‘The scariest thing,’ he went on, ‘is when you can’t prove it. Are there anomalies . . . or no anomalies . . . is there an Exit 8 . . . or is there not . . .’
*******
Was it a memory from the distant past? A glimpse of a faraway future? It felt like both. A nostalgic future.
‘Maybe we’re stuck here ’cause we did something bad. We were learning about it in school – Dante’s Divine Comedy? Purgatory’s like this place between heaven and hell, where sinners wait for judgement while suffering.’
Purgatory? What is she even talking about? Sounds like one of those swirling spiral tower drawings I’ve seen before. But in a Japanese underground passage? Come on. That’s too surreal even for this place.
I leaned in and read aloud: ‘Do not overlook any anomalies . . . If you find an anomaly, turn back immediately . . . If you do not find any anomalies, do not turn back . . . Go out through Exit 8.’
This novel is an adaptation of the film based on the original game by KOTAKE CREATE
*******
With every flick of my thumb, all kinds of images spilled out in a never-ending stream, appearing and disappearing in an instant. It all seemed random, but apparently this was content selected by AI, based on my viewing and search history. If that’s true, then maybe this endless feed of images is just a mirror of my soul.
It was a small tablet made of sakura wood, inlaid with the aoi crest carved in silver: the three hollyhock leaves enclosed in a circle, which was the primary symbol of the Tokugawa Shogun and the shogunate.
Certain high officials of the shogunate called this tablet the ‘unquestionable token’. The holder of this token was allowed to enter the castle without naming themselves, even through the main gate.
It was also said that this ‘unquestionable token’ was managed by only two or three members of the council of roju. Which meant that only those who assumed the most extraordinary duties for the shogunate were allowed to carry it.
The sky was a clear deep blue. When Kohei had crossed the bridge to the foot of the Matsuchiyama Shoden temple, a single swallow grazed his cheek and flew like an arrow towards the River Ohkawa. Gazing after it, Kohei murmured, ‘It’ll be summer soon …’
*******
‘Iori and Oteru are happy with it, so why not? The line between truth and falsehood is paper-thin. Wrap yourself in a layer of untruth and live an honest life – there’s nothing wrong in that.’
*******
ma relaxeaza aceasta – nu comuniune, as spune comuniunea sfarseste la un moment dat in acceptare si obisnuinta – sarbatorire a anotimpurilor – in mentalitate, traditii, vesminte, gastronomie, produse, stil de viata, existenta insasi…
When he turned the corner of Hisamatsu, his attention was caught by the scent of the new leaves sprouting from the trees inside the walls of the mansion which drifted over the street. It was, without a doubt, the fragrance of a spring evening.
‘There’s nothing better than staying in bed on a morning of spring showers. Somehow, I feel as if fresh bamboo shoots might start sprouting up from this old body of mine.’
“History is often what we as a society deem worth remembering,” the professor said to a surprised Rinako in Japanese, handing her a sheet of yellow paper that stuck to her fingers. “And your family is worth remembering.”
*******
“Your education is what you make of it. If you go into it thinking it’ll be useless, it will be. But if you go in with the intent to learn and to unlearn, to be critical of the world around you, you’ll start to pick up on how institutions work. See how beliefs are made and taught.”
*******
intr-un final, am plans la ultimele pagini – nu de tristete, sau de fericire; de eliberare a furiei acumulate in toate paginile cartii.
este o carte in care elemente de magic se intrepatrund cu realul, insa este o carte foarte reala, care avea nevoie de putina magie ca sa nu-ti pierzi mintile.
o carte care atarna, care nu lasa sufletul sa se aseze comod, asteptand o poveste lina, ci il nelinisteste, ii distruge reperele, si il incarca cu revolta, oroare si groaza.
intr-un alt final, este o carte despre ocupatia japoneza si “comfort girls” – https://en.wikipedia.org/wiki/List_of_former_comfort_women
Throughout it all, she bit her tongue, learning not to share what she had come to know of the people around her. Their hopes, their fantasies, their fears. From a young age, Rinako internalized the lesson that disclosure led to ruin. Secrecy preserved comfort and safety.
[…]
Rinako had vivid dreams. Some were ungraspable and forgotten, but some played so clearly behind her closed eyes she could not always recall if she had been asleep. Her dreams rarely centered her, however. Some were a pastiche of absurd situations featuring people she did not know. If her dreams presented more familiar faces, she would see her neighbors’ pleasures, her teachers’ hobbies, her classmates’ nightmares.
[…]
While these dreams stoked her sense of kinship toward others, no one returned the sentiment. She did not understand why connecting with people was so difficult for her when it came so easily to everyone else, in dreams or otherwise.
*******
“I WANT TO GO WITH YOU!” Rinako screamed louder than she had ever screamed before, startling a host of sparrows to flee from a nearby maple tree.
[…]
A sparrow was perched on his nightstand next to his pager and a pile of coins, staring at him.
*******
faptul ca vrabiutele lui Tayiji – personaj secundar in poveste, vegheaza inca – indirect – asupra lui song young-ya peste ani, ea in korea, iar fiul si nepoata ei in tokyo, ma induioseaza peste masura…