say what you want without using the vocal nervous system”. 

Higashida gives normal people (people who don’t suffer from autism), an inside look at how an autistic person thinks and why they do things the way they do. He uses a question and answer format to try to answer many of the more common questions people have about autism and what it’s like to be autistic. 

At the end of the book, Higashida includes a short story he wrote titled I’m Right Here. It is an inspirational story about a special needs boy who is killed in a car accident but doesn’t know that he’s dead. However, when he sees his mother suffering because of his accident, he feels even more frustrated because there isn’t anything he can do to help his mother. I believe the story is a metaphor for his own condition. There are things he wants to say and wants to do but his condition makes him unable to do those things. 

There are also criticisms about the book. There are many in the scientific community who question the authenticity of authorship. They cite that Higashida’s use of a “facilitated finger writing” shows remarkable similarities to facilitate communication which was discredited as a pseudoscience by the American Academy of Pediatrics and American Psychological Communication. However, Mitchell is adamant that the book was written by Higashida and says there is video proof that Higashida pointed to the characters on his own to write the book. 

There is still an ongoing debate about who actually wrote the book. However, even surrounding the controversy, it sheds light on one of the most misunderstood conditions affecting millions of people—autism. Whether you believe in its validity or not shouldn’t matter. You can browse the Internet and you will find that there are a lot of autistic people who are fully functional in “normal society”. ~Ernie Hoyt

Ishibumi by Hiroshima Television Corporation, tranlated by Yasuko Claremont and Roman Rosenbaum (POPLAR Publishing)

It is my belief that almost everyone in the world has knowledge of the atomic bombings of the cities of Hiroshima and Nagasaki on August 6 and August 9, respectively. We also know from our history classes and history books that an estimated 140,000 to 200,000 people were killed. What we weren’t taught in our history classes though was that ninety-percent of the victims were civilians and a number of them were school-age children. 

Ishibumi tells the story of what happened to the three hundred and twenty-one students who were enrolled in Hiroshima Middle School. The story was first aired as an hour documentary in 1969 on Hiroshima Television. An estimated one-third of the class is believed to have died instantly. The rest of the students died slow and painful deaths. 

We know this to be true as the stories compiled here are from the reflections and letters from the students’ parents, relatives, and friends. All the students were between the ages of twelve and fourteen. It is based on eyewitness accounts as well. 

The title, Ishibumi, written as 碑 in kanji characters, means “stone monument”. The title is taken from the last character of the cenotaph, written in Japanese as 慰霊碑 (ireihi). It is dedicated to the three hundred twenty-one students who perished after the atomic bomb was dropped on the city. Students, faculty, and other non-military citizens were gathered on the banks of the Honkawa River when the bomb exploded. They were only 600 meters away from the hypocenter. 

Many of the students' parents went looking for their kids amidst the fire and rubble. Some were fortunate enough to find them and help them to safety, only to see them die shortly afterwards. Some of the children survived but died a day or two after the bombing. 

The father of a boy named Fumio Katayama wrote, “Since I was burned as well I could not carry him on my back and had to make him walk. We returned to our house in Hijiyama. We had to make a two-hour detour to avoid the city districts that were ablaze. Three days later on the ninth at four o’clock in the morning he died.”

The reader will also learn that many of the parents’ recollections of severely burned children who made it to make it home or to one of the numerous first-aid stations called out to their mothers and fathers, and asked about their friends while they lay dying. What’s really significant and some readers may find hard to understand is that although these children knew they were going to die, they continued to sing military songs, the Japan and national anthem and shouted out, “Long live the Emperor!”.

It’s heartbreaking and inspiring at the same time. Their pride for their country and the Emperor is impressive because you have to remember that these kids were only twelve or thirteen at the time. The book also includes many pictures of the students who died. It is a reminder to the world that, “In war, no one wins.” Even today, the debate still continues—was it necessary to drop the atomic bomb to end the war? Was it a crime against humanity? And will we ever be able to live in a world without atomic or nuclear weapons? ~Ernie Hoyt

A Separation by Katie Kitamura (Riverhead Books)

When a mother worries about her son Christopher who has gone silent during his lengthy Greek vacation, she naturally calls the man’s wife. Not so naturally, the wife doesn’t tell her mother-in-law that she hasn’t spoken to her husband in weeks. In fact, they’ve been separated six months. Instead she accepts the offer of a ticket to Greece and sets off to find the hotel address that her husband had given his mother.

In the wife’s last conversation with Christopher, he had asked her to tell no one that they were separated and she is bound to that promise, almost as if it’s an extension of the wedding vows that the two of them have broken. She has moved in with her husband’s best friend and Christopher is a “careless flirt” who long ago had blithely discarded any thoughts of marital fidelity. Still, the wife says, “It was no small thing, dismantling the edifice of a marriage.” Going to Greece and confronting Christopher with her decision to divorce him is the way to end to their failed attempt at monogamy.

When she reaches the spot where her husband stays, she finds a gated resort property, surrounded by a herd of stray dogs in a scorched landscape. The area still smolders from recent wildfires, the nearby village is charmless, the sea seems designed for suicides rather than swimmers, and Christopher is nowhere to be found. The only person who seems to care about this is the hotel receptionist with whom he has had an affair and the only trace of him is uncovered just as his wife is preparing to leave Greece--he was seen the day before with another woman in another town. 

Then his body is found, dead and bleeding in a charred ditch. Since his wallet is missing and recent charges to his credit cards have been made after he died, it’s an easy matter to declare him a victim of a mugging. However when Christopher’s parents arrive, they demand more closure than that. So, in an unexpected change of heart, does his wife.

This is a mystery novel but the mystery lies in the marriage, not the murder. For five years Christopher and his wife lived in “a good and optimistic marriage” that was finally shaken by his inability to remain faithful. As the wife examines the facts of her husband’s life and death, she realizes that “between two people, there is always room for failures of imagination.” In Christopher’s “empty and ridiculous death,” she discovers that the mystery of how he died makes a mockery of “till death do us part.” That she might never know the reason why her husband was killed prevents their parting. It leaves the killer and the killed locked in an intimate relationship while husband and wife are stuck in a bond of “instability and turbulence.”

Katie Kitamura, as she did in Audition (Asia by the Book, April 2025), gives A Separation a narrator who is nameless, “foreign,” and diamantine, with sharp, bright thoughts in an enigmatic setting. It seems impossible to finish either of these novels in the customary fashion, by turning the last page. Kitamura’s ideas and puzzles refuse to go away, seeping into the lives of those who encounter them.~Janet Brown

Audition by Katie Kitamura (Riverhead Books, Penguin Random House)

When an actress in her mid-years is approached by a “presentable” young man who asks her to have coffee with him in a nearby cafe, she never expects he’s going to tell her that he believes she’s his birth mother. Although he bears a strong resemblance to her and is of the same racial background, she quickly tells him she has never had a successful pregnancy. That, she thinks, is the end of the matter but two weeks later the man asks her to have lunch with him because he has something to tell her. Perhaps since he is “handsome, perhaps even excessively so,” on a whim the actress says yes.

She is forty-nine. Xavier is twenty-five. Because she is still attractive, the actress is convinced that everyone who sees the two of them together assumes they are having an affair. This feeling makes her end the lunch abruptly when she sees her husband enter the restaurant, stand still for a moment or two, and then walk out 

But Xavier remains in her life. He’s taken a job as assistant to Anne, the director of the play the actress is rehearsing. Slowly she and this stranger achieve an eerie closeness that the actress keeps to herself. Xavier is a diversion that her carefully ordered life has needed, her placid existence in a Manhattan apartment with Tomas, her handsome and devoted husband to whom she had been unfaithful in the past. Now they have a peaceful ritualistic marriage that Xavier, she decides, will never threaten. 

Then “an impossible inversion” takes place. In the second part of Audition, the actress and Tomas sit in the same restaurant that appeared in the novel’s beginning. Now, however, they’re having dinner with their son, Xavier, who has taken a break from getting his master’s degree to work as Anne’s assistant. The position has been extended to include a film that will be shot in the spring and Xavier asks to move in with his parents for a month or two to stay in his childhood bedroom.

At this point, everything in the narrative changes. The sentences, which are all delivered in the first person by the actress, are now without the cold precision that she gave them in the opening section. Tomas loses his elegant allure and begins to slump into the figure of an old man. The comfortable rituals of the marriage become a ways that make “ people grow old without noticing.” 

Much of what the actress disclosed in the first part of this novel is reversed to the point that her entire story now becomes a lie. Not only has the structure of their marriage been shared with a child, it’s Tomas, not the actress, who has been unfaithful. A scarf that was mentioned often when the actress wore it to lunch in the opening scene is now turned into one that was worn by Xavier. When Xavier brings “a friend” to stay with him in his room, this new house guest is a woman so young that “everything about her was perfect.” Confronted with this youthful perfection, the actress’s life begins to unravel into horror.

Katie Kitamura has created a puzzle, a mystery in which every word is important. The two halves of Audition seem to contradict each other but the clues exist in asides, hidden underneath brilliant clarity. Not only does the book need to be read at least twice, every comma calls for the consideration that’s given to a legal document, and every sentence demands more than a quick glance. Each one of them cuts like a stiletto, with a subtle sharpness that conceals the truth of the novel, that is if its truth actually exists at all. What is positively certain is that, while there may only be a limited number of plots in fiction, this plot has been turned and twisted into something that’s quite possibly never been written before.

Which section of this book holds the audition? Read it and argue.~Janet Brown

The Hive and the Honey by Paul Yoon (Simon & Schuster)

In a world full of displaced people who search for home, Paul Yoon creates one for them in his universe of words. Whether he writes about an imaginary Korean island where war and progress have turned its inhabitants into exiles in Once the Shore (Asia by the Book, November 2023), about orphans in Laos who live in a derelict hospital and carry messages through a maze of landmines in Run Me to Earth (Asia by the Book, December 2020), or a Korean newly released from a POW camp in what was once his country and finds a tentative life in Brazil in Snow Hunters, he evokes heartbreak and hope as he unfolds his characters.

Yoon is a novelist even when he writes short stories, perhaps especially in his latest book, The Hive and the Honey. Each of the seven stories that fill this collection gives full measure to the glimpses of the lives revealed in them. Each feels as if it’s a chapter in a story that will never be fully told, but will remain alive in the imaginations of those who read them.

The stories range from rural New York to the coast of Spain, from 17th Century Japan to a dusty shop in a 20th Century English town, from a Korean mountainside to Siberian prison camps, tracing a pitiless diaspora. In each of them is a boy, all of them in different stages of development, all far from any home they’ve ever known. The worlds they inhabit are brutal and the currency they use to survive is pain and loneliness. Only one of them seems to be on the brink of happiness as he stands in a hayfield with a farm girl, “light on his heels.” The others are adrift in sadness, running, fighting, surviving.

A boxer with a broken nose and hands as “thick as mallets” clings to the hope of finding his Korean birth mother.  A boy who has known only the companionship of Japanese soldiers is turned over to his Korean countrymen whose language he no longer speaks. A Korean couple have the stillness of their lives disrupted when a young Korean boy bursts into their little corner shop, bleeding and confused. A man who has made a tentative sanctuary alone on a deserted mountain is threatened by the appearance of strangers who change him in ways that cling to him like scars. Near a Russian penal colony on an island, a boy is forced by starvation to search for the father who left him years ago while in another lifetime a Russian cossack who is barely out of his teens is steeped in the supernatural as he guards a Korean prison settlement.

All of these stories exist like spiderwebs in the rain, their intricate patterns glowing in an evanescent light. With brilliant words and unforgettable characters, Paul Yoon has created worlds of abstract expressionism, elusive, enthralling, and everlasting. The Hive and the Honey is a book for our time, when those who have homes in the world need to understand what it is to have none.~Janet Brown