Née à Gifu, au Japon, en , Aki Shimazaki commence sa carrière comme enseignante dans une école primaire. Elle immigre au Canada en D’abord à. Aki Shimazaki has 19 books on Goodreads with ratings. Aki Shimazaki’s most popular book is Tsubaki. Tsubaki. by Aki Shimazaki. translated by Fred A. Reed. Published by Talonbooks In her debut novel, Aki Shimazaki uses simple language to tell a complex.
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I looked up at mother. Tsubaki by Aki Shimazaki translated by Fred A.
Aki Shimazaki – Wikipedia
Namiko had thought she knew everything there was to know about her mother’s family, though she knew Yukiko had been reluctant to talk about the War:. In this regard, Tsubaki reminds one of a prose-length haiku, the Japanese verse form that permits the poet only three lines of text that must consist of a line of five shiazaki, a line of seven syllables and a final line of another five syllables.
As the story opens the mother, Yukiko, has recently died. As time went by, one began to feel the absence of the other. Set mainly in World War II-era Japan just before and during the atomic bombings by the United States that almost flatlined a country, Tsubaki is told in first person in the voice of two people: In her debut novel, Aki Shimazaki uses simple language to tell a complex tale of political machinations, infidelity and murder.
Tsubaki : Roman
txubaki Of course, authors do this all the time and the desire to do it here isn’t the problem. There has been no hint of a long lost sibling and, anyway, the name on the envelope is different than her mother’s maiden name.
The balance of Tsubaki fairly sings, however.
When the subject of the atomic bomb that fell on Nagasaki arose, mother would refuse to talk. Shimazaki’s prose is fluid and tight. She is a writer and conceptual artist. While the opinions that Yukiko expresses are no doubt based in truth or at least educated musings, given to us under the thinly-veiled device of an overheard conversation, they come across like proselytizing. Her daughter Namiko is at her mother’s lawyer’s office, settling Yukiko’s affairs.
But her expression was serious. As halting as that sounds, Shimazaki pulls it off very well. Our house was located halfway between them. Namiko had thought she knew everything there was to know about her mother’s family, though she knew Yukiko had been reluctant to talk about the War: Just prior to her death, Yukiko had inexplicably begun to discuss the long-forbidden topic with her grandson, Namiko’s son. Sometimes I would be alone; sometimes he.
Reviewed by Sienna Powers.
To write a successful haiku — to tell a story or impart something of meaning in so confined a space — demands that the poet be not only exceedingly articulate and possessed of a superior vocabulary, he or she must also be able to use tsubakj both economically and with power. Several pages of this conversation follow and prove, along with a later, similar discourse on the atomic bombings, to be the only flawed portion of Tsubaki.
Two bridges led to the grove. Within the context of a plot heavy with twists and turns within a single family, the sudden broader view laced liberally with political machinations and implications is jolting, to say the least.
The story never lags and the tension is never less than taut though, in truth, at paperback pages, there’s not much room for bogging. The second name is unfamiliar to Namiko and in addition contains a message for the daughter, “When you find my brother, give him this envelope in person.
If not, make sure to burn it. She had long forbidden me to tell anyone she was a bomb survivor. As expected, everything is in order and fairly straightforward as Namiko was an only child. Through the device of these conversations — with Namiko in the next room listening and overhearing — Yukiko expounds her opinions regarding the U. Namiko is surprised, however, when the lawyer hands her shimszaki envelopes, each one bearing a name written in her hand.
The sentences are short though hsimazaki staccato, the prose is beautiful, sparse and almost every word does its part in moving the story forward:. I took the right-hand bridge, he the left-hand one. Since childhood I had wanted to learn her story. Used in this way, however, it’s difficult not to see the puppeteer, the author, putting her characters through the motions of voicing opinions she wants to see expressed.
We each crossed in our own way. Sienna Powers is a transplanted Calgarian who lives and works in Vancouver, B. I believed she had been hurt far more than I could know by the loss of my grandfather, who had died in the cataclysm. In Tsubaki Shimazaki demonstrates her prowess in all of these areas. We never agreed beforehand to meet. Nothing is wasted and everything is exposed. The sentences are short though never staccato, the prose is beautiful, sparse and almost every word does its part in moving the dhimazaki forward: