The heart of the home truly is the kitchen for the young protagonist of Banana Yoshimoto’s debut novel Kitchen (translated by Megan Backus). University student Mikage Sakurai loves kitchens, which become her refuge when the death of her grandmother making her an orphan twice over.[*] Stunned by her utter solitude (“It’s total science fiction. The blackness of the cosmos.”), she only can sleep next to the humming refrigerator. Other obligations also press on her. While her grandmother left her money,[†] she nonetheless must downsize her apartment to stretch her funds. Still grief-stricken, the thought of moving and house hunting paralyzes her. Fortunately, Mikage also inherits her grandmother’s friendship with Yuichi Tanabe. Yuichi, a younger university student, works part-time at the floral shop her grandmother frequented. He and his mother, Eriko, offer a much needed respite by opening their home to Mikage, complete with a beautiful kitchen (“It was a good kitchen. I fell in love with it at first sight”).
Grief, Connection, and Magic
Yoshimoto’s novel (as well as its novella companion “Moonlight Shadow”)[‡] contemplates grief and loneliness with a delicate touch. While these emotions predominate, they are offset by moments of joy and connection. Yoshimoto uses light and dark imagery symbolically to reinforce these feelings: in the novel’s second half, “the telephone was glowing” in Yuichi’s mind whereas Mikage felt the line to Yuichi was submerged in deep, dark water, respectively suggesting his need for her companionship and her recognition of his grief. Part of the novel’s charm in negotiating such difficult topics involves its subtle use of magical realism that confers an almost fairy-tale quality to the story. Yuichi appears at just the right moment to offer Mikage a place to live while she sorts out her affairs. Both young people share a remarkable dream that takes place in the grandmother’s now empty kitchen, in which Yuichi implores Mikage to stay at his family’s apartment. Mikage even intuits which hotel room belongs to Yuichi before scaling the wall to deliver him katsudon. (This latter example also represents a brilliant gender role reversal, as Mikage plays—albeit comically—the traditionally male role of rescuer for a distressed Yuichi.)
However magical her delivery may be, Yoshimoto does not shield her characters from pain. Eriko explains hers (and the novel’s) philosophy to Mikage: we must experience “true despair” to understand joy. Mikage also comes to accept that, even when we are with others, we are always alone. While she despairs that we’re “always defeated”, this knowledge lets her live more fully. Grief, therefore, is transformative in Kitchen. Having discovered a passion for cooking while living with the Tanabes, Mikage leaves university and successfully embarks on a cooking career despite her limited qualifications. Eriko’s own experience of grief literally changes her. Watching his wife slowly succumb to cancer forced Eriko to understand that “the world didn’t exist for [his] benefit”.[§] Becoming aware that he disliked being a man and realizing he would never love again, Eriko transitioned to a woman and opened a gay nightclub,[**] thereby straddling roles of provider and nurturer. Her story essentially serves as a loose guide for Mikage who also bridges these roles: cooking is her profession but it is one that nurtures.
The kitchen, of course, serves as an extended metaphor throughout this novel, representing that which sustains people through terrible loss, both in terms of sustenance (food, nourishment) and refuge. Kitchen creates this space as a haven for healing and connection, perhaps even new beginnings. And it’s this uplifting spirit that makes Kitchen a story that satisfies indeed.
[*] Mikage’s grandparents raised her after her parents died. Her grandfather subsequently died while she was in junior high school. Hence, she’s doubly orphaned by losing two sets of guardians.
[†] Discovering an orphaned character who isn’t destitute is a pleasure.
[‡] “Moonlight Shadow” (also translated by Megan Backus) typically accompanies Kitchen. My focus here is on the larger work.
[§] My pronoun usage mirrors that of the novel, using female for post-transition and male pronouns for pre-transition Eriko (formerly called Yugi).
[**] It’s worth observing that most characters seem to respect Eriko’s gender identity, even though it’s mentioned on occasion that Eriko is “really a man”. Given that Eriko’s fate is common for transgender women, a content warning is appropriate.