2) Satomi seeks out Western music in Paris, Timothy yearns for spiritual enlightenment through Buddhism, and François reinvents himself in San Francisco. Discuss the ways in which these and other characters—and perhaps you yourself—find freedom through other cultures, and comfort in what is native.
3) On page 246, Satomi tells Rumi, “Here we are. A girl without a mother and a girl with too much of a mother. Which, I wonder, would most people rather be? One inherits history. The other is free to create it herself.” Do you think it is better to inherit history or to create a history for yourself?
4) François teaches Rumi the importance of seeing beauty out of context. How does this skill help her later on? How does it relate to the Buddhist notion of seeing through illusion?
5) Why do you think the ghost of Akiko revealed itself to Rumi and not to Satomi?
6) Masayoshi says: “When parents and children can accept each other—no matter what that means—their relationships with everyone else will change” (page 272). How do you feel about this statement?
7) How did Mockett’s use of interlocking stories and voices affect your reading experience?
8) Mockett has said: “I felt it was important that any supernatural elements in my novel would be grounded in psychological truths, because that’s the ‘reality’ of true supernatural experiences.” How does the supernatural function within her story? Does it add atmosphere? Did it detract from the story?
9) On page 224, Akira says: “The world of the living can be like that of the dead. It is tragic when we lose ourselves in grief.” What do you think about this statement? Is it something that you or someone close to you has experienced?
10) At the end of the novel, Akiko says to Satomi: “You look like a loved person. It always shows on people’s faces. The ones who discover love when they are much older always look startled.” Do you agree?
MARIE MUTSUKI MOCKETT was born in Carmel, California, to a Japanese mother and an American father. She is a graduate of Columbia University with a degree in East Asian studies. Mockett’s essay “Letter from a Japanese Crematorium” was cited as a notable in Best American Essays 2008. She has been a Bernard O’Keefe Scholar for Nonfiction at the Bread Loaf Writers’ Conference. Picking Bones from Ash was shortlisted for the Saroyan International Prize, a finalist for the Paterson Prize, and longlisted for the Asian American Literary Awards. She lives with her Scottish husband and son in New York City. This is her first novel.
This book was designed by Rachel Holscher. It is set in Minion Pro type by BookMobile Design and Publishing Services and manufactured by Versa Press on acid-free paper.
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