BOOKS! (The Stones Cry Out + Who Will Cry for the Little Boy?)

I think I've got something good going with this doubling-up approach to reviews. Perhaps I'll keep this up until year's end and return to longer reviews after the new year (new reading goal, more time, less presure). We'll see. Both of today's books passed through someone else's hands before getting to me; I bought one at a local used book sale, and I borrowed the other from my mom.

The Stones Cry Out by Hikaru Okuizumi 

This Akutagawa Prize-winning novel is relatively short and yet manages to breeze through three decades from the ending stages of World War II to the 1960s/70s wave of student activism in Japan. The Stones Cry Out is told from the point of view of Tsuyoshi Manase, a bookshop owner who starts collecting, analyzing, cleaning and categorizing rocks as a hobby following WW2. The man who had inspired this hobby was an ailing lance corporal in Manase's ramshackle unit in the Philippines during the war, whom Manase actually killed as an order from their sword-happy captain to drop dead weight. Said lance corporal's last words were mostly hysterical babbling about rocks, and it is unclear whether Manase is genuinely inspired by this information, or if taking up the hobby is an act of penance that turned into a passion. Either way, Manase's passion for rock collecting earns him considerable renown as an amateur geologist. But as a consequence of this hobby which brings him such a strong sense of importance and fulfillment, his firstborn son dies, his wife has a mental breakdown, his marriage is rendered unsalvageable, and his connection with his younger son is almost nonexistent to the point that Manase is helpless in the wake of said son's violent rebellion as a university student. Rather than rock-collecting itself, however, what's largely at play is Manase's general disengagement from social and familial aspects of life. (We do not learn enough about his pre-war life to know if this has always been his personality or if this internal shutdown is a consequence of him not properly addressing his sordid war memories and stifled guilt.) The Stones Cry Out's title is a reference to Luke 19:40, but also happens to echo Genesis 4:10, in that often sites of violence, bloodshed, or psychological distress maintain a remnant of those events that will always make itself known. And Manase must contend with his memories before his past takes more from him than it already has.

Favorite quote:

"Manase tried to imagine what it must be like to die together with his commander, to fall under the fire of the recognizable enemy, hearing in his ears the voice that had ordained his death, spurred by the whistling of naked steel. He imagined himself in a field shrouded in a lilac haze, an infinitely tragic figure; the bullets piercing his flesh seemed to give more pleasure than pain. To shed tears because now he was about to die for the Great Cause he had heard so much about, at the same time yearning for a swift death―" (26-27).

Who Will Cry for the Little Boy? by Antwone Fisher

A man with many hats, Antwone Fisher is best known for his autobiography Finding Fish and the film that it inspired, Antwone Fisher, which was helmed by Derek Luke and Denzel Washington. He is also a poet. Fisher writes in the forward of this book of poems that poetry is a cherished pastime of his that has always brought him peace and a sense of security in himself. Most of the collection is comprised of love/relationship poems he wrote in his spare time or per his Navy friends' requests, and... it shows. Perhaps it's just me, but I wasn't really feeling any of them. There were some memorable lines, though! Maybe these poems would be well-suited for a poetry slam or an open mic; they might not do anything for me just reading them off the page, but when read aloud with the right intonation, emotion and rhythm, maybe they could be quite engaging.

Favorite quotes:

"We lived this way, and loved that way, ask anyone who had seen us" (13). 

"I must have painted you with me, more than one hundred times. I love you more than life itself, on this canvas called my mind" (37).

"Lightning strikes and thunder rolls, my eyes are damp, your heart is cold" (47).

Friendship Visions

Last night I dreamt about one of my dear college friends, Esse, whom I haven't had a real conversation with since we graduated back in May of last year. The dream wasn't so eventful, other than that she was extremely fit (fitness had become her new passion in life), and we were somehow settled in to watch some American colonial-era theatrical production, two young modern black women surrounded by colonial-looking audience members (picture white people, big ol' white wigs, lots of lace, ruffles, and wide petticoats). But anywho.

I had that dream and didn't say anything to anyone about it. Then after work today, I go to a local bookstore to blow of some steam and wait out traffic, and my phone starts vibrating. And whose name do I see on the screen when I dig my phone out of my pocket? Esse's! We had the best conversation catching up with each other, shooting the breeze, exchanging ideas about the next moves we want to make in our young lives, what we miss and don't miss (or in my case, will and won't miss) about Michigan. I didn't even have that much steam to blow off today, but nonetheless I felt such great release from chatting with her. Relieved isn't event the word.

It's Friday, I got some new books, and I got to hear the voice of one of my dearest friends. It's so nice to know that people you like still like you back. Thanks to Esse for remembering me, calling me out of the blue, affirming my "vision" from last night (haha) and making my day today!

The worst you can do is miss.

Julia teaches me something new everyday. When I was hanging out on my mom's bed yesterday and Julia wanted to join, but knew she probably didn't have enough of a running start for clearance, did that deter her? Nope! She jumped up, missed, bounced off the side of the bed, fell backward, somehow still landed on her feet, and kept it moving! Trotted right out of the room as if nothing had happened.

ドラマ (Dorama) Time! 15

Originally I was going to do like I always do with my J-drama reviews, but then I kept procrastinating on this one and now the fall broadcasting season in Japan has already started! I haven't even made my selections yet for this season! So I'm going to make my synopses a little more succinct this time around. I love to give y'all as much of the goods as I can about these shows, but sometimes it's best to keep it short.

 好きな人がいること (Suki na Hito ga Iru Koto/Having Someone to Love/A Girl with Three Sweethearts) - Fuji TV/2016

Misaki has been floundering at establishing herself as a pâtissier in Tokyo, and a chance run-in with her high school crush Chiaki has her living with him and his two brothers for the summer as she works in their restaurant. Chiaki's the owner/manager, his brooding and no-nonsense younger brother Kanata is the chef, and cheeky baby bro Touma is preparing to be sous chef. The "Girl with Three Sweethearts" English title is misleading, as Misaki is only caught in a love triangle with Chiaki and Kanata; Touma is simply there to throw in some angst, reveal secrets, and provide comic relief. Basically Chiaki is dumb to Misaki's feelings until finally he isn't, Kanata doesn't like her until eventually he does, and there's an ex-girlfriend thread and an extortion thread thrown in there for good measure. Yes, it has the same exact formula as 'SUMMER NUDE' and 'Koinaka' (young pretty people + love triangle + secrets + revelations + seaside location + "follow your dream/heart" + directed by Kanai Hiro). Yes, I fell for it just like I did last year and two years before that. And yes, I loved 'Suki na Hito ga Iru Koto' just as much as the others. When I studied abroad in Japan it was during the summer, so breezy dramas like this one always make me feel lighthearted and nostalgic. The show might be slightly predictable, but it's still a great ride!


せいせいするほっど、愛してる (Seiseisuru hodo, Aishiteru/Love Catharsis) - TBS/2016

This drama's title is (unintentionally?) ironic, because rather than catharsis it's just a winding road of messiness and drama. Kurihara Mia (Takei Emi) has her dream job of working in PR at the jewelry giant, Tiffany & Co. She gradually becomes infatuated with the new VP Kairi, who's actually an architect but was forced to become VP of this company as payback for his estranged wife getting into a car accident and falling into a coma (her dad is president of the company and blames Kairi for what happened). Mia and Kairi have an affair, are stupidly naive and sloppy about it, and keep acting surprised and all woe-is-me when they repeatedly get caught, confronted, and punished for it. My favorite part of this show is Kairi's wife Yuka, that right-on-time good n' crazy heifer who wakes from her coma, discovers the dirt that's being done, and always manages to step in and wreck things like, "Not today! Not on my watch!" Watch this show if you're a fan of Takei Emi (her hair and fashion game are sickening in it), enjoy cackling at scenes that are supposed to be serious, and have no pity for cheaters but are nosy enough to want to see how they end up.

はじめまして、愛しています。 (Hajimemashite, Aishiteimasu./Nice to meet you, I love you.) - TV Asahi/2016

While I'd been intrigued by its premise when I read about it, I watched this show solely for Ono Machiko ('Saikou no Rikon'). She is such a smart actress. Not only is she excellent at what she does (she can literally become anyone you want her do be, and is so convincing that you almost forget that she's played any other characters in the past), but if you look at the roles she's chosen over the years... gah, she's just so smart! I don't know how else to describe her. Anywho, time is running out for Mina's (Ono Machiko) dream of becoming a professional piano player, and she's given no thought to starting a family until she and her husband Shinji find a scraggly-looking boy hiding in their bushes. They learn that the boy was abused and abandoned and wandered to their house when he heard Mina's piano playing. With Shinji's enthusiasm and a social worker's guidance they go through the steps to adopt the boy, whom they name Hajime.  But when they're not coping with Hajime's post-traumatic behavior, fielding skepticism from their respective families, or reconciling their own insecurities about their ability to be successful parents, they face the threat of losing Hajime for good. Bloodlines and family registries are still extremely important in Japan, and adoption is not as common or celebrated as in the States. Given that, this drama taught me so much about what making another human being part of one's family truly entails. Watch 'Hajimemashite, Aishiteimasu' if you want something informative that will also tempt you to cry.

"Honorable Mention" (haven't finished yet): Kenja no Ai/A Wise Person's Love - WOWOW/2016

This 4-episode drama draws inspiration from Tanizaki Junichiro's classic novel, Naomi, a Pygmalion-eque tale in which a man grooms a young woman to be his ideal wife, only to be pitifully controlled by her in the end. The Japanese title of the novel is 痴人の愛 (Chijin no Ai/A Fool's Love), and as a nod to the book, this show is titled　賢者の愛 (Kenja no Ai/A Wise Person's Love). Mayuko is a book editor whose childhood frenemy Yuri has always taken from her what she wants for herself, including the love of Mayuko's life and her future literary client, Ryoichi. Yuri gets knocked up by him and becomes his wife, and once the baby's born godmother Mayuko names her godson Naomi (you got it, in reference to the novel) and sets in motion a plan of ultimate revenge. She'll make her godson her plaything and toy with his heart, eventually throwing it in Yuri's face. (Or at least I assume that's the goal, I'm only 2 episodes in so far.) Mayuko waits to make her move until Naomi's grown, and she's not actually attracted to him in any way, so I wouldn't call the show pedophilic. But it definitely has some unsettling predatory vibes... that's probably why it's on a cable channel. And making viewers uncomfortable is probably the point of it all anyway. 'Kenja no Ai' is shot like a movie, the minimalism in a lot of the scenes heightens the tension, and who doesn't love a vengeance story that hits below the belt? If you're a petty person who dreams of seeing moochers and users get their comeuppance, then Kenja no Ai is for you.

As far as my favorite drama from this summer goes, I have to choose 'Suki na Hito ga Iru Koto'. What can I say? The formula still works.

BOOKS! (Darkness Visible + The House on Mango Street)

These two were part of one of my recent used book sale indulgences, and since they were both short and I've been determined to boost my "read" numbers before year's end, I read them both fairly quickly. As such, I figured I'd review them together. New books, new review, new book model (my adopted dog Julia)!

Darkness Invisible: A Memoir of Madness by William Styron

I am fairly young and there remains a vast array of literature that I've yet to become acquainted with. Yet and still, thanks to the experiences I have had as a reader, I have little lists or libraries in my head of books I'd recommend to people if they ever asked me for suggestions on learning about this subject or that subject. Darkness Visible is one that I would definitely recommend to anyone wanting to learn more about what depression feels like. Take last year's Boy Meets Depression by Kevin Breel, for instance. Not a stellar book but a vulnerably humble and honest one, whose merit lies in his descriptions of what it feels like to be fighting with your own mind day in and day out. Darkness Visible offers similar insights from William Styron, who's perhaps best known as the author of Sophie's Choice.

In this extended essay Styron attempts to articulate his understanding of the illness based on his own experiences in the 1980s and his observations of fellow writers, many of whom famous and personal acquaintances of his. He has the added perspective of having spent many years on both sides of the topic. Styron used to be someone who had never been depressed and thus couldn't possibly comprehend it (he is adamant about this point). Now, having crawled through his own internal torment and distortion at the time of writing, he understands its magnitude so intensely that he calls depression a grave disease with as much fatal potential as diabetes or cancer.

Unfortunately, despite how serious depression is, no one seems to know exactly where it comes from or how to heal it. There's no formula and no tried-and-true easy fix. At least this is the conclusion at which Styron has arrived after seeing a therapist, being hospitalized, and doing a heap of research on his own. None of the conventional methods or medications worked for him so much as a little time a lone, a break from the busyness and demands of his life. Rather than implying that treating depression is a hopeless cause, he simply upfront about the reality that how the illness manifests itself and the extent to which it can be treated successfully depends on the person. And unfortunately a lot of it is still up in the air, as depression continues to pose a quandary to sufferers, bystanders, caretakers, and medical professionals alike.

Favorite quote:

"In depression this faith in deliverance, in ultimate restoration, is absent... If there is mild relief, one knows that it is only temporary; more pain will follow. It is hopelessness even more than pain that crushes the soul. So the decision-making of daily life involves not, as in normal affairs, shifting from one annoying situation to another less annoyingꟷor from discomfort to relative comfort, or from boredom to actꟷbut moving from pain to pain. One does not abandon, even briefly, one's bed of nails, but is attached to it wherever one goes" (62).

The House on Mango Street by Sandra Cisneros

When I used to work at a bookstore we always had this novel on display and in ample supply, especially during back to school season since it's a mainstay on reading lists at various academic levels. I'd been curious, but not enough to rush to by it. When I found a couple copies lined up at a local library book sale, I figured Welp, looks like this is my chance. Drawing inspiration from Cisneros' childhood growing up in the hood in Chicago, the novel is narrated by an adolescent girl named Esperanza Cordero who's one of many Latino residents on Mango Street.

Esperanza lives in an unremarkable house, claims to have no friends, and feels so underappreciated and misunderstood that she writes stories to escape the immense loneliness and dissatisfaction she feels toward her neighborhood. She often expresses a searing and unrelenting desire for solitude, home, belonging, control, a place to hide, the means to express herself and be acknowledged, the ability to be somewhere else and someone else. As much as she dreams of fleeing, though, ironically her writings memorialize Mango Street and the people who live there, especially the women she grows up knowing. And unfortunately, the majority of young and grown women in Esperanza's life are described as being in desolate relationships with the men around them.

A number of young newlyweds are sequestered in their homes by their husbands, like Rapunzels. One of Esperanza's school friends is frequently beaten by her father for being too pretty and having the potential to run away. A new mom who has just immigrated to join her baby's father spends her days mourning the loss of connection to her home country. Esperanza seems to have one of the most functional households in the neighborhood (two stable parents, a precocious younger sister), but she is very well aware of the mistreatment and double standards that have influenced her life. Her own great-grandmother was kidnapped into marriage, and even before high school Esperanza is assaulted by men in public on more than one occasion. In a similar style to the Margaret Atwood's The Handmaid's Tale, what may be mistaken as man-bashing is actually a testimony about various forms of suffering that often go unnoticed. Esperanza is determined to create the kind of life she wants without scorning where she's come from, but not before airing out her grievances.

Favorite quote:

"Their strength is secret. They send ferocious roots beneath the ground. They grow up and they grow down and grab the earth between their hairy toes and bite the sky with violent teeth and never quit their anger. This is how they keep... They teach. When I am too sad and too skinny to keep keeping, when I am a tiny thing against so many bricks, then it is I look at trees... Four who grew despite concrete. Four who reach and do not forget to reach. Four whose only reason is to be and be" (73-74).