This book works as a healer to those who have lost their dear ones to death. Here are the best Banana Yoshimoto books that you must read and why.īanana has unparalleled skill in transforming ordinary scenes into magical moments. She has also won the Umitsubame First Novel Prize and the 16th Izumi Kyoka Literary Prize.Īccording to Banana, writing comes to her “almost as natural as breathing.” In the literary societies of Japan, Banana is known as Healing-Kei, i.e. The novel was a hit and she received the Izumi Kyoka Prize from her university. When she published her first novel Moonlight Shadow she was a student at Nihon University Art College and was waitressing at a country club. Most of her novels present an independent woman as a protagonist who overcomes the tragedies and traumas of life.
She is liberal in her views, stands for human rights, and has been an advocate for women rights in Japan. Banana received the 39th edition Best Newcomer Artists award for this novel on Japanese government’s recommendation.īorn to a famous poet, philosopher, literary critic Takaaki Yoshimoto, Banana found solace in literature from early childhood, which influenced her desire to become a writer. A Hong Kong film and a TV show also feature this novel’s story. This is a supremely hopeful book, one that feels important because it shows that happiness, while not always easy, is still a subject worthy of art.Banana Yoshimoto is a Japanese contemporary writer famous for her best novel Kitchen that sold more than one million copies worldwide. These stories made me believe again that it was possible to write honestly, rigorously, morally, about the material reality of characters to write toward human warmth as a reaffirmation of the bonds that tie us together. Even at their loneliest, these characters are a part of something, whether a relationship, a friendship, a family, a workplace, a society, a world.
The spiky fictions of Anglophone literature of the past decade - staked on the idea of passivity as agency within a violent, dystopian, capitalist hellscape - are cutting and observant but sometimes they leave the reader wondering: When can books be warm again? When can we have feelings again? Yoshimoto’s protagonists go out and act, they feel, they express, even if only to themselves. They also resemble, in their awkward but striking agency, the characters of Alice Munro’s best short stories about young womanhood, by turns comedic, sad and aching for connection. Yoshimoto’s lonely women have more in common with the bachelor characters of, say, Bernard Malamud or Leonard Michaels or Haruki Murakami. In Mama! - one of the most brilliant stories I’ve ever read - Mimi, a publishing company employee, is poisoned by a disgruntled co-worker.
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