![]() ![]() I was relieved to know that they finally had a happy ending. Silent as they might be, they understood their partner's feelings as if they were communicating with one another through an invisible telephone. It was not like the tiger chasing after a prey and devouring it. They naturally and gradually fell for the other. It depicted a sweet love between Yuichi and Mikage. However, the story was not just about sadness and deaths. That was the most precious thing in the story. Above all, they still tried to live, to be happy to overcome everything. They were lonely people digging a hole full of sadness, loneliness, and fear in their hearts. They seemed to be different, but they were just the same melodies in the song of a hectic society. Why not-so-much ordinary? Why not strange? A kitchen-loving girl who was accidentally invited to stay at a grandmother's friend's house, a reserved boy who did not talk much but who was kind-hearted, and a man with the appearance of a woman, or should I say, a female father, who loved his family so much that he voluntarily became a woman to work, to take care of his son when his wife passed away but still had to leave the living world in a painful way. When Yuichi informed her she had turned over a new leaf in her life, Yuichi also led us into a story of not-so-much ordinary Japanese people. But she was lucky, really lucky to be invited to stay at Tanabe Yuichi's house. With the publication of Kitchen, the dazzling English-language debut that is still her best-loved book, the literary world realized that Banana Yoshimoto was a young writer of enduring talent whose work has quickly earned a place among the best of contemporary Japanese literature. The lonely girl became even lonelier when her grandmother died. The acclaimed debut of Japan’s master storyteller (Chicago Tribune). "When the time comes to die, I want to breathe my last in a kitchen." ![]()
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