Amrita

by Banana Yoshimoto

(Alternative cover for ISBN: 0571193749)

"Blood ties seemed unrelated to how we were living," Sakumi, the young narrator of Amrita, begins portentously. The "we" of the family comprises a strange blend--Sakumi's mother, twice married (widowed and divorced); a telepathic younger brother; a cousin; and her mother's childhood friend. Grief over the tragic death of Mayu, Sakumi's flamboyant younger sister, binds them together. But this family tragedy is not the only obstacle to happiness and wholeness for Sakumi, who loses her memory in a fall. Her troubles lead to awareness, though, as memories gradually return, leading Sakumi to discover her own identity and move towards acceptance of her sister's death.

Banana Yoshimoto's first novel, Kitchen (1991), traversed the territory of love and loss. Its fabulous success in Japan and the U.S. had to do with her distinct sensibility, a contemporary voice arising from a tradition-conscious culture. Amrita also ventures through the minefield of familial loss, but with a style less driven by the bizarre interface of tradition and pop culture.

Genres: Fiction, Japan, Japanese Literature, Contemporary, Magical Realism, Asia, Asian Literature

366 pages, Paperback

First published January 1, 1994

About the author

Banana Yoshimoto (よしもと ばなな or 吉本 ばなな) is the pen name of Mahoko Yoshimoto (吉本 真秀子), a Japanese contemporary writer. She writes her name in hiragana. (See also 吉本芭娜娜 (Chinese).)

Along with having a famous father, poet Takaaki Yoshimoto, Banana's sister, Haruno Yoiko, is a well-known cartoonist in Japan. Growing up in a liberal family, she learned the value of independence from a young age.

She graduated from Nihon University's Art College, majoring in Literature. During that time, she took the pseudonym "Banana" after her love of banana flowers, a name she recognizes as both "cute" and "purposefully androgynous."

Despite her success, Yoshimoto remains a down-to-earth and obscure figure. Whenever she appears in public she eschews make-up and dresses simply. She keeps her personal life guarded, and reveals little about her certified Rolfing practitioner, Hiroyoshi Tahata and son (born in 2003). Instead, she talks about her writing. Each day she takes half an hour to write at her computer, and she says, "I tend to feel guilty because I write these stories almost for fun."

Reviews

[K.D. Absolutely · Rating 2 out of 5]

How do you rate a bad book if the author herself apologizes for it? Would you be more considerate with your rating because of the apology? At least, you can say that she has that humility of accepting the fact that what she wrote a "trashy" book.

Honestly, for me, there is almost nothing new or nothing to like in this book. However on the very last page of my edition was an Afterword by the author and she sounded apologetic: "I give my deepest thanks to the one who translated this book, so random and disjointed, with such thoughtful care – Mr. Russell F. Wasden." Yoshimoto, for me, admitted the problem she recognized after reading what whe wrote: her random thoughts and disjointed plot.

Yoshimoto may have that astute sense of attention to details so she can take you to the scenes in the book like you are physically there. However, she described what was happening in too many details that for several instances, I lost track of what she was saying. It was a bit amusing at first but her characters were not ordinary people who I could relate to myself or to some people I've known or I've met. Most of her characters here have special powers – telepathic, clairvoyant, visionaries, etc. so relating was simply difficult. Then some of those without special powers behaved illogically or irrationally. For example, I know that Japanese are very disciplined people in terms of schooling or with their work ethics. However, the mother in the story does not give a damn whether her son absents himself from school or not. Her solution to her worries in life is just to go out and enjoy a night drinking with her boyfriend. I have not actually lived in Japan but from the business associates I had in my previous work, this behavior of the mother seems not common in their rigid and disciplined culture.

The story seems like an extended version of her first novel Kitchen, the novel that made her a household name not only in Japan but in most parts of the world. Around 100 pages is forgivable but extending a senseless fragmented plot by another 50 pages more is not funny anymore. Again in her Afterword, she said that after writing the book, she read it and realized how naïve she was that her face turned red. She added that she thought she might not ever write another book as lengthy as this one. I say, good for her! She explained that the theme of this book was simple and she just wanted to express the idea that, regardless of all the amazing events that happen to each of us, there will always be a never-ending cycle of daily life.

I say, fine. However, I’ve seen mediocre novelists using this scapegoat: to those who say that my novel has no plot, this I ask to them: “does life have a plot?” I think having a plot is essential to a novel. Even Gabriel Garcia Marquez’s masterpiece One Hundred Years of Solitude is about the never-ending cycle of life but it has a plot and it is a beautiful brilliant plot. Also, reading a novel is just a part of life. It is one of those things we do to enjoy life. It is not life itself. So, it has to have a plot.

On the other hand, I can see why other people would still love this book. It has the magical realism similar to the works of her contemporary, Haruki Murakami minus the references to sex. Also, this is more feminine for it is a chick lit. It touches more on relationships: mother to her son, sister to her younger brother, female bonding, young woman grieving for her dead father and more beautiful dead sister. Yoshimoto describes her scenes in details that if you have already been to Tokyo, you cannot help but reminisce those days you spent there: when you ate or drank at some bars, when you rode their bullet train, when your train passed by a nice-smelling bakery, etc. After all, if you’ve been to Japan, you want to go back, right? We all love Japan.

So even if I hated this book, I am still rating this with 2 stars. It is still okay.

[Ginger · Rating 5 out of 5]

The main character of this Yoshimoto book is quite similar to all of her novels: a young, modern Japanese woman who has endured great trauma but manages to keep an open heart to the world despite it. A lot of tragedy besets the particular narrator of this book, Sakumi; before it even begins her father and then sister have passed away and she has had an accident that causes her brain damage. Despite the heavy scene that sets up, this novel is breezy and fantastical. It may be about family and loss but it's also about youth, traveling, love, and magic. It abounds with mystical powers, ghosts, mind reading, and unexplained events. It's true magical realism, in the vein of Salman Rushdie or her modern Japanese peer Haruki Murakami. But Amrita is much more feminine and warm than either of those authors works. Although there are fantastical elements it's still normal life that she is concerned with.

Yoshimoto strong suit is perfectly describing moments...eating street food late at night with the narrator's pre-teen brother, listening to a friend sing at a bar, waking up in the morning in a strange room. She loves the moments in which you might stop to record in your mind exactly what's around you for a beautiful and brief second. A large section of the book is taken up by a vacation to the tropical island of Saipan. She perfectly captures the contrast between a slow island culture in which past, future, and present seem to be the same thing; and then the narrator's metropolitan life which seems busy for no reason.

This is definitely Yoshimoto's most experimental novel. That may not be saying much considering how sparse the prose in her other novels is, but Amrita jumps in time and place quite often. She's purposefully lost the sharp editing of Kitchen. The book is quite long and suffers a little from the narrator's constant analyzing of her state of mind. Occasionally the thoughts directly contradict themselves so much that it resembles an unedited journal entry. I also can't help but feel like the translation is a little clunky in these parts; something just isn't coming across. I couldn't fault anyone for becoming weary with the writing for that reason, but once I accepted the uninterrupted flow I became really comfortable with Sakumi's voice.

Many big events do happen in the book, but is also leaves the reader with the feeling that nothing has happened, that this book is simply one big loop through the circular patterns of a life. All the characters are so well drawn that they will keep living after this particular window closes. That's great fiction.

[W · Rating 4 out of 5]

An exquisite book about the ebb and flow of a young Japanese woman's life.Although I generally don't like magical realism,I still enjoyed this book.

The title "Amrita" means immortality.Sakumi is a young woman whose sister,an actress commits suicide in scandalous,mysterious circumstances.She herself has had a head injury which results in the loss of her childhood memories.

She is visited by ghosts and receives telepathic messages.Her brother who has mystical powers,predicts an air crash and the appearance of a UFO over Tokyo.

Her fiance is on a sorrow filled journey of his own through grief and redemption.There is a final confrontation with the spirits of the dead on a remote Pacific island.

But as the author says,"regardless of all the amazing things that happen to us,there will always be the never ending cycle of daily life."

It doesn't sound like my kind of book at all.But Banana Yoshimoto keeps it very readable.More than the magical realism part,what kept me far more interested were the more prosaic details of daily life.

[Roo7 · Rating 4 out of 5]

I feel a need to defend this book...I picked it up during a Japanese-authors phase and just couldn't put it down. Some might argue that Yoshimoto's story is too surreal, too fragmented, "too detailed" (as a friend put it).

For me, it was just right. Every other page I felt like underlining a quote. Every sequential chapter, distinctly out of joint with the previous, made me feel like I was floating out in the ether somewhere. The story is supposed to be about the way life turns on itself; the ebb and flow of just living. I think Yoshimoto conveyed that sense perfectly.

As far as the plot, I'm not sure what to say: There's a girl. She lost a chunk of her memory. She has a brother who may or may not be insane. Her sister committed suicide. This girl has an odd relationship with her sister's fiance. Everything somehow fits together like a Monet: Just blobs up close, but beautiful when you look at the whole picture.

[Alexandra · Rating 3 out of 5]

Zu Beginn hat mir der Roman gefallen, denn Amrita stellt sich zuerst als gute Familiengeschichte dar. Die Schwester fehlt der gesamten-Familie schmerzlich, sie hat sich irgendwie umgebracht, denn ständiger Alkohol- Tablettenmissbrauch und Autofahren sind halt keine gute Kombination und dem Leben abträglich. Protagonistin Sakumi geht irgendwann eine Beziehung mit dem Freund der Schwester ein. Sie erlebt nach einem Unfall, bei dem sie sich schwer verletzt hat eine schmerzliche Zäsur, denn sie leidet an retrograder Amnesie, die sie selbst und auch ihre Beziehung zu ihrer Familie und zur Umwelt verändert hat.

Bruder Yoshio, das hypersensible Kind hat Visionen, Träume und Vorahnungen, hört Stimmen und ist ständig müde. Diese Talente, beziehungsweise Un-Talente werfen ihn total aus der Bahn, er isoliert sich, hat keine Freunde, schwänzt die Schule und verliert seinen Antrieb. Die Mutter hat sich emanzipiert und scheiden lassen, sie lebt mit ihrer besten Freundin ihren Kindern und der Nichte in einem für japanische Verhältnisse sehr progressiven Haushalt, der irgendwie trotz der Trauer und aller Probleme einigermaßen gut funktioniert, weil sich die Mitglieder unterstützen und wertschätzend respektvoll miteinander umgehen.

Diese sehr ungewöhnliche Patchwork Wahlfamilie, stellt fast den Gegenentwurf zum typischen japanischen Leistungsgedanken und dem dar, was in Japan als funktionaler, karriereorientierter, stets beschäftigter Lebensstil verlangt wird. Alle lassen sich ein bisschen treiben, haben öfter länger keinen Job, keinen Plan fürs Leben, lavieren herum, unterwerfen sich wenigen Konventionen und viele der beschriebenen Figuren pflegen sehr ausführlich ihre variantenreichen esoterischen Spleens.

Es ist immer wieder erstaunlich, wie sehr die Japaner mit ihrer rationalen Leistungsgesellschaft in der Literatur und vielleicht auch in der Freizeit so als Sehnsucht ins Esoterische kippen: Da hört man die Geister der Toten, Vorahnungen und Visionen prägen die Figuren, viele Charakter haben telepathische Fähigkeiten, was ganz normal und selbstverständlich in den Alltag einer fiktionalen Geschichte in der Gegenwart integriert ist. So ein Bedürfnis nach dem Übersinnlichen ist wahrscheinlich auch der Shinto-Religion der Vorfahren geschuldet. Ähnliche Muster in der Fiktion verwenden auch Murakami und Konsorten.

Bis zu diesem Punkt, hat mir auch alles ganz gut gefallen, die Autorin Banana Yoshimoto weiß ihre Fabulierkunst einzusetzen, die Figuren sind liebevoll entwickelt. Fast schien es so, als wäre sie ein progressiverer Murakami in Frauengestalt, eine Autorin, die die Integration von Mystik in die Realwelt inklusive der Beschreibung modernen japanischen Lebens, die Synthese und Verschmelzung von zwei Welten, der rationalen und der irrationalen besser zusammengebracht hat, denn ihre Fiktion lebt ohne Murakamis Sexismus, und ohne die überalterten Rollenklischees der Frau als Dienerin, Sklavin, Hure und Geisha des Mannes.

Aber dann äußern sich derart fundamentale Schwächen im Plot, dass ich nur noch genervt war. Fast nix Substanzielles passiert, die Handlung ist zäh wie Kaugummi. In redundanten Schleifen wird immer um dieselben Ereignisse der Vergangenheit gekreist. Dieselbe Szene und ich spreche da nicht nur von einer Szene, sondern vielen, wird manchmal mehr als vier Mal ohne neue Aspekte erzählt: Zum Beispiel die Kopfverletzung und der darauf folgende Gedächtnisverlust oder auch die Wiedererlangung der Erinnerungen nach der retrograden Amnesie, der Tod der Schwester, oder der Urlaub auf der fernen Pazifikinsel - immer die gleiche Leier zuerst detailliert geschildert, dann mit der Wahlfamilie besprochen und zehn Seiten später als Brief in der Zusammenfassung, dann noch als Erinnerung tausendmal… so geht es munter weiter.

Die spärliche weitere Handlung mäandert meiner Meinung nach wie hundert Schallplatten mit Sprung in unzähligen Wiederholungen – Ach ja und irgendwann macht die Protagonistin sogar in einer erneuten Rekapitulation noch eine Checkliste in Stichwortform, was ihr in den letzten Jahren passiert ist, die dann auch wieder mit ihrem Freund besprochen wird. Will mich Yoshimoto verarschen oder quälen? Das muss ja sogar ihr auffallen, dass so ein Handlungsaufbau gegen jede zulässige Regel der Dramaturgie verstößt, das ist nur noch Folter der Leserschaft. Der Roman wird so mühsam, zwischen Seite 300 und 500 gleicht die Autorin einer halbdementen, erzählfreudigen einsamen alten Dame, die nicht einmal mehr merkt, wem sie die ewig gleichen Gschichtln schon erzählt hat.

Und jetzt echt!? 500 Seiten in einem Roman sind schon eine starke Bürde, die man den Lesern abverlangt, aber 200 Seiten Wiederholung kaum mit Entwicklung sind eine Verarsche und Frechheit. Was ist eigentlich dem Lektorat da eingefallen? Eine deutliche Straffung der Handlung hätten dem Buch gutgetan. So kann ich nur fassungslos den Kopf schütteln, bei fundamentalen Fehlern im Plot bin ich wirklich heikel und werde schnell ungehalten.

Fazit: Sehr gut begonnen, bis zur Mitte ganz ambitioniert und die letzten 250 Seiten grausam abgestunken dieser Roman. Keine Leseempfehlung!

[luce (cry bebè's back from hiatus) · Rating 3 out of 5]

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Over the last couple of years, I have made slow but steady progress reading my way through Banana Yoshimoto's oeuvre. Amrita marks the thirteenth work that I have read by her and, as in many ways, it exhibits many textbook Yoshimoto traits: an atypical family unity, an irreverently optimistic tone (regardless of the subject matter), a narrator whose navel-gazing belies her sagacity and a keen awareness of the motives and natures of those around her, allusions to or inclusions of incest and incest-y dynamics, vibe-driven stories that combine the mundane with a fair share of improbable scenarios, mumblecore dialogues, and characters who are ailed by inexplicable physical and/or metaphysical malaises (i swear one day i will create a bingo of the motif/tropes you are guaranteed to find in a yoshimoto book). Yet, it also stands out against most of Yoshimoto’s work. Whereas Yoshimoto’s books usually are relatively short in length, Amrita is a more traditional full-length novel. Additionally, while much of Yoshimoto’s work is characterized by a dreamlike atmosphere, at times even by a soft use of magical realism, Amrita leans much more into the paranormal. Mid-way through Amirta I came to the conclusion that Yoshimoto’s idiosyncratic storytelling shines best in a shorter format and that I prefer her blink-and-you-miss-it use of fantastical/improbable elements.

Amrita’s length makes Yoshimoto’s propensity for plotless narratives all too apparent. Funnily enough at the end of the novel the main character, Sakumi, lists the major incidents/experiences that she has undergone throughout the book but these are so loosely strung together that this sequence of events is related/presented to us in a very haphazard way. That is to say, I was often disorientated by the story’s direction, and wasn’t sure what had happened when if something was even happening, and where the narrative was heading. The opening of Amrita is the most cohesive part of the story. Yoshimoto introduces us to Sakumi's unusual family unity: her mother, who is cheerful if self-absorbed, her peculiar younger brother, a cousin (a character who is not particularly memorable), and her mother’s childhood friend. Although we learn of Sakumi’s younger sister, Mayu, at one point a model, tragic death, this family unity seems carefree and vivacious. Before we gain an impression of their various dynamics or we glimpse the grief underlying their everyday lives, Sakumi, in a very soap-opera-ish plot-point, loses her memory.

The storyline unfolds rather aimlessly, with random, incredibly inconclusive conversations and scenes. I never understood just how much memory Sakumi had lost as her understanding of the past and the people around her often betrayed some form of prior knowledge, of shared history, that didn’t fit in with her thinking that she has lost her memory and can’t recall the past. Sakumi becomes involved with Mayu’s former lover who is truly appalling. The guy treats and speaks to her in such a dickish way that I wanted him to cease being part of the story. Neither Sakumi nor the guy think much about Mayu or feel remorse/anxiety/any sort of thing really about becoming involved. Sakumi rarely thinks of her sister, and when she does she paints her as this broken manipulative beautiful girl…the two end up travelling together and meeting a couple that is even more questionable than they are. If I didn’t misunderstand, the other girl confides in Sakumi that as a child she used to think of her dead mother’s vibrator as a trinket. Sure, she did not know what it was but it seemed risible to me that she would feel such affection for this object (as opposed to something else that belonged to her mother).

Much of the narrative also is centred on Sakumi’s brother, who is a bit of a brat and a whiner. He develops increasingly stronger psychic abilities, from telepathy to precognition. His abilities/nature makes it difficult for him to lead a regular life and he stops going to school. Bizarrely enough his mother doesn’t seem particularly concerned by his behavior, dismissing any notion of him being actually psychic or in need of help. Sakumi at times speaks of his abilities as if they are an undoubted fact, other times she forgets that he is actually psychic. The story, later on, sees him become friends with people like him and there it really did lose me.

I would have liked it more if the story had been much shorter and more focused on Sakumi's family unity, as opposed to Mayu’s jerk ex, his outlandish friends, and the paranormal factor. Still, even if the story’s dragged, weighed by an absence of plot and an abundance of random, often wholly ridiculous, exchanges, I have a soft spot when it comes to Yoshimoto so I can't say that I disliked Amrita. However, if you are a newcomer to Yoshimoto I would recommend checking out Kitchen or Goodbye, Tsugumi. Her collections of short stories Asleep and Lizard are also worth a read.

[Kamila Kunda · Rating 5 out of 5]

I adore Banana Yoshimoto for the ability to create atmosphere I find myself at ease in. She is, for me, the master of ‘ichi-go ichi-e’ - this elusive Japanese awareness of treasuring the unrepeatable nature of a moment. “Amrita”, like many other works by Yoshimoto, is a perfect novel embodying it.

Many people have a problem with “Amrita”, saying it is too weird or about nothing in particular. Some characters possess powers most people don’t: they can enter other people’s dreams, they have premonitions, they are deeply connected to themselves and others. For me though this is not some magic (I myself sometimes have premonitions, usually in the form of dreams) but an element of reality many feel uncomfortable with but I feel perfectly in peace with.

What I love about “Amrita” is that the story has no beginning and no end, it’s not aimed at transforming any character (but they do change), has no climax and doesn’t seem to have any clear message. It is all about emotions and feeling that the moment is there and will soon belong to the past. When Yoshimoto writes about staying up late, coming downstairs to the kitchen to make coffee at 3am she makes me want to do exactly the same. It’s been a long time since I read such perfect descriptions of holidays spent on getting a suntan and doing nothing as the main character and people close to her enjoy in Kōchi and later on Saipan.

“As people we narrowly get by with our lives each day, energy from our soft, delicate actions appearing like cherry blossoms, only once, and once for a short while. Eventually petals fall to the ground.”

“Amrita” is also a novel about family bonds, trust and autonomy family members give to one another. Reading about so many unhappy families in Japanese literature here it was a breath of fresh air to see a family, considered ‘strange’ for being unconventional by the conservative protagonist, but healthy, imperfectly happy and at ease. People who truly enjoy spending time in each other’s company. For all the above I hold Yoshimoto in the pantheon of authors who move me, evoke deepest emotions and make me pay attention to the joy of simple moments. And this is what I treasure.

[Conejo Literario · Rating 5 out of 5]

No se que demonios fue exactamente lo que leí o como describirlo pero ME ENCANTÓ 💓.

[Tenma · Rating 1 out of 5]

It might be unfair to rate this novel so low when I skipped most of it, and will probably toss it away before I could finish it. It is not necessarily boring, rather, not interesting. I did not find any appeal in the story or the author's approach to narration.

Banana Yoshimoto is a talented writer. She is very popular in her native Japan and has a loyal following. Her writings however seem to target young women. Her popular novels (at least the ones that I have read) were written in the 90s when Ms. Yoshimoto was in her twenties or early thirties. As such, they portray the turbulence, freethinking, and rebelliousness of the young of that era. Her novels are mostly about a group of well to do young people who are intimately connected and share difficult and sad experiences. The protagonist is usually a cool and confident young woman, who has experienced a death of a close relative or a young friend. Also common is to find the protagonist or someone close to her dating a much older man.

Reading Amrita feels as if you are reading the author's personal diary entries. There is no coherent story, just a talk about current and past events in her life. A major portion is recitation of the tedious dialogues the narrator has had with friends and family.

It takes patience and commitment to reading a Yoshimoto novel. They are not for the casual reader or those looking to be entertained. You need to be in the right mind set to really enjoy her writings. They will most probably appeal to the young in their teens and tweens, and particularly those who are in the midst of a relationship or contemplating the meaning of life.

[Tân Trần · Rating 5 out of 5]

Không hiểu sao mỗi lúc mệt mỏi áp lực mình lại tìm đến cô chuối để được những con chữ của cô vỗ về, mình rất thích cái văn phong ấy, nhẹ nhàng nhưng tinh tế. Cứ có cảm giác là những nhân vật trong sách đều “trưởng thành” theo một nghĩa nào đó, dù là tình yêu, tình cảm gia đình mình đều cảm thấy nó chân thực và không hề bi luỵ. Nhiều lúc mình cứ nghĩ ruột gan của họ bị phơi ra trang giấy hết vậy, không dấu diếm, không né tránh hay tô hồng, tự dưng lại dấy nên nỗi niềm gần gũi đến khó tả (chỉ có cô và murakami là làm cho mình yêu cái phần “con” của nhân vật đến vậy).

[Jonas · Rating 4 out of 5]

Audible Version. I really enjoyed the narrative and the narration. The storyline explores loss-the loss of someone you care for and, by an unfortunate accident, the loss of memory. The narrator navigates her way back to life with the help of a unique cast of characters. I loved the relationships between characters and the supernatural element of her brother’s clairvoyance. I really liked the trip to Saipan and the couple that resides there. This is one I would like to re-listen to or find a copy and read it.

[Haiiro · Rating 4 out of 5]

Phân vân giữa 3* với 4* rồi tôi quyết định mình có thể thêm cho Amrita 1* vì những cảm xúc mà nó mang lại.
Lâu lâu mới quay lại với lối viết của Banana Yoshimoto, cảm giác cứ như gặp lại một người quen cũ - người mà mình từng rất gắn bó và thân thiết - sau thời gian dài xa cách vậy. Thật dễ chịu và ấm áp, mặc dù tôi không thể nói được là văn phong của Banana có gì đặc biệt để tác động tới tôi đến thế. Đôi khi trong cuộc sống thường nhật ta vẫn thường bắt gặp những tình huống hiển nhiên đến độ không thể lí giải được như vậy, và ta cũng hiển nhiên đón nhận chúng mà chẳng cần cố công đi tìm nguyên do làm gì. Có chăng, tôi chỉ cảm thấy lần "gặp gỡ" này thật đúng đến không tưởng, đến mức mới đọc tới trang bốn mươi mấy đã thấy ngập trong xúc động và cái cảm giác ấy cứ kéo dài mãi đến khi sách đã đọc xong bất chấp việc nội dung của nó có phần lê thê và buồn tẻ.
Amrita được viết dưới góc nhìn của nhân vật chính Sakumi, cũng tương tự như bất kì một cuốn sách nào khác viết theo ngôi thứ nhất. Song tôi thấy nó rất giống một cuốn nhật kí không có ngày tháng, nơi Banana thông qua Sakumi lại giúp tôi tiến vào những suy tưởng của chính tôi. Rất nhiều sự trùng hợp dù không có gì to tát cũng khiến tôi thích thú, phải ồ à lên trong lòng. Nhật kí (hoặc status, note hoặc những thứ mang tính chất cá nhân) là cái kiểu, những chuyện bạn viết ra có khi nhạt toẹt chẳng có nội dung gì mấy, cũng có thể khiến bạn một lúc nào đó phải dành ra cả ngày cả buổi để đọc lại rồi chìm trong những hài lòng, tiếc nuối, hạnh phúc, đau khổ, hấp dẫn, nhàm chán, vân vân và mây mây mà nó mang lại. Bởi thực ra toàn là những chuyện bạn đã từng trải qua, bởi xấu đẹp gì chúng cũng được kết ra từ chính bạn mà. Amrita cũng là cái kiểu như thế: dẫu có dài dòng văn tự lúc này lúc kia, thì lúc kia lúc khác nó lại như thay tôi suy nghĩ rồi lại thay tôi nói ra những điều mình nghĩ. Thế và tôi cứ đơn giản là bị nó cuốn theo. Tuy rằng sự lan man của nó có đôi lúc khiến sự nhập tâm của tôi bị ảnh hưởng, giống như mạng bị chập và tôi bị "out" ra, nhưng rồi cũng nhanh chóng và không khó khăn gì để tôi "log in" trở lại.
Không chắc lắm về việc tôi đã từng nói điều này hay chưa. Những câu chuyện Banana viết luôn làm tôi thấy hương mùa hè vảng vất, dù là bối cảnh truyện có là xuân, hạ, thu hay đông. Có thể vì biển lúc nào cũng xuất hiện gần xa, vì nhân vật của bà cứ âm thầm vươn lên mãi như những đọt măng bất chấp gió bão, hay vì dù thời tiết có ảm đạm thế nào tôi vẫn thấy dấu hiệu của nắng gió... Chỉ là giống như Sakumi nghĩ, "tôi cảm thấy mình từng biết cảm giác này, dù xảy ra chuyện gì thì kết cục cũng không bao giờ u ám".
Mà Banana Yoshimoto rất hay có những đoạn hội thoại bình thường nhưng rất dễ thương kiểu thế này:
- Bao giờ anh đi? Mì Sợi bất giác hỏi.
- Ngày kia! Mesmer trả lời.
- Em không còn giận anh chuyện bỏ em đâu nhé! Mì Sợi cười nói.
- Điêu nào! Chính em bỏ anh thì có!
- Ai bỏ ai cũng thế thôi! Đằng nào thì cũng là chia tay. Từ giờ, chúng ta sẽ là bạn nhé! Mì Sợi nói.
- ��! Mesmer khẽ đáp.
- Dù có làm việc gì như thế nào đi chăng nữa, chỉ cần có bạn bè là được. Mong muốn không phải xấu hổ với bạn bè sẽ luôn nâng bước ta!
- Ừ!
Chỉ cần thế thôi là đã đủ để tôi rung động rồi.

[hans · Rating 3 out of 5]

In Sanskrit, Amrita means immortality. And this book was in between surreal and reality. I've read few magical realism before, but never one like this. A fresh kind of vibe.

Talking about plot, as what Yoshimoto said-- this book is very simple. It was about daily life and what's happening around. I love how it relates to most of familiar scenes in life-- people come and go, incidents happen, loneliness and betrayal, friendship and families, gifted and ungifted. As what Yoshimoto said in foreword, she might not write any lengthy story anymore after this one, but I really wish she would still do. It was not that bad, honestly. It might sound like a girl ranting and scribbling her life through out the pages-- but the memories, her heart, and thought was so vivid I could actually felt it deeply inside my heart.

The characters were my favorite. From Sakumi herself, to Yoshio and Ryūichirō. Even Mayu. And I kind of love Saseko although she's somewhat a bit spooky. It was so various and unique-- Noodle and Mesmer and even the Berries' owner. But I must say the part of Yoshio's story was a bit bizarre to me. With such talent and gift, at that young age. I was mesmerized when he told Sakumi that he met Mayu like what else can you do, kiddo?

No punchline or twist, nothing too profound, it was just as it is. So random, odd and paranormal, but very thoughtful. Not many would love this book I think, but it was okay for me though. I rant to myself too sometimes just like Sakumi did, or probably I just got hypnotized by Mesmer. Love the ending as well (and all the heartfelt letters). 3.5 stars!

[Mairi · Rating 5 out of 5]

To me, Amrita is the perfect book.

It's surreal, and magical and chaotic and lonely. From the beaches in Saipan, to behind the bar where the main character works, to the quiet residential streets of Tokyo, to the fantastical dream locations the characters flit in and out of. Each time I picked it up I was there. I hurt when they hurt, I laughed when they laughed, and I felt lonely when they did too... which is, most of the time in this book.

My only criticism? Not long enough. I could have read a thousand more pages.

Banana Yoshimoto is quickly becoming my favourite author of all time with every new book of hers I read but Amrita takes the prize. It is perfect.

[Serena.. Sery-ously? · Rating 1 out of 5]

Alla fiera dell'Est nel 2047, una caramella dichiarò guerra al popolo degli unicorni. Si divertirono tutti e la penna a sfera cominciò a perorare la sua causa: profumare di pizza appena sfornata.

La mia recensione a tale pataccata potrebbe benissimo essere questo ammasso di nonsense, perché il libro è NONSENSE allo stato brado. E sono convinta che Banana Yoshimoto si droghi, ora l'ho detto!!

Bene, direi che tre indizi fanno una prova e quindi un bel CIAONE per Banana e per i suoi libri urticanti al massimo!
Inizierei con la trama, se mai ce ne è stata una: abbiamo una famiglia 'allargata' formata da Sakumi, che cazzeggia tutto il giorno e lavora così, per riempire una parte delle giornate, Yoshio, suo fratellastro mezzo sciroccato, la madre, che probabilmente di professione fa la ladra visto il mistero che aleggia su di lei, la cugina di Sakumi (un personaggio così fondamentale che nemmeno il nome mi è rimasto impresso, fate vobis!) e X, l'amica della madre che si è stabilita in pianta stabile perché ha messo le corna al marito e giustamente questi l'ha cacciata senza se e senza ma (sì, anche il suo nome è finito nell'oblio, anche se ad un certo punto ha i suoi piccoli 5 minuti di gloria.. Ma niente di che, seriamente). Sono cinque rincoglioniti totali, intorno a cui gravitano altri individui completamente sciroccati e rincoglioniti. Il succo della cosa, credo, è che Sakumi, Yoshio e altri vedono/sentono gli spiriti e ci parlano. Vi lascio il gusto di scoprire quale storia allucinata la Yoshimoto possa aver partorito perché sinceramente mi annoia anche solo a parlarne.. Ma ci tengo a parlare dei personaggi, perché sono così NEGATIVI che meritano una nota a riguardo.

Insomma, tutti i personaggi del libro sono di una sterilità imbarazzante; si lasciano scorrere tutto addosso e tu lì che vorresti prenderli, malmenarli, scuoterli e farli rinsavire.. Mi hanno fatto 'specie' gli adulti della famiglia (Sakumi compresa, visto che probabilmente avrà 97 anni e vive ancora con sua madre just because): di fronte agli evidenti problemi di Yoshio, appena 11enne, tutto ciò che sono in grado di dire è: "A me sembra che vada tutto bene". Ma porca %#*$$$#, un bambino che sente le voci che gli dicono cosa fare, un bambino che smette di andare a scuola e sta chiuso in casa a dormire.. MA A VOI SEMBRA NORMALE, BRUTTE CRETINE?? Sì, loro non battono ciglia; la soluzione di Sakumi è portarlo a pranzo fuori una volta ogni tanto e la coscienza torna pulita. Per non parlare della madre, che penso vinca a mani basse il premio "madre dell'anno 2016", tale è il suo interesse per il figlio.
LA COSA NON HA IL MINIMO SENSO BANANA!!!!!!
Le vicende si susseguono con una logica strana, un'arte raffinata e ricercata la cui origine si perde nella notte dei tempi: alla cazzo di cane. Non ci sono sequenze temporali valide, non c'è un filo logico se non lo stream of consciousness di Sakumi che è deficiente fino al midollo, non c'è una cosa che regga, seriamente.
Ah, poi c'è la chicca che penso faccia affondare il romanzo senza speranza di appello: Sakumi parte con Ryu, ex fidanzato della sorella che si è suicidata, e la madre: POI RISE "Guai a te se ti suicidi". Ma che caspita ti ridi cretina?? Ma è una cosa su cui scherzare? Ero oggettivamente senza parole di fronte a questa uscita infelice O.O


Penso sempre di essermi imbattuta nel peggio, poi leggo romanzi così e devo riconsiderare tutto :(
Che patacca di libro!

[Beata Zwarycz · Rating 1 out of 5]

Some books are great, some are pretty good and some are written by Dan Brown. But what's even worse than a book written by Dan Brown is a book which is critically acclaimed, hailed as "extraordinarily powerful", "difficult to forget", "astonishing", "endearing", but which is so annoyingly bad, you begin to doubt your own ability to recognize good writing. Is this book "difficult to forget?" I would say... probably not, since I just gave up on it yesterday (having reached page 87 and finally deciding life's too short to read crap like this) and the whole thing (thankfully!)is already a blur.

[Katie Lumsden · Rating 4 out of 5]

Maybe 3.5
I find it hard to say how I feel about this book. It felt much more disjointed and unpolished that Banana Yoshimoto's other works; it's a lot longer than her others, and I wonder if her writing is more suited to shorter fiction. Saying that, it has an odd charm to it - I love the relationship bet Sakumi and her younger brother, which was for me the heart of the story, and I feel like it explores a lot of really interesting themes. Yoshimoto's writing has that strange and beautiful quality as always.

[Huy · Rating 4 out of 5]

Đọc lại Amrita ngay sau khi nghe xong Kitchen, ôi, đúng là chả nhớ gì ráo trọi. Nhưng cái cảm giác buồn bã êm đêm mà cuốn sách mang lại cho mình trong lần đọc đầu tiên và khiến mình trải nghiệm lại nên đọc lần thứ 2 vẫn còn đó.
Cuốn này mang nhiều tình tiết siêu thực quá bỗng dưng lại cảm thấy lạ lẫm, dù giọng văn mênh mang đẹp đẽ ấy vẫn là của Banana. Đọc cuốn này trong những ngày mưa và mùa hè đang đến cảm giác hợp ơi hợp.

[Sandra · Rating 2 out of 5]

Più insisto a leggere libri della Yoshimoto, più mi rendo conto che non mi piace, non è nelle mie corde. Questo libro mi ha immensamente annoiato,a tratti ho trascinato la lettura e sono riuscita a leggerlo tutto per merito di una grande forza di volontà (era forte anche la volontà di abbandonare la lettura) non mi piace il suo stile narrativo,neppure la storia.

[Kaylee]

Dnf’ed, clunkiest translation i have ever read. Its all “russell f wasden”s fault. Banana sweetie i an so sorry

[Sharon · Rating 4 out of 5]

The thing about Banana Yoshimoto's books is that I feel like I'm being introduced into a real and raw, yet dreamy world. The main character Sakumi (aka Saku-chan) describes her "mixed up" family and the death of her younger sister and her own accident with crystal clear and unapologetic simplicity.

All the characters have some flaw and we see the flaws, but the flaws are so real and we are able to view them as natural part of life, not a problematic thing to overcome. The characters all seem to stay out late and drink and Sakumi regularly sleeps until afternoon. There is no judgment, and the characters live together in a fluid dance; when they talk their words slice through the truth and these truths are accepted and acknowledged.

I have the vague sense that I am entering another realm when I read this book. Banana Yoshimoto is an intriguing storyteller. I read her other 2 books years ago and I'm so glad I found this gem.

The characters all seem to have some connection to the spirit / supernatural world and it's so intriguing to read how they interact lovingly and in a real and raw way.

This book was a total pleasure, and I find myself wishing that I could have this book accompany me in life to pick up whenever I want to connect with that supernatural world!

[Kaylee · Rating 2 out of 5]

I remembered loving Kitchen, so when I saw this book was on sale, I couldn't resist.

I probably should have.

People seem to like Banana's books for her writing style -- oddly enough, that's exactly what I dislike about this one [and, now that I think of it, I didn't much like it in Kitchen, either]. It may be more "real" to have a character constantly contradict herself, but it makes for really annoying reading when those contradictions happen in the same paragraph, over and over and over.

I also hate pseudo choruses, which Banana seemed to incorporate a lot.

The story itself seemed okay [though the end was incredibly cheesy], but nothing to really write home about. I don't think I'd really recommend anyone read this unless they actually like her other stuff.

[Come Musica · Rating 4 out of 5]

“Scherzo. Che vuol dire, ‘amrita’?”
“Significa l’acqua che bevono gli dei. È come dire nettare divino. Vivere è come bere, come bere acqua a grandi sorsi, ho pensato, non so perché. Ed è così che mi è venuto in mente. È un bel titolo. Anche se magari non venderà.”


http://www.kobobooks.it/ebook/Amrita/...


La Yoshimoto è strana, è strana forte.
Poi penso che a esser strano siamo noi occidentali.
Affascinata dall'Oriente, ritorno a leggerla con piacere.

Un ritornello nei libri che ho letto finora della Yoshimoto: la morte delle persone care. Sarà per questo che lei mi piace.

[Hamna · Rating 4 out of 5]

This book made me feel warm and tingly. I will never get tired of magical realism.

[Quỳnh Ngọc Quỳnh · Rating 4 out of 5]

NHẸ mà SÂU

Ai mà thích logic chặt chẽ với nhưng câu chuyện cụ thể, tình tiết cao trào thì không nên đọc cuốn này. Hoàn toàn không vì sẽ dẫn đến chán chết mất với cuốn sách mất.

Còn nếu yêu những thứ bề sâu, những câu chuyện hàng ngày nhỏ nhỏ thì đọc cuốn này rất hợp. Trong cuốn này, văn phong của Banana khá là nhẹ nhàng, những đoạn đối thoại thì siêu đáng yêu luôn ^^!
" - Chị Saku! Phải làm cái gì đó thôi! Một đêm, trên đường về nhà sau khi mò đi ăn đêm ở quán ramen quen thuộc, Mikiko nói.
- Ăn xong mới trở lại làm mình nhỉ! Tôi cười châm chọc.
- Chứ sao! Nhưng không thể cứ thế này mãi được! Mikiko nói, hai cái má cứ phính lên.
- Nhưng quán ramen đó ngon thật đấy. Chị chẳng hối hận tí nào.
Nghe tôi nói vậy, Mikiko cười to:
- Trước khi ăn, em cũng nghĩ hệt như thế.
- Thôi được, bọn mình sẽ gầy đi nhé. Có hai người, ăn kiêng cũng sẽ vui lắm!
- Quyết nhé!
- Quyết!
Và thế là trên đường về, chúng tôi vừa đi, vừa lên kế hoạch ăn kiêng và bơi.
- Mà này, chị thấy không, vừa đi vừa nghĩ " Không thể thấy này được. Phải làm gì đó thôi!" cũng vui đấy chứ. Phấn chấn hẳn lên!
- Thế này mới có cảm giác sống tích cực hơn đấy!
- Nghe thiếu lành mạnh quá!"

Câu chuyện là về nữ chính có cuộc đời bình thường - nhưng cũng không bình thường lắm. Ý mình là nó cũng sóng gió nhưng không phải kiểu sóng gió đến tận cùng hay đáng lên mặt báo. Cô ấy bị mất trí nhớ sau 1 cú ngã nặng. Và từ sau ấy, với trí nhớ bồng bềnh cô sống trong thân xác cũ nhưng dường như tái sinh.

Bí quyết của việc sống hạnh phúc có lẽ nằm ở trí nhớ không tốt lắm. Nữ chính ngộ lắm, cô ấy kể về cuộc đời mình với giọng hoàn toàn bình thản xong đột nhiên thốt ra 1 câu " đời mình cũng bi kịch chứ chẳng đùa": bố mất, mẹ hẹn hò với người hơn cô vài tuổi, cậu em "có vấn đề", em gái tự tử, yêu chồng của em gái v.v.
Nhưng mình cực kì thích tâm thế của nữ chính vì có lẽ cô ấy phần nào giống mình, cô ấy có thể thản nhiên chấp nhận mọi sự như lẽ vốn có của nó. Một con người rất nhạy cảm đối với người xung quanh nhưng không bao giờ tỏ ý gay gắt dù với cả người kì lạ nhất cô ấy gặp. Một người con gái khiến những người xung quanh thấy vô cùng thoải mái khi ở bên.
Mình rất thích những đoạn Saku đi chơi với em trai hoặc lang thang đâu đó. Chỉ những việc đơn thuần như ăn ramen ngon, câu cá, ăn bánh mỳ ngon, ngắm cảnh đẹp v.v cũng đủ làm Saku quên hết ưu tư mà vui vẻ tận hưởng cuộc sống.
Điểm khác biệt lớn nhất giữa Saku và em gái đã tự tử cô ấy là ở chỗ thiên hướng. Giả như 2 người cùng cả nhà đi chơi picnic giữa rừng vào mùa hoa anh đào vô cùng vui vẻ, thì ngay lúc gần kết thúc cuộc vui, Mayu sẽ khóc và đòi nhất định ở lại. Còn Saku thì vẫn vui vẻ tận hưởng nốt chân núi mình đang trèo xuống. Chấp niệm quan trọng nhưng giữ nó nặng trĩu trong mình chỉ khiến cuộc đời của mình và ngay cả những người xung quanh bớt tươi tắn.
Có những người con gái rất đẹp, người bao người say mê, nhưng tâm tình và ước muốn được thấu hiểu, quan tâm của họ lại quá lớn. Lớn tới nỗi đè trĩu cả một mối tình đẹp. Nên thật khó đó một ai đó yêu họ.
Một phần khá lạ trong cuốn này đấy là yếu tố tâm linh. ( mà hầu hết cuốn nào của Nhật mình đọc cũng không ít thì nhiều yếu tố này nhé :) ) Mới đầu đọc, mình cũng không rõ chủ đích của tác giả khi đem thật nhiều câu chuyện liên quan tới sự bí ẩn của linh hồn vào làm gì? Nhưng càng đọc càng hòa mình vào Saku, mình càng thấy nó không có gì lạ hay bất hợp lí. Một điểm hay ho nữa của Saku, ngay cả những việc kì bí không hiểu cho được, cũng không thúc ép cô ấy phải tìm rõ ngọn ngành hay phải thù địch nó.
Với những điều hiện hiện trước mắt mà không hiểu, Saku chỉ dơn thuần cảm thụ những mặt tươi sáng của nó, lắng nghe và chấp nhận.

:)) oh cái bài review thành bài cảm thụ về Saku mất rồi. Mà thôi kệ :3 yeah!

Nói sao nhỉ ^^ ai đang cần chút tĩnh tâm giữa đời thường thì đọc cuốn này cực kì ok nhé :3

[hayley · Rating 3 out of 5]

Banana Yoshimoto is one of those writers well-known for her shorter works. I read Kitchen (which, in the edition I purchased, also included Moonlight Shadow ) and Goodbye Tsugumi before reading Amrita, so I feel confident enough to agree that her shorter works are much better.

Yoshimoto said it best herself — Amrita is "random and disjointed." There are so many storylines to keep up with. It's overwhelming sometimes, especially as some are more developed than others, and the author frequently goes back and forth between them. Also, one of the overarching storylines from beginning to end is that the main character, Sakumi, develops a romantic relationship with her sister's former partner, which might be controversial to some readers.

Still, Amrita explores some of the topics Yoshimoto is most famous for writing about. That's what made me enjoy the content of this book, much like I did with Kitchen and Goodbye Tsugumi. There are great reflections on everyday life, grief, and the kinds of relationships that matter most. What separates this from other books by the same author is that it's also a lot more mystical; several characters appear to connect deeply with the afterlife.

Overall, I wouldn't recommend this book as someone's first from Yoshimoto, and I think it's one best read for the story itself rather than the writing style it contains.

[J $ · Rating 3 out of 5]

I adore Banana, but it's hard not to feel that her style is better suited to short fiction after finishing Amrita. All the definitive aspects of her writing are here and, often, beautiful - the deep introspection, sensitivity, and surrealism that make her so enjoyable to read - but after a certain point it feels expected, even redundant, as the story drags on with seemingly little direction. I understand the thematic significance of the story's length and progression, but the payoff doesn't feel worth the investment, as the characters spend most of the book grappling with the same ruminations, the same epiphanies, until the very end. I'm going to put some of the blame for this on the translation, which at times has identifiable (and understandable - translating this was certainly no easy task) struggles with the language, but it's ultimately the plot that feels overly long and aimless, committing too much time to the supernatural subplot and not enough, in my opinion, to Sakumi's relationships with characters besides her brother, living or otherwise.

There are certainly moments within this book worth reaching and Banana's writing is reliably moving, but the sum of its parts feels weak, and I wouldn't recommend it to someone who isn't already a fan.

[Rosie Nguyễn · Rating 5 out of 5]

Just love this book. It's about the love of life, love of living, love of all the tiny little things and moments that everyone of us would encounter in our daily life. Having undergone so many tragedies and hardships, the main character is still so strong and so full of hope. To me it's the Japanese spirit of "build back better", it reminds me of how blessed I am having another day on Earth, breathing and enjoying the (even not so fresh) air and living the life that I have been fighting for.

Một quyển sách tuyệt đẹp. Những câu chữ mô tả thiên nhiên đẹp đẽ đến nỗi mình không thể nào đọc trơn tuồn tuột, mà phải vừa đọc vừa nhấm nháp, cảm nhận những con chữ nên thơ thấm vào tâm hồn mình. Rồi ghi lại, lưu giữ chúng vào một quyển sổ riêng.

Một câu chuyện đẹp. Đẹp mà không buồn, không sầu não hay u buồn như nhiểu câu chuyện Nhật điển hình. Đằng sau bao nhiêu cuộc chia ly và cái chết, lạ lùng sao, lại là vẻ đẹp của phong cảnh thiên nhiên, của lòng yêu, của con người. Là sự ý thức rõ ràng về thời gian hữu hạn của mỗi người trên cõi đời này, về sự mong manh của kiếp người. Có lẽ vì vậy mà cuộc đời thật đẹp. Và lấp lánh sau bao nhiêu biến cố, rủi may, lại là niềm hy vọng và tràn trề tình yêu cuộc sống.

Một quyển sách thật hợp để đọc vào những ngày kết thúc một năm.

[Miguel Lugo · Rating 5 out of 5]

Banana Yoshimoto escribe con esa delicadeza llena de melancolía, algo que disfruto mucho de leer son sus epílogos, siento una cercanía hacia ella que termina por llenar el pequeño vacío que logra evocar durante la trayectoria de lectura. En éste libro no encontré dicho epílogo, pero al final, fue un libro que disfruté, mi gran pregunta era ¿Qué significa Amrita?.

Un libro lleno de misticismos, de tristeza, de apego hacia los demás, de vacíos que quedan después de la muerto de un ser querido y del amor.

[Donatella Principi · Rating 3 out of 5]

Così simile a Kitchen eppure così diverso, Amrita è un romanzo che non ha convinto nemmeno l’autrice che scrive: poiché non sono riuscita a scrivere questo romanzo come avrei voluto, sentivo di non amarlo. Eppure credo che forse mai più in tutta la mia vita potrò scrivere qualcosa con lo stesso abbandono, la stessa spontaneità.

Come è successo per altre sue opere, qui ci troviamo di fronte a una famiglia “non convenzionale”, allargata, ma non per questo meno famiglia di altre, anzi. Si percepisce l’affetto, la collaborazione, la forza e l’intimità fra le mura di casa. Casa che non si limita a essere un tetto sopra la testa, ma un rifugio fisico e mentale, un contenitore di pensieri e confessioni. Qui possiamo ritrovare anche altri temi cari all’autrice come il dolore, la perdita, la solitudine e l’amore.

Lo stile di Banana Yoshimoto è sempre molto delicato pur affrontando eventi tragici e dolorosi. Apprezzo molto questo suo aspetto perché non rende mai la lettura pesante. Offre molti punti di riflessione, in particolare sulla ciclicità della vita e sulla bellezza.

La bellezza è prendere qualcosa nelle mani,  e poi lasciarla andare. Non si possono afferrare con forza il mare e il sorriso degli amici che se ne vanno lontano.

Leggere le sue pagine è per me sempre una bella esperienza, ma non sono riuscita ad amare Amrita come mi sarei aspettata. Nonostante ci siano molti aspetti a me cari, la storia mi è sembrata un po’ confusionaria in alcuni punti forse proprio a causa della spontaneità della scrittura, e troppo prolissa. Non sono rimasta troppo colpita nemmeno dal realismo magico. Non il migliore letto dell’autrice ma nemmeno il peggiore.