The Phone Box at the Edge of the World
Page 16
Sasaki Itaru and his wife manage the garden of Bell Gardia alone. If you would like to support the existence of this wonderful place and the charitable foundation that the Wind Phone depends on, which also organises many activities throughout the year to support the area and those who live there, take a look at the official website:
http://bell-gardia.jp/about_en.
There you will find out how to donate.
Acknowledgements
THIS BOOK CAME INTO THE world thanks to the wonder that is the Wind Phone and to Sasaki Itaru and his wife who conceived of and generously shared it with everybody who needed, and still needs, such a place. The figure of the custodian in this book is only loosely based on him, just as the setting of Bell Gardia is the inevitable fruit of my personal impressions. I suspect that the intrinsic spirituality of the place means that it appears differently to each person who comes to know it.
I decided to keep the garden’s name as homage to the tireless work and enormous heart of the Sasakis, and in the hope that Bell Gardia will be imprinted on our collective memory as one of the world’s strongest sites of resilience.
Bell Gardia has been transformed into a magical place, profoundly imbued with spirituality, by the people who have visited it over the years. Its story is the product of a large community of individuals and families who have experienced grief. Therefore, I hereby acknowledge and thank them.
The form that this novel has taken is largely thanks to Cristina Banella and Laura Sammartino, my dearest friends. Laura, thank you for the title (the original Italian title is Quel che affidiamo al vento, which translates as ‘What We Entrust to the Wind’). Thank you to Maria Cristina Guerra, tireless and always there, for believing in this story from the very first moment, and Francesca Lang, whose evident trust moves me every time I encounter it. A special thanks to Laura Buonocore, who saw the story’s depth, and to Pina, who showed it so much love. Diego, my heartfelt thanks to you too.
In the alphabet of affection there is always my family. All of you. From the roots to the tips. Special thoughts go to Mario di Giulia, and to Franca’s luminous memory. For the love that, when it’s as intense as this, is destined to last.
If it weren’t for my beloved parents-in-law, Yōko and Yōsuke Imai, I would never have found the time to write this novel. My debt of recognition for you is infinite.
Thank you to Ikegami Sakura, Matsubara Ayumi and Kyōko Fukawa, for providing the atmosphere of a public yet private space, where I was able to write this novel for an incalculable number of hours. For a similar reason, my sincere thanks to Kawase Reiko, Miura Yuki, Saitō Momoko and Shimamoto Terumi. And above all to Sasakawa Nanoka, for the precious documents you provided about the tsunami that hit your community in 2011.
It is a rare thing to be able to thank those who have contributed to bringing a book abroad, but Quel che affidiamo al vento enjoyed an extraordinary amount of attention in the months before its publication. And so I would like to express my deepest gratitude to Luisa Rovetta and all of the wonderful staff at Grandi&Associati. Thank you to Cristina De Stefano, Viktoria von Schirach, Caterina Zaccaroni, Tomaso Bianciardi and many, many others, who took this book by the hand and led it around the world. I would like to warmly thank Antony Shugaar for translating that first extract that set so many wheels in motion.
For the English edition, I would like to thank Sophie Orme and Ilaria Tarasconi for deciding to publish my book and Lucy Rand for having reformulated it so carefully in a distant tongue. I am so happy that this novel is coming out in the UK, a country for which I have a long-held affection.
In the wake of the Tōhoku disaster, the world’s media zoomed in on the nuclear fallout at Fukushima and its political and environmental implications. This book intentionally does not make reference to this and is dedicated instead to the victims of the tsunami of 11th March 2011.
About the Author
Laura Imai Messina has been living in Japan for the last fifteen years and works between Tokyo and Kamakura, where she lives with her Japanese husband and two children. She took a Masters in Literature at the International Christian University of Tokyo and a PhD in Comparative Literature at the Tokyo University of Foreign Studies. The Phone Box at the Edge of the World has been sold in over twenty-one territories.
The Phone Box at the Edge of the World was translated from the Italian by Lucy Rand, a teacher, editor and translator from Norfolk, UK. She has been living in the countryside of Ōita in south-west Japan for three years.
Reading Group Questions
‘Everybody’s grief looked the same at first but, ultimately, was unique.’ How do the various characters within the novel deal with grief differently?
How does the novel look at memory, and how do Yui and Takeshi’s ways of remembering the lost differ?
Do you see The Phone Box at the Edge of the World as a love story?
Yui and Takeshi meet many other characters at Bell Gardia. Who was your favourite?
Why do you think Yui risks her life to save the phone box?
Why do you think it takes Yui so long to speak into the Wind Phone?
What role does food play in the book? How does it help Yui and Hana bond?
Why do you think the man with the blue photo frame chooses to look at the world through it? How does it help him?
Yui’s name means ‘simple and harmonious life’. What role do names play in this novel?
Yui at times feels guilty for being happy after her daughter and mother’s deaths. How does this affect her relationship with Takeshi and Hana?
Why do you think Hana chooses not to speak? How does the Wind Phone help her start again?
How does the novel explore family, and what it means to be part of a family?
What did you think of the structure of the book? What is the significance of the lists and other elements throughout?
Do you think The Phone Box at the Edge of the World is more about grief, or about hope?
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Glossary
Akkanbe! Bero bero be! Akkanbe describes the gesture of pulling down one eyelid and sticking one’s tongue out. Bero bero is an onomatopoeia that describes wiggling one’s tongue.
Anpanman Very popular cartoon featuring a superhero with a bread roll filled with bean paste for a head.
Azuki Reddish-brown bean often boiled with sugar and made into a paste called an. It is used in many Japanese sweets and desserts.
Bentō A packed meal in a box, typically carefully prepared by Japanese housewives for their husbands and children.
Boshi techō Abbreviation of the term boshi kenkō techō, meaning ‘mother and child health handbook’, in which mothers record the various phases of pregnancy, the development of the fetus, the baby’s vaccinations, etc.
Butsudan Buddhist household altar found in many Japanese homes, usually in the form of a platform or cabinet, used to honour deceased family members.
-chan Affectionate informal name-ender, mostly used for females, as well as for babies, young children and grandparents.
Chirashi-zushi Meaning ‘scattered sushi’, chirashi-zushi is a dish that consists of a bowl of sushi rice covered in a variety of ingredients including fish, vegetables, strips of omelette and dried seaweed. It is often eaten on Hina-matsuri.
Chōchin Lanterns traditionally made from a bamboo frame and sheets of rice paper hand-painted with designs and patterns.
&nbs
p; Dorayaki A pancake filled with azuki-bean paste.
Edamame Young green soy beans, cooked and eaten as a snack.
Ema Decorated votive wooden plaques sold at shrines. The purchaser writes a prayer or gratitude for a granted wish and hangs the plaque at the designated place in the shrine.
Family Mart One of the three large convenience-store franchise chains in Japan.
Furikake A dry seasoning often made of flakes of dried fish, seaweed, sesame seeds and salt, usually sprinkled over white rice. It is packaged in individual bags or jars.
Fūsen-kazura ‘Balloon plant’ (cardiospermum halicacabum), a vine with bell-shaped fruits.
Fusuma Vertical rectangular panels that can slide and be removed to divide the spaces inside a traditional Japanese house.
Gaman-du yoi Very patient, persevering.
Geta Traditional Japanese sandals made of an elevated wooden base with a fabric thong. Worn with yukata.
Gomennasai ‘I’m sorry’.
Higan-bana The red spider lily (lycoris radiata), often known as the flower of the dead.
Hiragana The characters that, together with kanji and katakana, make up the Japanese writing system.
Hina-matsuri ‘Doll’s Day’ or ‘Girls’ Day’ is a festival celebrated every year on 3rd March, during which a set of ornamental dolls representing the Imperial Court is displayed on a tiered platform.
Hōjicha A variety of roasted green tea.
Itadakimasu Said before a meal while bringing one’s hands together and bowing slightly.
Itterasshai Literally meaning ‘please go and come back’, this phrase is used to say goodbye to somebody who will soon return. Usually accompanied by ittekimasu, said by the person leaving, meaning ‘I’m going but I’ll be back soon.’
Izoku Bereaved family, or those left behind.
Jan ken Rock, paper, scissors. Used to settle all manner of disputes in Japan, by adults and children alike.
Juku Privately run tutoring or ‘cram school’ to help school students with their schoolwork and exam preparation.
Kanji The ideographic characters originating from Chinese that, together with hiragana and katakana, make up the Japanese writing system.
Kan kan Onomatopoeia that describes the sound of the bell at a level crossing.
Katakana The characters that, together with kanji and hiragana, make up the Japanese writing system. Mostly used for foreign loan words and emphasis.
Kaze no denwa The Wind Phone
Kazoku ‘Family’.
Kendō A martial art that uses bamboo swords.
Kimono Traditional Japanese dress worn by both men and women. Nowadays used only for very formal occasions such as weddings and funerals.
Konbini Convenience stores open 24 hours a day, 365 days a year.
Koshihikari A popular variety of Japonica rice.
Kujira-yama The Mountain of the Whale
-kun Informal name-ender most commonly used for boys, male teenagers and between adult male friends.
Lawson One of the three large convenience store franchise chains in Japan.
Line The most popular instant-messaging app in Japan.
Manjù A traditional Japanese sweet, often a pastry-like shell filled with azuki-bean paste.
Melon pan A sweet bread covered in a crisp crust, very popular in Japan.
Miko Shrine maiden – the young woman who assists in a Shinto shrine.
Mochi A paste made from steamed rice that has been pounded until it has an elastic consistency. Eaten alongside Japanese meals, in soups, and used in many traditional sweets.
Momiji Japanese maple tree, the leaves of which turn bright red in autumn.
Mōshiwakearimasen-deshita Very formal apology.
Nagatsuki Meaning ‘month of long nights’, Nagatsuki is an old name for September, from the ancient lunar calendar.
Namazu In Japanese mythology, a giant catfish that causes earthquakes.
NHK Stands for Nippon Hōsō Kyōkai, Japan’s national broadcasting corporation.
Nyan nyan Onomatopoeia that describes the sound cats make, equivalent to the English ‘miaow’.
Obi A sash for kimonos, made from thick and rigid fabric and tied around the waist.
O-bon Buddhist summer festival to commemorate the dead.
O-hagi Traditional Japanese sweet made from mochi coated in azuki-bean paste.
Ohayō-gozaimasu Greeting used in the morning. Shortened to Ohayō.
Okaerinasai Phrase used to welcome somebody back. It is usually accompanied by the phrase tadaima, said by the person returning.
Okonomi-yaki Japanese savoury pancake.
Omiyage Gift or souvenir brought back for colleagues, friends and family after a trip.
Onigiri Rice ball usually made from white rice and often covered in nori seaweed and filled with salty, sweet or pickled fish or vegetables.
O-sechi-ryōri Typical food eaten at New Year in Japan. It is made at home or ordered in and comes in colourful stacked boxes. Each item is believed to have a particular significance, such as bringing fortune or a long life.
Otōsan ‘Father’.
Otsukaresama-deshita Phrase used at the end of the working day, to thank somebody for the work they have done, or to acknowledge the end of a group or individual task. The phrase literally means ‘you have worked hard’.
Pachinko A popular form of gambling involving slot machines and pinballs. Pachinko parlours are widespread in Japan.
Rakugo A form of storytelling, often comical, performed as entertainment.
Rilakkuma Rilakkuma is a fictional lazy bear character, popular with both children and adults.
-san Respectful name-ender used for people of any age and any gender.
Sanma Pacific saury (fish), a popular autumnal food in Japanese cuisine.
Senbei Rice crackers in various shapes, sizes and flavours. Usually savoury but sometimes sweet.
Shichi-go-san Festival held in Shinto shrines on 15th November to celebrate girls aged three and seven, and boys aged five and, less commonly, three.
Shinkansen High-speed bullet trains operating all over Japan.
Shio ‘Salt’.
Sukiyaki A hotpot-style shared meal consisting of beef, tofu, green onions and mixed vegetables cooked at the table in a soy-sauce broth.
Sumimasen ‘Excuse me’ or ‘sorry’.
Tanuki Japanese raccoon dog. Tanuki statues are found outside many restaurants, shops and bars in Japan as they are believed to bring good fortune and generous customers.
Tatami A mat covered in woven straw used as flooring in traditional Japanese rooms.
Tōdai Abbreviation of the famous University of Tōkyō, Tōkyō Daigaku.
Torii Large gate usually found at the entrance to Shinto shrines.
Ukiyo-e A genre of Japanese art from the 1600s to the 1800s that includes woodblock prints. Many prints from this period are iconic today.
Yukata A lighter, more casual version of the kimono. Traditionally worn as a bathrobe when staying at a hot-spring resort, but now often worn for summer festivals and events such as firework displays.
Yukue fumei Meaning ‘whereabouts unknown’, used to describe the bodies that have not yet been found after natural disasters.
Zabuton A cushion used when sitting on the floor.
First published in Italian as Quel che Affidiamo al Vento in 2020 by Piemme
First published in Great Britain in 2020 by Manilla Press
This ebook edition published in 2020 by
MANILLA PRESS
80–81 Wimpole St, London, W1G 9RE
Copyright © Laura Imai Messina, 2020
English translation copyright © Lucy Rand, 2020
First epigraph, here, M. Gualtieri, Le giovani parole © 2015 Giulio Einaudi editore s.p.a, Torino
Cover design and illustration by Alexandra Allden
Cover images © Shutterstock.com
The moral right of Laura Imai Messina to be identified as Author of this work has b
een asserted in accordance with the Copyright, Designs and Patents Act, 1988.
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher.
This book is a work of fiction. Names, characters, businesses, organisations, places and events are either the product of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events or locales is entirely coincidental.
A CIP catalogue record for this book is available from the British Library.
Ebook ISBN: 978–1–78658–042–9
Hardback ISBN: 978–1–78658–039–9
Trade Paperback ISBN: 978–1–78658–040–5
This ebook was produced by Palimpsest Book Production Ltd, Falkirk, Stirlingshire
Manilla Press is an imprint of Bonnier Books UK
www.bonnierbooks.co.uk