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Memoirs of a Geisha (Vintage International)(Mass Market Paperback) (Paperback)
by Arthur Golden
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Fiction, World War II, Japanese culture |
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Author: Arthur Golden
Publisher: Vintage; Reissue edition
Pub. in: November, 2005
ISBN: 1400096898
Pages: 512
Measurements: 6.7 x 4.6 x 1.1 inches
Origin of product: USA
Order code: BA00273
Other information: Reprint edition
ISBN-13: 978-1400096893
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- Awards & Credential -
An international bestseller, now a major movie starred by the famous Chinese actresses Zhang Ziyi and Gong Li. |
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- MSL Picks -
Nitta Sayuri tells the story of her life as a geisha. In Memoirs of a Geisha, we enter a world where appearances are paramount; where a girl's virginity is auctioned to the highest bidder; where women are trained to beguile the most powerful men; and where love is scorned as illusion. Sayuri's story begins in a poor fishing village in 1929, when, as a nine-year-old with unusual blue-gray eyes, she is taken from her home and sold into slavery to a renowned geisha house. Through her eyes, we see the decadent heart of Gion - the geisha district of Kyoto - with its marvelous teahouses and theaters, narrow back alleys, ornate temples, and artists' streets. And we witness her transformation as she learns the rigorous arts of the geisha: dance and music; wearing kimono, elaborate makeup and hair; competing with a jealous rival for men's solicitude and the money that goes with it. But as World War II erupts and the geisha houses are forced to close, Sayuri, with little money and even less food, must reinvent herself all over again to find a rare kind of freedom on her own terms. Memoirs of a Geisha is a book of nuance and vivid metaphor, of memorable characters rendered with humor and pathos. And though the story is rich with detail and a vast knowledge of history, it is the transparent, seductive voice of Sayuri that the reader remembers.
****
So much has been said in praise of Memoirs of a Geisha that I'm not entirely sure what I can add. The story is enthralling from the very start; Arthur Golden draws the reader in by vividly painting not only his main character, but everything around her. His attention to detail and surrounding pay off in a sumptuous novel that is hard to put down.
Memoirs of a Geisha, while fictional, reads like an autobiography, and indeed the author's research and use of interviews with a geisha are evident in the book. We meet the narrator Chiyo-chan when she is a young girl, daughter of a poor fisherman, whose mother is at death's door. Chiyo longs for a better life and secretly hopes that she will be adopted by a local, weatlhy businessman; however, different plans are in place for Chiyo and her sisters Satsu, as they are sold into a world of virtual slavery. Torn apart from her sister, Chiyo finds herself in training to become a geisha in the Nitta okiya, but her stubborness costs her. With her training at an end, she is destined to become a maid. But her whole world changes once again, after a chance encounter with a wealthy man, known as the Chairman, who makes her long to become a geisha after all.
The rest of the novel is devoted to Chiyo's training in becoming the geisha known as Sayuri. And in everything she does, her focus is to gain attention from the Chairman. A long-held Western perspective is that 'geisha' is equivalent to 'prostitute'; rather a geisha is more like a mistress or a kept woman. Their task is to beguile and entertain men who will become their patrons.
Memoirs of a Geisha is a captivating read - the vast majority of the characters are vividly drawn, but the narration can get restricted through the viewpoint of Chiyo/Sayuri. Readers wish that her main adversary, Hatsumomo, was given more background, and the Chairman seems to be the one character who is given the least attention. This is odd since he is the focus of Sayuri's entire life, but he remains flat and the ending of the novel, when Sayuri achieves everything she dreamed of, is rushed and somewhat unbelievable. The reader almost begins to root that things won't turn out how the narrator wants them to. In spite of that, "Memoirs of a Geisha" is a fascinating read that is a magical glimpse into a vanished world.
(From quoting Publisher and R. Chaffey, USA)
Target readers:
General readers.
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Arthur Golden was born in Chattanooga, Tennessee, and was educated at Harvard College, where he received a degree in art history, specializing in Japanese art. In 1980 he earned an M.A. in Japanese history from Columbia University, where he also learned Mandarin Chinese. Following a summer at Beijing University, he worked in Tokyo, and, after returning to the United States, earned an M.A. in English from Boston University. He resides in Brookline, Massachusetts, with his wife and two children.
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From Publisher
In this literary tour de force, novelist Arthur Golden enters a remote and shimmeringly exotic world. For the protagonist of this peerlessly observant first novel is Sayuri, one of Japan's most celebrated geisha, a woman who is both performer and courtesan, slave and goddess.
We follow Sayuri from her childhood in an impoverished fishing village, where in 1929, she is sold to a representative of a geisha house, who is drawn by the child's unusual blue-grey eyes. From there she is taken to Gion, the pleasure district of Kyoto. She is nine years old. In the years that follow, as she works to pay back the price of her purchase, Sayuri will be schooled in music and dance, learn to apply the geisha's elaborate makeup, wear elaborate kimono, and care for a coiffure so fragile that it requires a special pillow. She will also acquire a magnanimous tutor and a venomous rival. Surviving the intrigues of her trade and the upheavals of war, the resourceful Sayuri is a romantic heroine on the order of Jane Eyre and Scarlett O'Hara. And Memoirs of a Geisha is a triumphant work - suspenseful, and utterly persuasive.
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Chapter One
Suppose that you and I were sitting in a quiet room overlooking a garden, chatting and sipping at our cups of green tea while we talked about something that had happened a long while ago, and I said to you, "That afternoon when I met so-and-so... was the very best afternoon of my life, and also the very worst afternoon." I expect you might put down your teacup and say, "Well, now, which was it? Was it the best or the worst? Because it can't possibly have been both!" Ordinarily I'd have to laugh at myself and agree with you. But the truth is that the afternoon when I met Mr. Tanaka Ichiro really was the best and the worst of my life. He seemed so fascinating to me, even the fish smell on his hands was a kind of perfume. If I had never known him, I'm sure I would not have become a geisha.
I wasn't born and raised to be a Kyoto geisha. I wasn't even born in Kyoto. I'm a fisherman's daughter from a little town called Yoroido on the Sea of Japan. In all my life I've never told more than a handful of people anything at all about Yoroido, or about the house in which I grew up, or about my mother and father, or my older sister - and certainly not about how I became a geisha, or what it was like to be one. Most people would much rather carry on with their fantasies that my mother and grandmother were geisha, and that I began my training in dance when I was weaned from the breast, and so on. As a matter of fact, one day many years ago I was pouring a cup of sake for a man who happened to mention that he had been in Yoroido only the previous week. Well, I felt as a bird must feel when it has flown across the ocean and comes upon a creature that knows its nest. I was so shocked I couldn't stop myself from saying:
"Yoroido! Why, that's where I grew up!"
This poor man! His face went through the most remarkable series of changes. He tried his best to smile, though it didn't come out well because he couldn't get the look of shock off his face.
"Yoroido?" he said. "You can't mean it."
I long ago developed a very practiced smile, which I call my "Noh smile" because it resembles a Noh mask whose features are frozen. Its advantage is that men can interpret it however they want; you can imagine how often I've relied on it. I decided I'd better use it just then, and of course it worked. He let out all his breath and tossed down the cup of sake I'd poured for him before giving an enormous laugh I'm sure was prompted more by relief than anything else.
"The very idea!" he said, with another big laugh. "You, growing up in a dump like Yoroido. That's like making tea in a bucket!" And when he'd laughed again, he said to me, "That's why you're so much fun, Sayuri-san. Sometimes you almost make me believe your little jokes are real."
I don't much like thinking of myself as a cup of tea made in a bucket, but I suppose in a way it must be true. After all, I did grow up in Yoroido, and no one would suggest it's a glamorous spot. Hardly anyone ever visits it. As for the people who live there, they never have occasion to leave. You're probably wondering how I came to leave it myself. That's where my story begins.
* * *
In our little fishing village of Yoroido, I lived in what I called a "tipsy house." It stood near a cliff where the wind off the ocean was always blowing. As a child it seemed to me as if the ocean had caught a terrible cold, because it was always wheezing and there would be spells when it let out a huge sneeze - which is to say there was a burst of wind with a tremendous spray. I decided our tiny house must have been offended by the ocean sneezing in its face from time to time, and took to leaning back because it wanted to get out of the way. Probably it would have collapsed if my father hadn't cut a timber from a wrecked fishing boat to prop up the eaves, which made the house look like a tipsy old man leaning on his crutch.
Inside this tipsy house I lived something of a lopsided life. Because from my earliest years I was very much like my mother, and hardly at all like my father or older sister. My mother said it was because we were made just the same, she and I - and it was true - we both had the same peculiar eyes of a sort you almost never see in Japan. Instead of being dark brown like everyone else's, my mother's eyes were a translucent gray, and mine are just the same. When I was very young, I told my mother I thought someone had poked a hole in her eyes and all the ink had drained out, which she thought very funny. The fortune-tellers said her eyes were so pale because of too much water in her personality, so much that the other four elements were hardly present at all - and this, they explained, was why her features matched so poorly. People in the village often said she ought to have been extremely attractive, because her parents had been. Well, a peach has a lovely taste and so does a mushroom, but you can't put the two together; this was the terrible trick nature had played on her. She had her mother's pouty mouth but her father's angular jaw, which gave the impression of a delicate picture with much too heavy a frame. And her lovely gray eyes were surrounded by thick lashes that must have been striking on her father, but in her case only made her look startled.
My mother always said she'd married my father because she had too much water in her personality and he had too much wood in his. People who knew my father understood right away what she was talking about. Water flows from place to place quickly and always finds a crack to spill through. Wood, on the other hand, holds fast to the earth. In my father's case this was a good thing, for he was a fisherman, and a man with wood in his personality is at ease on the sea. In fact, my father was more at ease on the sea than anywhere else, and never left it far behind him. He smelled like the sea even after he had bathed. When he wasn't fishing, he sat on the floor in our dark front room mending a fishing net. And if a fishing net had been a sleeping creature, he wouldn't even have awakened it, at the speed he worked. He did everything this slowly. Even when he summoned a look of concentration, you could run outside and drain the bath in the time it took him to rearrange his features. His face was very heavily creased, and into each crease he had tucked some worry or other, so that it wasn't really his own face any longer, but more like a tree that had nests of birds in all the branches. He had to struggle constantly to manage it and always looked worn out from the effort.
When I was six or seven, I learned something about my father I'd never known. One day I asked him, "Daddy, why are you so old?" He hoisted up his eyebrows at this, so that they formed little sagging umbrellas over his eyes. And he let out a long breath, and shook his head and said, "I don't know." When I turned to my mother, she gave me a look meaning she would answer the question for me another time. The following day without saying a word, she walked me down the hill toward the village and turned at a path into a graveyard in the woods. She led me to three graves in the corner, with three white marker posts much taller than I was. They had stern-looking black characters written top to bottom on them, but I hadn't attended the school in our little village long enough to know where one ended and the next began. My mother pointed to them and said, "Natsu, wife of Sakamoto Minoru." Sakamoto Minoru was the name of my father. "Died age twenty-four, in the nineteenth year of Meiji." Then she pointed to the next one: "Jinichiro, son of Sakamoto Minoru, died age six, in the nineteenth year of Meiji," and to the next one, which was identical except for the name, Masao, and the age, which was three. It took me a while to understand that my father had been married before, a long time ago, and that his whole family had died. I went back to those graves not long afterward and found as I stood there that sadness was a very heavy thing. My body weighed twice what it had only a moment earlier, as if those graves were pulling me down toward them...
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| View all 16 comments |
Ann Beattie (MSL quote), USA
<2007-01-18 00:00>
Wonderful, involving, intelligent, fascinating, and almost Dickensian in the way the characters inhabit the landscape, and the landscape permeates the characters. It's a unique, beautifully written book.
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Pico Iyer (MSL quote), USA
<2007-01-18 00:00>
I still can't quite believe that an American male can so seamlessly enter the soul of a Japanese woman, and catch her world, its textures, its hopes, and its sinuous patter with such perfection. Memoirs of a Geisha evokes all the delicate steel of Kyoto's geisha culture with such uncanny fidelity that, after you've finished, you feel as if you've entered not just another world, but an extraordinary and foreign heart.
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Julia Blackburn (MSL quote), USA
<2007-01-18 00:00>
Sayuri tells her story with such gentle courtesy and determination that you are quickly brought under the spell of her character. She takes you by the hand and leads you into a world that is both formal and intimate, a world that I had only before glimpsed in the fleeting and beautiful images of traditional Japanese ink painting... Memoirs of a Geisha is a wonderful achievement.
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Geraldine Brooks (MSL quote), USA
<2007-01-18 00:00>
A haunting tale of a hidden world that could hold an audience spellbound through many an evening in a lantern-lit teahouse.
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