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The Street of a Thousand Blossoms
Couverture de The Street of a Thousand Blossoms
The Street of a Thousand Blossoms
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Gail Tsukiyama's The Street of a Thousand Blossoms is a powerfully moving masterpiece about tradition and change, loss and renewal, and love and family from a glorious storyteller at the height of her powers.
It is Tokyo in 1939. On the Street of a Thousand Blossoms, two orphaned brothers dream of a future firmly rooted in tradition. The older boy, Hiroshi, shows early signs of promise at the national obsession of sumo wrestling, while Kenji is fascinated by the art of Noh theater masks.
But as the ripples of war spread to their quiet neighborhood, the brothers must put their dreams on hold—and forge their own paths in a new Japan. Meanwhile, the two young daughters of a renowned sumo master find their lives increasingly intertwined with the fortunes of their father's star pupil, Hiroshi.

Gail Tsukiyama's The Street of a Thousand Blossoms is a powerfully moving masterpiece about tradition and change, loss and renewal, and love and family from a glorious storyteller at the height of her powers.
It is Tokyo in 1939. On the Street of a Thousand Blossoms, two orphaned brothers dream of a future firmly rooted in tradition. The older boy, Hiroshi, shows early signs of promise at the national obsession of sumo wrestling, while Kenji is fascinated by the art of Noh theater masks.
But as the ripples of war spread to their quiet neighborhood, the brothers must put their dreams on hold—and forge their own paths in a new Japan. Meanwhile, the two young daughters of a renowned sumo master find their lives increasingly intertwined with the fortunes of their father's star pupil, Hiroshi.

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Extraits-
  • Copyright © 2007 by Gail Tsukiyama. All rights reserved.

    Excerpt


    Late again, Hiroshi weaved in and out of the crowds near the Momiji teahouse. Sweat trickled down his neck and he pulled at the undershirt that was sticky against his back as he squeezed through the swarm of pedestrians clogging the labyrinth of narrow alleyways. They stopped to admire the deep blue and bright pink flowers blooming in the flower boxes—a heady fragrance drifting through the warm air. Eleven-year-old Hiroshi was already late to meet his grandfather and younger brother, Kenji, at the Keio-ji temple on the other side of Yanaka. He had dashed from the open, grassy field of the park where he and his classmates spent their afternoons practicing the wrestling techniques they learned in school—the oshi, hand push; the tsuki, thrust; and the yori, body push. "These are the fundamental moves of sumo wrestling," his coach at school, Masuda-san stressed, "the foundation on which we will build."


    Once again, Hiroshi had lost track of time.


    In the Yanaka district of northeastern Tokyo, the sloping streets were lined with traditional one- and two-story wooden houses. Despite the crowds, Hiroshi loved Yanaka for its familiar and quiet way of life, for the tantalizing smells of grilled fish kushiyaki and the sweet chicken yakitori sold from wooden carts. When he wasn't in a hurry, he even loved the maze of winding alleyways with blooming gardens that hid the old wood houses and the small, unassuming shops with their cloth banners hanging outside, selling hanakago, or bamboo flower baskets, handmade washi paper, and the soft silken tofu his grandmother loved to eat cold during the summer. The narrow streets offered a wealth of escape routes for the chase games he and the neighborhood children played—places you could get lost or hide in until you wanted to be found, or not found.


    But now, it was impossible for him to navigate them quickly. Men his grandfather's age sat at battered wooden tables and played shoji, oblivious to the crowds as they pondered each chess move. Hiroshi squeezed by a woman in a kimono, a baby tied to her back; the round-faced girl with dark eyes followed his every move.


    Once he neared the ginza, vendors lined the streets, selling everything from grilled corn and sweet potatoes, to roasted sembei rice crackers and baked squid. The enticing aroma of the spicy shoyu crackers reminded Hiroshi of his empty stomach, but he didn't dare stop. The muscles pulled in his sore calves as he hurried up the hill. He wrinkled his nose at the pungent vinegary smell of tsukudani, a kind of Japanese chutney his grandparents ate over their rice, which came from a nearby store and hung heavy in the air. He was short of breath by the time he reached the Keio-ji temple to find his grandfather and Kenji waiting outside.


    "Ah, the young master arrives," his grandfather teased. He sat on a stone bench in the shade of a ginkgo tree sucking on his pipe, his cane resting against his knee.


    Hiroshi bowed low. "I'm sorry to be late, ojichan," he said, pausing to catch his breath.


    "Sumo, eh?"


    Hiroshi nodded. At eleven, he was already the top wrestler in his class, perhaps the entire school. He'd grown taller and stronger in the year since he began taking the sport seriously.


    Kenji pouted. "Why else would he be late?"


    "I lost track of the time," Hiroshi confessed, trying to appease his brother. He'd already been late several times this month.


    "Did you at least win the match?" His ojichan leaned forward on his cane and stood.


    Hiroshi straightened up and answered, "Hai," though it was just practice, not real competition.


    His ojichan stepped toward the stone path and smiled....

Au sujet de l’auteur-
  • Born to a Chinese mother and a Japanese father in San Francisco, Gail Tsukiyama now lives in El Cerrito, California. Her novels include Dreaming Water, The Language of Threads, The Samurai's Garden, and Night of Many Dreams.
Critiques-
  • Publisher's Weekly

    June 11, 2007
    In her ambitious sixth novel (Dreaming Water
    ; The Samurai's Garden
    ), Tsukiyama tackles life in Japan before, during and after WWII. The story follows brothers Hiroshi and Kenji Matsumoto through the devastation of war and the hardships of postwar reconstruction. Orphaned when their parents were killed in a boating accident, the boys are raised by their grandparents in Tokyo. In 1939, Hiroshi is 11 and dreams of becoming a sumo champion, and soon Kenji will discover his own passion, to become a master maker of Noh masks. Their grandparents, Yoshio and Fumiko Wada, are vividly rendered; the war years and early postwar years, centered in their home on the street of the novel's title, are powerfully portrayed. Hiroshi and Kenji reach pinnacles of success in their chosen fields as well as in love, and while Tsukiyama's close attention to historical and geographical detail enriches the narrative, she isn't as successful when describing Hiroshi's wrestling career; the matches all begin to blur together. The lingering effects of war, on the other hand, are clear, and these, combined with a nation's search for pride and hope after surrender comprise the novel's oversized heart.

  • Denver Post

    "[Tsukiyama] writes with eloquence and feeling. Her prose is so finely wrought that you smell the rotting persimmons and the sawdust from wood being sanded in a mask shop. You are chilled by the mist rising in a Japanese mountain valley and even feel the heat and stench of the flames consuming parts of Tokyo during a World War II firebombing. This book is a feast for the senses...Tsukiyama has the soul of a storyteller."

  • USA Today "A fascinating, intricate portrait of Japanese customs and rituals that floods the senses."
  • Seattle Times "Tsukiyama's writing is clear and spare, and the thoughts and actions of her characters are accessible, believable. She unmasks their intentions for us, making it all the more tragic when they misread one another."
  • Booklist "Tsukiyama is a mesmerizing storyteller . . . [her] historically detailed and plot-driven story of resilience, discipline, loyalty and right action is popular fiction at its most intelligent, appealing and rewarding."
  • Lisa See, author of Snow Flower and the Secret Fan and Peony in Love "Tsukiyama has long been known for her emotional and detailed stories. This time, she has gone even deeper to explore what happens to ordinary people during frightening and tragic times."
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