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Lizard (とかげ) is a short story collection by Banana Yoshimoto, written in 1993 and translated into English in 1995 by Ann Sherif. It is a collection of six short stories on love and the healing power of time. In the American edition Banana dedicates her book to Kurt Cobain.
Memories of the Dead End) is a 2006 short story collection by Banana Yoshimoto, published by Bungeishunjū. In 2019, an English translation by Asa Yoneda was published by Counterpoint in 2022, and a movie adaptation, directed by Hyun-Young Choi, was released in Japan. [1]
Yoshimoto was born in Tokyo on July 24, 1964, and grew up in a progressive family. Her father was the poet and critic Takaaki Yoshimoto, and her sister, Haruno Yoiko , is a well-known cartoonist in Japan. Yoshimoto graduated from Nihon University's College of Art with a major in literature.
"NP" is both the name of the novel and of a short story collection within the novel's plot, a collection written in English by the character Sarao Takase, who committed suicide before he could translate it into Japanese. Three more people attempting to translate the collection have also committed suicide.
This page was last edited on 13 November 2024, at 20:24 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
Kitchen (キッチン) is a novel written by Japanese author Banana Yoshimoto (吉本ばなな) in 1988 and translated into English in 1993 by Megan Backus.. Although one may notice a certain Western influence in Yoshimoto's style, Kitchen is still critically recognized as an example of contemporary Japanese literature; The Independent, The Times, and The New Yorker have all reviewed the novel ...
Asleep (白河夜船 しらかわよぶね・しらかわよふね Shirakawa yofune or yobune) is a novel written by Japanese author Banana Yoshimoto (吉本ばなな)in 1989 and translated into English in 2000 (book was released in 2001 [1]) by Michael Emmerich.
The New York Times noted "Yoshimoto bucks beautifully against convention" with regard to her women characters. [5] The Japan Times called it "sweet" but also "saccharine." [ 6 ] In comparison to Yoshimoto's same-year debut, Kitchen , The Spectator called the book "a similarly slender work and one that casts a delicate spell."
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