it's clear that, despite the name, the author isn't japanese, and this is a deliberate choice. in writing, this becomes a tool, a subtle form of manipulation. the challenge lies in finding the right balance: incorporating too much japanese language can alienate some readers, while it simultaneously enhances the text's authenticity.
the delicate balance of authenticity and accessibility
some readers find this cultural blending intriguing, while others feel excluded.
it's a constant struggle to reconcile authenticity with making the material accessible to those unfamiliar with the culture. it's a continuous act of cultural translation. the visual elements and design of the book, including japanese characters, illustrations, and photographs, further bridge this gap.
embracing experimental narrative forms
the author acknowledges having a supportive editor, often relying on their guidance when working on unconventional ideas.
there's a clear fondness for books that blur the lines between reality and fiction, pushing boundaries and experimenting with form. the author's first novel incorporated comics and manga elements.
influences include children's books like allan ahlberg's the jolly postman, which features interactive elements like envelopes containing letters written in each character's handwriting.
as an adult reader, mark z. danielewski's house of leaves stands out, with its multiple layers of narratives, meta-narratives, and unconventional textual representations.
neil gaiman's the sandman, a graphic novel where illustrations spiral, requiring the reader to physically rotate the book, also serves as inspiration.
similarly, four seasons in japan includes a qr code, allowing readers to further explore the story online.
blurring the lines between reality and fiction
this integration of real-world elements enhances the sense of realism, prompting readers to question the boundary between fact and fiction.
the character flo struggles to differentiate between reality and fantasy, a theme that permeates the book. the reader is aware they are reading a fictional narrative, yet they become deeply invested in it, desiring to spend more time with the characters.
the author's fascination with "real" and "fictional" elements
the author expresses enjoyment in exploring the ambiguous space between reality and fiction within their writing.
the inclusion of an author mentioned in both books often leads readers to inquire about where they can find this author's work. the author incorporates both real and imagined figures, blurring the lines until the fictional ones feel almost tangible.
exploring dissatisfaction and the pursuit of happiness
the second novel begins with flo experiencing a sense of dissatisfaction.
a close friend suggests that achieving one's dreams or attaining success can be dangerous. this resonates with a personal anecdote about the author's brother, who believes winning the lottery would bring happiness, but the author argues that the freedom to buy anything can ironically undermine happiness.
the illusion of purchased happiness
the saddest thing, the author suggests, would be to have the ability to purchase happiness, only to realize that it doesn't provide fulfillment.
true happiness stems from working towards something, having a purpose. the author's own dream was to publish a novel and become an author.
the publication of the first book brought immense joy but also necessitated a shift in goals. the life of a novelist is a constant pursuit of the next project, a continuous effort to improve.
there is no single achievement that resolves everything.
contrasting perspectives on happiness
flo initially believes that achieving a specific goal will bring happiness, but her journey involves discovering that this isn't necessarily true and then finding what truly makes her happy.
the author wanted to explore this concept, drawing inspiration from zen buddhism, which emphasizes that the path itself is the goal.
the author wanted to examine the nature of happiness, the meaning of failure, and how to find happiness on the other side of failure.
within the novel-within-a-novel, kyo, who loves drawing manga, and his stubborn grandmother learn that it's okay to be unhappy and to reject societal expectations. it's about discovering that it's acceptable to choose a different path.
embracing failure and challenging expectations
the driving force behind the writing was the concept of failure.
the author wanted to portray characters like kyo and ayako who felt a strong sense of failure, that they had made mistakes or done something wrong.
the unifying power of failure
flo also experiences failure.
failure unites these characters, who have all failed in some way. the novel explores the meaning of failure, how we confront it, and what constitutes success. kyo and ayako, despite their differences, are interconnected.
the author envisioned them as representing the yin-yang concept in chinese culture, the duality between black and white.
kyo embodies the white, while ayako represents the black, but both are evolving.
they have clear ideas about who they are and what they want, and the author wanted to see what they could learn from each other, how they could grow together as a unit, not just as individuals.
mirroring through intergenerational connections
there is a reflection between them, despite their age and lifestyle differences.
they learn how they have failed themselves through their respective stories. perhaps what they perceive as their own failures are not truly failures. the text moves on to other topics outside of the original writing.
exploring musical legacies: gershwin, arlen, and bernstein
the text shifts focus to the legacies of musical figures, starting with george gershwin.
he honed his piano and composing skills, leading him to write musical comedies in the style of jerome kern, with whom he shared a mutual influence.
the gershwin brothers' collaboration and early success
his brother ira's contributions as a lyricist and businessman were crucial during this phase.
his first major hit, swanee, emerged from the musical demi-tasse and was recorded by columbia records the following year, becoming a global sensation. eighty-five years after his death, gershwin remains a celebrated figure in both american popular music and the global symphonic repertoire.
during his lifetime, prominent musicians like igor stravinsky, arnold schoenberg, francis poulenc, maurice ravel, darius milhaud, and leopold stokowski admired and respected his talent.
unconventional musical genius
accounts suggest that gershwin sought lessons from both stravinsky and ravel, but both declined, believing that their instruction would only hinder his unique and innovative musical gifts.
porgy and bess, a folk opera, stands as a testament to his genius. the opera's expressive poetry and authenticity made it a masterpiece.
summertime: a poignant lullaby
the opera's opening aria, summertime, is a bittersweet, ironic, and moving lullaby in which a mother describes an idyllic scene to her child, a stark contrast to their harsh reality.
this is one of many pieces that entered the american popular repertoire and continues to thrive independently.
fred astaire, ginger rogers, and gershwin's influence on film
a film starring the legendary tap dancers ginger rogers and fred astaire was a success, largely due to the novelty of fred and ginger dancing on roller skates and because the soundtrack was based on the music of the gershwin brothers.
the overture crazy for you has had an interesting history worth noting.
crazy for you: from stage to screen and back again
girl crazy was adapted into film in three versions, each featuring varying numbers of songs from the original musical and starring beloved artists and musicians: the 1932 version, with only four songs; the more popular 1943 version, starring mickey rooney and judy garland, with seven songs; and a 1965 remake titled when the boys meet the girls, featuring connie francis, harve presnell, louis armstrong, and liberace, which included five of the original pieces.
girl crazy returned to broadway as a musical in 1992 under the title crazy for you, achieving tremendous success with over sixteen hundred performances.
in addition to the original songs, fifteen well-known pieces from other gershwin musicals were added, rescuing them from obscurity caused by the dominance of british musicals like cats, the phantom of the opera, les miserables, and miss saigon.
transatlantic acclaim
crazy for you was also staged in london in 1993, winning numerous awards on both sides of the atlantic.
while staying at the hotel majestic, gershwin engaged in a whirlwind of social, musical, and tourist activities that solidified the concept and character he wanted to infuse into his burgeoning work.
artistic encounters in paris
at the hotel and elsewhere, he met musicians such as prokofiev, milhaud, ibert, rieti, ravel, and nadia boulanger, playing his music for them, including his unfinished an american in paris.
most, with the exception of prokofiev, reacted enthusiastically, encouraging him to continue his work.
he then traveled to vienna, where he met alban berg, exchanging ideas and music with mutual admiration. the title an american in paris reflects his intention to capture the sonic impression that the parisian atmosphere made on him, as an american, as he strolled across bridges, through parks, and along bustling streets.
a sonic portrait of paris
to achieve this, he added a celesta, three saxophones, and four french taxi horns, which he had brought with him as souvenirs, to the traditional symphonic instruments.
the result is refreshingly spontaneous, engaging, and infectious. the text then shifts focus to harold arlen.
harold arlen: from harlem to hollywood
harold arlen—hyman arluck was the real name of another prolific american composer, arranger, and producer from the golden age of broadway musicals and film soundtracks during the 1940s and 1950s.
early career and broadway success
he began his career as a professional pianist at a young age, performing in vaudeville theaters.
in new york, he partnered with the poet ted koehler as a lyricist, working for the legendary cotton club in harlem, creating musical revues. he then received offers to compose music for films, leading to numerous hits.
over the rainbow: a timeless anthem of hope
over the rainbow was written by arlen, with lyrics by edgar yipsel harburg, for the soundtrack of the iconic musical film the wizard of oz, based on frank baum's novel the wonderful wizard of oz.
starring judy garland and frank morgan, it tells the story of dorothy and her dog toto's adventures as they try to return to kansas after a tornado carries their house to the fantastical land of oz.
the enduring message of over the rainbow
the song's message has resonated in our collective imagination because it expresses the yearning and impossibility we all feel to reach a better world, a utopia where the skies are always blue and our dreams come true.
but that land lies beyond the rainbow, and dorothy asks melancholically at the end of the song: "if happy little bluebirds fly beyond the rainbow, why oh why can't i?". the text then shifts focus to leonard bernstein.
leonard bernstein: a multifaceted musical genius
among american musicians, louis leonard bernstein stands out as a pianist, conductor, composer, and popularizer of music.
his excellence as a conductor led him to lead famous orchestras in many countries and make numerous recordings.