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- Dimensions: 4.92" h x
.43" w x
7.68" l,
- Binding: Paperback
Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful.
By Ancient Mariner
You know how people refer to "a man's man" or "an actor's actor"? Well, sometimes you see mention of a writer's writer, and I can't think of a better way to describe Banana Yoshimoto and her work. She hit the Japanese literary scene with a bang in 1988, and was the unchallenged "it" girl thereafter. All at the age of 24. Since then she has had an influential and interesting output."N.P." is a very good way to meet her. The book is about fate, incest, family, lesbianism, suicide, obsession and secrets. To be honest, I probably don't need Banana Yoshimoto to give me any insight into those topics. What I do need from Yoshimoto, and what I got, is a sense of how young contemporary Japanese writers are writing about such topics, and what characters they and their readers find interesting. The characters in this book are young or childish, (which is different), depressed, smart, listless and unmoored. There is a vague sense of the whole "lost generation" thing all over again with a Japanese spin. Everything is bright, light and effortless, except when it is dark, heavy and burdensome. There is very much a "Bright Lights, Big City" feeling, which I guess isn't surprising.The other pleasure of this book just comes from the delight one takes in good writing. This is spare, delicate stuff, with subtle suggestions and grace notes built around cryptic conversations, small observations and passing thoughts. Minimal and clean, this style accents subject matter that could easily have been handled in a lurid manner. Delicacy in the handling of dramatic unpleasantness is an interesting style, and if you are at all interested in a work that is playful, earnest and a bit foreign, this could be a nice choice.
0 of 0 people found the following review helpful.
By A customer
Banana Yoshimoto's N.P., the Japanese writer's second novel, is an intriguing tale of suicide, incest, and love set in a hot, sticky Asian summer.At the center of Yoshimoto's book is the dead writer Sarao Takese, the author of a collection of short stories also called N.P. Takese has fathered two children by his first wife before his own death by suicide: Otihoko and his sister, Saki, both of whom we meet briefly early in the novel through the narrator and protagonist, Kazami. Kazami is drawn to the brother and sister instantly when she first sees them at a party. "I was overwhelmed by the sensation that I had actually met them before in my dreams, but then, in the next moment, I came back to my senses, aware that anyone who saw these two would feel the same way," she says. "I couldn't take my eyes off of them."After running into Okihoto by chance some five years later, Kazami is quickly drawn into the tragic life of him and his sister, and she begins to reveal more of her own tragic story. Divorce and suicide are common elements to both Kazami and the Takeses. Kazami was raised by her mother after her father abandoned the family, and her lover Shoji has killed himself; similarly, Okihoto and Saki were raised by their mother after her divorce, and the Takese family has had to come to terms with Sarao's suicide.Things get even more complicated when the enigmatic character Sui enters. Sui, it turns out, is both Okihoto's lover and half sister; not only that, she has also been the lover‹inadvertently‹of their common father, Sarao Takese, and of Kazami's now-dead lover.Unlike many American novels, however, this is a story about love and the mysteries of attraction, not sex. The characters are drawn to each other not by hormones but by the qualities in each other that they lack in themselves; quiet, meditative Kazami is attracted to Sui's exuberance like a moth to light.The idea that Sui brings to the novel is that in the world these characters inhabit, a world marked and marred by divorce, suicide, and confusion over national and familial identity, anything can happen, and almost anything does. The traditional relationships of father-daughter, brother-sister, are weakened and confused; the characters are through the looking glass, living in a world of unlikely coincidences, eerie psychic bonds, and frequent sensations of déjà-vu.However, the novel's resolution is remarkably conservative. Sui, revealed to be a dangerous and destructive force, exiles herself from the story, and Kazami and Otihoko, the only characters who aren't related by blood, end up sitting together on the beach, quietly falling in love.As a novelist, Yoshimoto has problems that are common to young writers; neither characterization nor dialogue are her strong suits. But it doesn't matter. She is concerned with larger issues‹questions of identity, language, and writing. In giving her novel the same title as Sarao Takese's collection of stories, making Takese's last "story" the true story of him and his love affair with Sui, and giving character's lines such as, "I was a character in a book, and now I've come out of the book and am talking and walking," Yoshimoto shows that she is well-versed in the postmodern techniques and quirks of metafiction: fiction that is painfully aware of its own lowly status as a fiction.What is truly compelling about Yoshimoto's writing, however, is not her take on divorce or her clever technique, but her way with an image. On almost every page is some simile, metaphor, or turn of phrase that begs you to stop and think for a moment before moving on. She describes summer, for example, as "the time of year when the air is intense and hot, and the blue summer sky promises to suck you up."I suspect that Yoshimoto's true gift as a writer is poetry, and I'd be interested in seeing what she could do in that medium. For now, though, I'll content myself with recommending N.P. for an enjoyable and thought-provoking afternoon's escape from the hot summer days that are about to come.
0 of 0 people found the following review helpful.
By A customer
This is my second book of B. Yoshimoto. I still prefer Lizard more and I would recommend you reading it, before Kitchen (I guess this is more interesting than the two I've read). NP, North Point which is actually the name of the place I'm living in, in Hong Kong which seems a bit of a coincidence. I really would want to know the lyrics of the song, if anyone have it, could you please kindly send it to me! NP is interesting and I love the images created in it, that summer heat and the recurring of the image and colour of BLUE, as felt by other readers, she should try writing poems. The relationship between the characters is quite complicated however this complication does not bring me to disgust at the morality of their parents, thanks to the writing of Yoshimoto. On the other hand, NP could not create an attraction to me and make me to read on but I still managed to finish it within 2 days. In fact, I'd rather read the actual story NP, ninety eighth and ninety nineth story than this novel. Anyway, this story is worth reading and can help to get an insight of the new generation of Japanese and perhaps wipe away some of the sterotypes in your minds.
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