One Hundred and One Ways

( 4 )

Overview

"I have spent most of my life in New Jersey, but the blood of a geisha courses through me yet."

If Kiki Takehashi's life is dramatically different from that of her reserved Japanese-American mother, it is light-years away from that of her grandmother, whom she knows only through old family stories. Kiki has recently become engaged to Eric, a handsome, successful New York City lawyer. But at the same time she is haunted--quite literally--by the memory of her friend Phillip, ...

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One Hundred and One Ways

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Overview

"I have spent most of my life in New Jersey, but the blood of a geisha courses through me yet."

If Kiki Takehashi's life is dramatically different from that of her reserved Japanese-American mother, it is light-years away from that of her grandmother, whom she knows only through old family stories. Kiki has recently become engaged to Eric, a handsome, successful New York City lawyer. But at the same time she is haunted--quite literally--by the memory of her friend Phillip, killed the previous year in a mountaineering accident.

Kiki has never met her grandmother Yukiko, for whom she is named. Still, thoroughly American though she is, she feels a secret kinship with her. Kiki is swept up by the story of this strong, proud, passionate woman who, against all odds, in a time and place far different from her own, was sold by her impoverished family, became a famous geisha, and found the love that has so far eluded the rest of the Takehashi women.

Lyrical, haunting, and stunningly evocative, One Hundred and One Ways introduces a powerful and exciting new voice in contemporary fiction.

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Editorial Reviews

From the Publisher
"Resembles an intelligent cross between the bestselling Memoirs of a Geisha and the haunted-by-a-lost-love movie Ghost."
--The Detroit News

"Cinematic...satisfyingly ambiguous."
--Los Angeles Times Book Review

"Beautifully written, thoughtfully conceived...the writing resonates with authenticity...an impressive accomplishment."
--The Orlando Sentinel

"Authentic and appealing...a lovely, lyrical novel."
--The Philadelphia Inquirer

Los Angeles Times
When we call a novel 'cinematic,' we usually refer to its quick jumps from one fragmentary scene to another....Mako Yoshikawa's debut novel is cinematic in quite a different way: through its handling of focus.
Time Out New York
Geishas seems to be the It girls of the moment....[Yoshikawa] has more legitimate claim to this trend than most....[She] challenges the sexual \ stereotypes of Asian women.
Greensboro News & Record
An absorbing tale of three generations of women seeking to make peace with the past and form loving relationships ... Yoshikawa is a graceful and lyrical writer ... a promising new literary voice.
Greensboro News & Record
An absorbing tale of three generations of women seeking to make peace with the past and form loving relationships....Yoshikawa is a graceful and lyrical writer ... a promising new literary voice.
Library Journal
This promising first novel is a beautifully written story about a young Japanese American woman who tries to understand her relationships with her lovers by examining the lives of her mother and grandmother. Kiki Takehashi is a young graduate student living in New York City who questions her engagement to Eric as she continues to mourn the death of her former lover, Phillip, who literally comes back to haunt her. Although she does not talk to her mother about her problems, she is close to her and is fascinated by her mother's stories of her grandmother, a former geisha. She processes her thoughts about the loss of Phillip and her future with Eric by imagining the conversations she'll have with her grandmother when she visits from Japan in the fall. Yoshikawa weaves together the stories of three generations of women with wonderful detail and graceful style. Highly recommended for all libraries.--Judith Ann Akalaitis, Supreme Court of Illinois Lib., Chicago Copyright 1999 Cahners Business Information.
Greensboro News & Record
An absorbing tale of three generations of women seeking to make peace with the past and form loving relationships....Yoshikawa is a graceful and lyrical writer ... a promising new literary voice.
Los Angeles Times
When we call a novel 'cinematic,' we usually refer to its quick jumps from one fragmentary scene to another....Mako Yoshikawa's debut novel is cinematic in quite a different way: through its handling of focus.
Los Angeles Times
"When we call an novel 'cinematic,' we usually refer to its quick jumps from one fragmentary scene to another ... Mako Yoshikawa's debut novel is cinematic in quite a different way: through its handling of focus."
Kirkus Reviews
Newcomer Yoshikawa tries but fails to weave the story of a young woman's doomed love affair in Manhattan seamlessly together with the tale of her Japanese grandmother who was once a geisha. Kiki, the narrator, is a graduate student in English at Columbia and, as the story begins, thinks she may be in love with Eric, a handsome young Jewish lawyer she met at a concert. But she is also literally haunted by Phillip, the love of her life, who was killed while climbing in the Himalayas. Kiki keeps seeing Phillip in her apartment—on the window sill, in the kitchen, on a shelf—which doesn't help her affair with Eric, though she soon accepts his proposal of marriage. As Kiki recalls how she met Phillip, a young man born to wander and charm, and as she worries that Eric may have a fetish about Asian women, she writes imaginary letters to her grandmother Yukiko, who, now a widow, has promised to visit Kiki and her mother, Akiko, in the fall. Kiki identifies strongly with her grandmother and looks forward to hearing Yukiko herself tell the story of her life. Meanwhile, Kiki relates the tales Akiko has previously told her. Sold by her parents to a geisha house, beautiful young Yukiko used guile and sex to marry a rich businessman and become a respectable member of society. Akiko defied her mother and married for love, but her brilliant, unstable husband later abandoned her. As the past and present stories move awkwardly in tandem, Yukiko cancels her travel plans, and Kiki, still mourning Phillip, breaks up with Eric. Watching Akiko with a new love on a visit home, Kiki realizes that someday she too will move on from Phillip—and that, like Yukiko and Akiko, she will always be gratefulfor having loved at all. Trendy Asian elements do little to gussy up an unconvincing love story. .
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Product Details

  • ISBN-13: 9780553379693
  • Publisher: Random House Publishing Group
  • Publication date: 5/28/2000
  • Edition description: REPRINT
  • Pages: 288
  • Product dimensions: 6.13 (w) x 9.18 (h) x 0.76 (d)

Meet the Author

Mako Yoshikawa has studied at Columbia University and Oxford. She has been the Vera M. Schuyler Fellow of Creative Writing at the Bunting Institute at Harvard University, and she is a doctoral candidate in English literature at the University of Michigan.  Her great-grandmother was a geisha.
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Read an Excerpt

Sometimes I can smell him, rain and salt and cigarettes and something else, curiously, like cucumber, when I step out of the shower. Out of a sense of delicacy, perhaps, he has never appeared to me in the bathroom, but whenever I smell him I dress myself slowly, making sure to hold in my stomach. I wring my hair and whip it back from my face, I clean the mirror of steam and stretch and strike a few casual poses in front of it. I lather lotion onto my body, first my legs, one foot up on the sink at a time, then my stomach, smoothing in the cream in small circles, and then my arms and last of all my breasts. I dress at a leisurely pace, pulling my underpants up and sliding into them with a swivel of the hips, snapping on a bra with all the strut and reluctance of a striptease. I may have spent most of my life in New Jersey, but the blood of a geisha courses through me yet.

When I first saw Phillip he was only a flicker in the corner of my eyes, gone even before I turned. Only gradually did he become bolder, moving out of the dusty corners to reveal his full form in quick flashes. Now he will stay in one place for hours. If I am reading I can look up at odd moments and he will be there, watching me. Often he will remain with me until I finish the book.

He is fond of small spaces. Lazy as ever and cured, apparently, of his wanderlust, he likes crouching in a fetal position under my desk, and he enjoys folding his long body into an improbably tiny package so he can fit into the fireplace, along with the violet moths. Less frequently he peeks out from behind the door or he stands picturesquely shrouded by the curtains; every once in a while he lies on his side with his head propped up by an elbow. One day as I was reading, I reached for my iced tea and saw him through the clear glass of the coffee table, his face pressed right up against it and his eyes peering out at me as if I were a goldfish in an upside-down bowl. He is always naked, he hardly ever moves, and his expression never changes. Even his eyes are still.

Although I cannot control the time or the frequency of his visits, I still like him like this, silent and anonymous as my left hand. Behind the cover of my book I rub my thumb against the tips of the other fingers, feeling the shell-like hardness. I spread my hand open and look at it, palm up. In public I keep my secret clenched inside and when I lie in Eric's arms at night, I am careful to hold my fist against my breasts so that I fall asleep hugging it to myself. But when I think of Phillip, I like to feel my hand and gloat over the smoothness where the fingerprints used to be.

Maybe the lesson is that in the end, you can't buck genes. In my family, being haunted by a lost love is not even news. I come from a line of women with a tenacious grip on the man in their lives.

"Kiki, are you listening to me? Kiki."

I look down at my novel, in which I have long ago lost my place, and then back up at Eric. "I'm sorry," I tell him. "I didn't hear you. What did you say?"

His eyes grow round for a second, and I can tell he is holding his breath in as he does during sex: an unhealthy habit, which I need to tell him about at some point. Then he lets his breath out in an explosive laugh. "I don't know if I can say it again," he begins. "It was kind of a spontaneous thing."

He kneels beside me--why, with his trick knee?--so that his head is for once at a lower level than my own. His face is unexpectedly close to mine, and as he shakes his head, still laughing a little, his hair lightly brushes my shoulder.

Eric has brown silky hair and fine dark eyes, and his face, like his penis, is long and lean and intelligent. His knees are white and skinny, a disappointment, but he is handsome and elegant, and his arms and shoulders are well developed. If he stood next to Phillip, he would even seem husky.

His fingers are small and they are not much to look at when they are motionless, but when they move they twitch with an odd grace of their own. When I read, I use my fingers only to turn the page or occasionally push back my hair. When Eric reads, he takes copious notes in the margin, even on a newspaper, underlining and scribbling until his fingers are cramped, and his words outnumber those on the page. He can simultaneously crack two eggs, one in each hand, without getting his fingers messy and without spilling bits of shell into the bowl, and even in his sleep he remains active, wrapping my hair around and around his fingers until I cannot go to the bathroom in the middle of the night, because we are literally chained together.

"What if--" I begin, but I am interrupted by a tapping at the window. I turn around half expecting to see Phillip, yet it is only a fly banging against the glass. "Just a second," I say. I walk to the back of the room and open the window to let it out. The fly leaves and the heat and the smell of the city come pouring in, and I feel sticky where the outer air has touched me.

"You should cover yourself before standing in front of the window," says Eric, still on his knees beside the couch, all but clucking his tongue.

"They're all naked out there, too," I tell him reassuringly, a fact that can be veriWed by a glance into the windows across the street, but that does not necessarily alleviate the problem of prying eyes. Still, my rejoinder has the desired effect, for he nods, his lecture forestalled or, with any luck, forgotten completely.

Even with the air conditioner on, the heat is such that we made the decision to shuck our clothing for the day. I wear underwear only, without a bra, and he wears boxers, and for some reason (a trace of shyness, a hangover from his prim childhood?) socks. The heat is still uncomfortable, though, so much so that I cannot bear the pressure of my wristwatch, with its dainty weight of gold, and I remove it, exposing a neat line of untanned skin flanked by two rows of sweat.

As I turn away from the window, I stub my foot against the growing stack of Eric's discarded newspapers, and a couple of moths fly out, startled, from the pages of the Wall Street Journal. I have seen few moths in the apartment within the past year. In the coolness of the air-conditioned room lit by hazy sunshine, in spite of the life and the color that they bring, the flitting of the moths seems a slightly sinister warning, an omen invoking not the future but the past.

I love them. A year and a half ago my apartment was infested with ants, and though they were harmless scavengers while the moths nibble holes in the wool blanket on the sofa, I hated the ants and love the moths. Fragile and vulnerable, the moths make me feel as if I am living in a land of butterflies and scorpions, of love and cholera, where beauty and danger feed on each other. Eric warns me that the moths will eventually eat up all my sweaters, but I cannot bear to get rid of them. After all, there is something both noble and pathetic in the moth's love affair with light, and even if Eric refuses to admit it, the ones in my apartment are especially lovely, unusually large and flecked with bits of blue-green that turn into violet when they fly. There are moments when they actually gleam, luminescent, in the half-dark of the evening. If I squint or if I am not wearing my contact lenses they look like stunted blundering butterflies, and late at night if I wave my book at them as they flock against the wall near the light, they rise and fly away together like dust, perhaps, or dreams.

Eric has not moved from his vigil by the sofa. His knee must not be so bad today.

I am just sitting down again when the ring of the phone makes me jump. "Oh, not again," I say. The telephone is at Eric's elbow but he does not even turn to look at it, though I can tell from some shift in his posture that he has to restrain himself from doing so. Only a few months ago, he used to answer my phone freely.

I stand back up, stretch over him, and reach for the receiver. I speak into the phone, and there it is again: a whirring sound so high-pitched it makes my teeth ache. I shiver, suddenly wishing that I had kept my clothes on. I put the receiver down, sit back on the couch, and look at Eric, who is scratching the inside of his wrist with some attention. Usually full of unsolicited advice, he does not like to discuss these phone calls. When I ask, he tells me that he does not think I should call the police, despite the fact that I have been receiving these calls now for almost two months.

"Don't you think--" I begin, but looking up from his forearm, Eric interrupts.

"Will you marry me?" The words come out in a rush, so fast that at first I think I misunderstood. His face is flushed, his hair tousled, and he is clad only in boxers and socks: scant evidence here of the confident young lawyer who wooed me out of mourning. His gaze (so direct, bright and eager as a child's) unsettles me, and I drop my own onto the floor.

He has a hole in the heel of his left sock. I had not noticed it before, but with him kneeling, the bottoms of his feet sticking out behind him, no one could possibly miss it: a good portion of his heel is showing through the hole, and the whiteness of his skin makes a striking contrast to the dark blue of his sock. Yet his right sock looks brand new. Suddenly I realize that Eric must secretly favor his left leg, with its problem knee, when he walks, and I chalk up yet another question for my grandmother, one more to add to the list I have been compiling for her arrival. Did my rich and powerful grandfather, in whose presence the world cowered and bowed very low, secretly wreak havoc upon his footwear with his limp? And did she, too, want to swallow both a laugh and a lump in her throat when she saw how ridiculous was his exposed patch of heel?

"You've been on your knees--your bad knee--this whole time, waiting to propose?" I say at last.

"It's killing me," he says, not a bit sheepish, if anything proud.

"Come sit down," I say, patting the spot on the couch beside me. "I can't think, knowing you're in pain."

The bones of his knee click loudly as he straightens it, and he clambers to his feet with a measure of awkwardness. Taking a seat at a decorous distance from me, he says, "I know it hasn't been long--"

"--Just a year and a bit--"

"--but I'm sure," he says. He pauses and then he adds, in a voice so low I have to stoop to hear, "I'll always love you, you know. Scout's honor."

This whisper is so unlike his usual confident tone that I am struck with the strangeness of this scene. This is not the proposal I would have expected from him, for who would ever have guessed that Eric Lowenson would kneel in front of a woman clad only in her underwear, and pledge eternal devotion with one foot exposing a worn sock, and two fingers upheld in a childtime vow? He, the man who loves to stage meticulously planned pleasures: one evening, a fine silver bracelet presented with a flourish on the top of the Empire State Building, and another afternoon, my birthday, a bottle of wine, along with two glasses, hidden behind a bush (and, miraculously, still there) when we went rowing in Central Park. The only thing he forgot that afternoon was the corkscrew, a disastrous omission, as he cut his fingers so badly when he broke open the bottle that I ended up turning twenty-six in the emergency room.

"No ring," he says, mistaking the reason for my glance at his empty hands. "Sorry--this really was a spur-of-the-moment thing."

I shrug. "You do know, don't you, that I haven't forgotten Phillip," I say.

"I know. But you're almost there, right?" he says, and then answers his own question for me. "So it's not a big deal."

"And your family? After all, I know they're upset about me not being Jewish, and there's the Japanese thing. Plus my grandmother's coming soon, and she's--well, you know."

"Don't be silly," he says with some relief, on firmer ground here. "My family's going to have to like it, and once they meet you, they will like it, because they'll like you. And as for your grandmother ..." Waving away the monumental presence of the past with one clean sweep of his hand, he continues, "She's just an old lady. She hasn't been a geisha now for what--half a century?"

I nod absentmindedly, troubled, as I so often am with Eric, by a feeling that I am in the wrong story. As if I were a glass, Eric sees in me a future that mirrors his own. It is a world in which moths eat sweaters, bills are paid on time, and things are no more than what they seem; a place in which my grandmother, stripped of her geisha past, emerges looking gray, shriveled, harmless. What Eric will give me is a reason not to wait and watch by the window; what he offers is a band of gold that anchors me to earth, a talisman to prohibit old loves, no matter how dear, from coming back from the dead.

He sees in me a future that I myself could never see. But then again, my sight never has been very good.

"Okay," I say. "Thank you. It'd be good to marry you."

For the second time today, his eyes grow round. Startled, even thrown off-balance, he struggles visibly to maintain his smile for a moment, and I think, belatedly, that I spoke too simply and too soon, a girl accepting the offer of an ice-cream cone, a stroll in the park, an umbrella held over her in the rain. Eric quickly scratches at his arm again, troubled as well, perhaps, by a sense that I am not a part of his story.

But the moment passes, and soon we are kissing on the crackling, tearing pages of his newspaper, my novel tossed to the floor.

The bedroom is almost cool, the curtains still drawn from last night. Sitting on top I climax, as usual, long before he does. He reaches out and holds my hips still; his own movements slow and he pauses, as he sometimes likes to do in the middle of his lovemaking. "Let me look at you," he murmurs, and gathering my hair at its ends, he pulls it back until my throat extends and my back arches, to a degree just shy of pain.

All I can see is the ceiling, but I feel him place his hand on my exposed throat and clasp it for a moment, as if in preparation for a murder. Then he lets his hand slide slowly down my collarbone, over my breasts, my ribs, my stomach. "I can't believe you're all mine," he says, but there is a cockiness to his touch that belies the humility of his words. He releases my hair, then, and I bend my head forward again, to find him still absorbed in the contemplation of my body. It is a gaze of satisfaction, the conqueror surveying his loot, his proudly won land.

When I was an overweight teenager and my prospects of ever finding a boyfriend were depressingly dim, I never thought I would have a man who actively wanted me, let alone enough to gloat over my body.

"I am a lucky man," he whispers. I am silent, looking down at him, but he has begun moving with a passion I could not have foreseen, and he does not seem to care.

Afterwards we return to the living room and pick up my Jane Austen and his papers. But before I can start reading, he reaches out once more and gathers me to him. "Hey," he says into my ear, "now that we're engaged, can I call you Yukiko?"

With my face buried in his shoulder, I let my smile slip away. I abandoned my given name for good when I left high school, but Eric has wanted to call me by it ever since he saw my driver's license.

I consider telling him that I gave up the name because I did not enjoy being saddled by a three-syllable clunker that everyone pronounced wrong, no matter how often I explained that the second syllable should not be stressed. I ponder saying that for all that I would like to bear the same name as my grandmother, it is bad enough to have bone structure and hair that brands me as foreign on the streets of New York, let alone a name that does, too. I think of explaining that I hate that Yukiko means Snow Child in Japanese.

But I have presented these same points to him countless times before, and they have never worked yet.

"Are you sure you don't have an Asian-woman fetish?" I say, trying to keep my tone light, but in vain.

He pushes me away so he can peer into my face. "Are you going to start that again?"

I look away, deliberating the question.

He sighs. "I'm sorry I brought it up. I just prefer Japanese names, that's all. We're not going to fight just after getting engaged, are we?"

"But you know that those men who ask me out in coffee shops, and who always try to talk to me in Japanese, and secretly yearn to see me dressed in a kimono, would just so much prefer Yukiko to Kiki...."

"Stop it," he says. "I don't have an Asian-woman fetish, okay? I would never ask you to walk on my back, and I wouldn't--"

I freeze, stilled, momentarily, by the memory of a dark room with a crooked pool table, and a tall man I had fled from without a word. "What did you say?"

"I said I'm not going to ask you to--"

Quickly, before he can repeat that phrase, I stop him. "Ever heard of the expression 'one hundred and one ways'?"

He wrinkles his forehead. "It rings a bell," he says. "Why?"

I shake my head, and manage to keep my voice even. "Just something somebody told me once. I'll tell you about it sometime."

I reach out and draw him close again. My left hand is pressed against his back and as I slide my fingers across the smoothness of his skin, I imagine that I can feel the emptiness in the center of each of my fingertips. "Promise me," I say, my voice muffled against his shoulder. "Promise me you aren't attracted to me because I'm Japanese."

Again he draws back to look me in the face. His eyes, searching mine, move back and forth as Phillip's always did. He draws a deep breath in, and holds it. I count the seconds, waiting, expecting and dreading a lecture, but when he finally lets his breath out (... seven Mississippi ...), his voice is quiet. "I promise," he says. "What's gotten into you?"

"Nothing," I say. "I'm fine. Should we go out to dinner tonight, to celebrate?"

He nods. "But--"

I pick up the phone and drop it in front of him. "Here, make a reservation," I say, standing up and moving away before he has a chance to refuse. "I'll be right back."

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Reading Group Guide

1. Even if Phillip had come back, would he have been able to stay with Kiki? Was the idea of the inevitability of their parting part of what makes their relationship so romantic?

2. How does the fact that there are no real obstacles between Kiki and Eric make her feel about their relationship?

3. Why did the author wait until the very end to let us know that Kiki and Phillip had a "last encounter?" What does she try to do by holding on to this detail?

4. What, in the end, convinces Kiki to move on with her life and open up to people again?

5. What is the main conflict in the mother/daughter relationships in this book: between Kiki's grandmother and mother, and between her mother and Kiki?

6. Why did stories of Kiki's grandmother and her family hold such importance for Kiki?

7. The meeting of Kiki and her grandmother would have been a very dramatic climax for the book--it's what the book was leading up to. Why does the author choose not to have that happen?

Included in the web version only.

Does Eric take Kiki's needs seriously? Is this important to Kiki? Why or why not?

Is the idea of not recovering after the loss of a husband/boyfriend a romantic one for Kiki?

Why did her father leave--and stay out of touch with Kiki?

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Customer Reviews

Average Rating 4.5
( 4 )
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Sort by: Showing all of 4 Customer Reviews
  • Anonymous

    Posted February 18, 2003

    Just What is Says

    It really it like Memoirs of a Geisha meets Ghost. I enjoyed her storytelling. I have to admit to being thrown off when in the first chapter she compares her boyfriend's face to his penis, but it fits her character to do so. My favorite line was "I fall asleep wondering if this is the way balloons make love." It has stuck with me and I am definitely going to read her new release this summer. :o)

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  • Anonymous

    Posted February 26, 2001

    Struggling Relationships of Three Generations

    ¿One Hundred And One Ways¿ is an awesome book in that it deals with the turbulent relationships of Mothers and Daughters spanning three generations. You are left with so many feelings in this book, from the many Mother-Daughter silent moments that speak a million words, to the awkward feelings between lovers. I was so moved with Kiki's ability to deal with her deceased lover and was happy to see her finally deal with her current love. Kiki was also brutally honest about her sexual encounters. This book left me thinking about my own relationships and how I should perhaps confront them with such honestly. I have always been intrigued with the lives of Geishas and this book touches lightly on this mesmerizing way of life. Anyone who reads this book will be profoundly moved in many ways.

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  • Anonymous

    Posted December 23, 2000

    A PROVOCATIVE NEW VOICE

    An original coming of age tale and a perceptive reflection of what it means to be a Japanese American are the twin buttresses of One Hundred and One Ways, an impressive debut novel by Mako Yoshikawa. Choosing as her setting a rampantly vigorous New York City, the author has crafted an exceptional story of three women whose lives are irrevocably intertwined. By deft use of telling flashback and revelatory conversation Ms. Yoshikawa seamlessly conjoins the past experiences of our narrator, Kiki, a 26-year-old American university student, her mother, Akiko, who lives alone in a well appointed New Jersey home, and her grandmother, Yukiko, a former geisha still in Japan, a woman Kiki has never met but longs to know. Their mutuality rests in each losing the first man she loved. As Kiki, writes: 'In my family, being haunted by a lost love is not even news. I come from a line of women with a tenacious grip on the man in their lives.' More literally haunted than her forebears Kiki finds herself living with a ghost - the wraithlike specter of her dead lover Phillip who appears unbidden 'crouching in a fetal position under my desk, and he enjoys folding his long body into an improbably tiny package so he can fit into the fireplace....' Now engaged to Eric, an up-and-coming young attorney, Kiki finds herself torn by a desire to be what Eric wishes her to be and the continuing grief she feels after Phillip's sudden death. His phantasmic appearances serve only to exacerbate her confusion and sorrow. Seeking respite from ever growing uncertainty, Kiki eagerly anticipates a Thanksgiving visit from her grandmother, the older woman's first trip to the United States and, hopefully, a time of reconciliation for Akiko and Yukiko who have been estranged for a number of years. 'I have been hoarding questions to ask my grandmother Yukiko,' Kiki writes. 'These questions start out to be about her life, and then turn out to be about my own.' The affinity Kiki feels for her grandmother is deeper than a blood tie: '....there is a bond that connects my grandmother to me. It is not our physical resemblance that draws us together, nor does it matter that we share the same name. I know that our similarities run deeper than that, for I have thought long and hard about the key to our secret kinship, and it is this: what a geisha is to Japan, a Japanese woman is to America.' That thought is at the heart of this engrossing, magnetic tale. Ms. Yoshikawa, descended from a long line of samurai and the great-granddaughter of a geisha, has created characters for whom we care and will remember. One Hundred and One Ways introduces a thoughtful, provocative new voice to the annals of American fiction.

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  • Anonymous

    Posted December 3, 2000

    For anyone who has ever loved

    I couldn't put this book down. Almost every chapter had me sobbing or laughing. For a first time author, Yoshikawa has definately created a masterpiece.

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