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Summary
Summary
Finalist for the 2011 National Book Award
Julie Otsuka's long awaited follow-up to When the Emperor Was Divine ("To watch Emperor catching on with teachers and students in vast numbers is to grasp what must have happened at the outset for novels like Lord of the Flies and To Kill a Mockingbird " -- The New York Times ) is a tour de force of economy and precision, a novel that tells the story of a group of young women brought over from Japan to San Francisco as 'picture brides' nearly a century ago.
In eight incantatory sections, The Buddha in the Attic traces their extraordinary lives, from their arduous journey by boat, where they exchange photographs of their husbands, imagining uncertain futures in an unknown l∧ to their arrival in San Francisco and their tremulous first nights as new wives; to their backbreaking work picking fruit in the fields and scrubbing the floors of white women; to their struggles to master a new language and a new culture; to their experiences in childbirth, and then as mothers, raising children who will ultimately reject their heritage and their history; to the deracinating arrival of war.
In language that has the force and the fury of poetry, Julie Otsuka has written a singularly spellbinding novel about the American dream.
From the Hardcover edition.
Author Notes
Julie Otsuka was born and raised in California. She is the author of the novel, When the Emperor was Divine, and a recipient of the Asian American Literary Award, the American Library Association Alex Award, and a Guggenheim fellowship. She lives in New York City.
From the Hardcover edition.
Reviews (6)
Publisher's Weekly Review
In the early 1900s, numerous Japanese mail order brides came to America seeking better lives. Otsuka's (When the Emperor was Divine) latest novel paints a delicate, heartbreaking portrait of these women. Using a collective first-person narrator ("On the boat we were mostly virgins."), Otsuka looks at the experiences of these "picture brides," organizing their stories into themes which include: their arrival in America; their first nights with their husbands; their interactions with white people; their children; and finally, the experience of World War II. Each section is beautifully rendered, a delicate amalgam of contrasting and complementary experiences. Readers will instantly empathize with these unnamed women as they adjust to American culture, a remarkable achievement considering Otsuka's use of the collective voice. Otsuka's prose is precise and rich with imagery. Readers will be inspired to draw their own parallels between the experiences of these women and the modern experience of immigration. By the time readers realize that the story is headed toward the internment of the Japanese, they are hopelessly engaged and will finish this exceptional book profoundly moved. (Aug.) © Copyright PWxyz, LLC. All rights reserved.
Booklist Review
Otsuka's stunning debut, When the Emperor Was Divine (2002), a concentrated novel about the WWII internment of Japanese Americans, garnered the Asian American Literary Award, the ALA Alex Award, and a Guggenheim. Her second novel tells the stories of Japanese mail-order brides at the start of the twentieth century in a first-person-plural narrative voice, the choral we. This creates an incantatory and haunting group portrait of diverse women who make the arduous ocean journey to California buoyant with hope only to marry strangers nothing like the handsome young men in the photographs that lured them so far from home. Prejudice and hardship soon transform the brides into fingers-worked-to-the-bone laborers, toiling endlessly as domestic workers, farmers, prostitutes, and merchants. Every aspect of female life is candidly broached in Otsuka's concise yet grandly dramatic saga as these determined, self-sacrificing outsiders navigate the white water of American society, only to watch their American-born children disdain all things Japanese. Drawing on extensive research and profoundly identifying with her characters, Otsuka crafts an intricately detailed folding screen depicting nearly five decades of change as the women painstakingly build meaningful lives, only to lose everything after Pearl Harbor. This lyrically distilled and caustically ironic story of exile, effort, and hate is entrancing, appalling, and heartbreakingly beautiful.--Seaman, Donna Copyright 2010 Booklist
New York Review of Books Review
IN the Japanese art of sumi-e, strokes of ink are brushed across sheets of rice paper, the play of light and dark capturing not just images but sensations, not just surfaces but the essence of what lies within. Simplicity of line is prized, extraneous detail discouraged. Although Julie Otsuka was born and raised in California and trained as a painter in the Western tradition, she seems perfectly attuned to the spirit of sumi-e. Otsuka claims to have been a failure as an artist, but she might only have erred in choosing the wrong medium. Proof arrived almost a decade ago, long after she'd traded painting for writing, with the publication of her first novel, "When the Emperor Was Divine," a spare but resonant portrait of one Japanese-American family's daily life, at home and in the internment camps, during World War II. Now she returns with a second novel, also employing a minimalist technique, that manages to be equally intimate yet much more expansive. Like its predecessor, "The Buddha in the Attic" unfurls as a sequence of linked narratives, some no longer than a paragraph. While it appears to hold the characters at a formal distance, that reticence infuses their stories with powerful emotion. The central figures in Otsuka's first book, a mother and her children identified merely as "the boy," "the girl" and "the woman," were followed from their home in Berkeley to a barracks in the high Utah desert, then back again. As the string of vignettes proceeded, the questions they asked, the observations they made, the illusions they cherished created a bond with the reader. With their sometimes uncomfortably familiar hopes and fears, Otsuka's characters emerged as particular individuals even as their concerns took us far beyond the particulars of the Japanese-American experience. In these nameless people, we confronted our own uncertainties about where we truly belong, where our loyalties lie, where we should place our trust. There are plenty of names in Otsuka's new novel, but this time the cast is composed of an entire community of families. The voice that speaks to us here is the "we" of the Japanese women who arrived in California in the aftermath of World War I, most of them young and inexperienced, most bearing photographs of men they had agreed to marry, sight unseen: "On the boat we could not have known that when we first saw our husbands we would have no idea who they were. That the crowd of men in knit caps and shabby black coats waiting for us down below on the dock would bear no resemblance to the handsome young men in the photographs. That the photographs we had been sent were 20 years old. . . . That when we first heard our names being called out across the water one of us would cover her eyes and turn away - I want to go home - but the rest of us would lower our heads and smooth down the skirts of our kimonos and walk down the gangplank and step out into the still warm day. This is America, we would say to ourselves, there is no need to worry. And we would be wrong." "The Buddha in the Attic" is, in a sense, a prelude to Otsuka's previous book, revealing the often rough acclimatization of a generation of farm laborers and maids, laundry workers and shop clerks whose husbands would take them for granted and whose children would be ashamed of their stilted English and foreign habits. Otsuka's chorus of narrators allows us to see the variety as well as the similarity of these women's attempts to negotiate the maze of immigrant life. Each section of the novel takes them one step further, from the ship to the farm or the shop or the servants' quarters, from bearing their children to watching those children grow up and away, from blindly obeying husbands and employers to making clear-eyed moves toward self-reliance, albeit often of necessity rather than choice. As their families become less Japanese and more American, the women gradually establish a new equilibrium, only to have it shattered in a passage, simply called "Traitors," that returns to the forced removals of World War II. Otsuka's incantatory style pulls her prose close to poetry, but it's far from the genteel stereotype of "short, melancholy poems about the passing of autumn that were exactly 17 syllables long." The swift, mostly brutal encounters in "First Night" remove any such illusions: "That night our new husbands took us quickly. . . . They took us even though we bit them. They took us even though we hit them. They took us even though we insulted them . . . and screamed out for help (nobody came). . . . They took us cautiously, as though they were afraid we might break. You're so small. They took us coldly but knowledgeably - In 20 seconds you will lose all control - and we knew there had been many others before us. They took us as we stared up blankly at the ceiling and waited for it to be over, not realizing that it would not be over for years." Yet these new husbands are the women's only link to the lost world of their homeland. Some prove to be loving and kind; all, even the cruel ones, offer insight into the strange customs of the Americans on whom the future depends: "Why were they always shouting? Did they really hang dishes on their walls and not pictures? And have locks on all their doors? And wear their shoes inside the house? . . . How many gods did they have? Was it true that they really saw a man in the moon and not a rabbit? And ate cooked beef at funerals? And drank the milk of cows? And that smell? What was it? 'Butter stink,' our husbands explained." OTSUKA'S novel is filled with evocative descriptive sketches (farm women with their children sleeping "like puppies, on wooden boards covered with hay") and hesitantly revelatory confessions (domestic servants who "felt, for once, like ourselves" when "the whole house was empty. Quiet. Ours."), so it's disappointing suddenly to lose that connection - to find, at the close, that the narrative "we" has shifted to the Americans, who remark on the wartime "disappearance" of Japanese neighbors and employees. Disingenuous ("the Japanese have left us willingly, we are told, and without rancor"), even platitudinous ("after a while we notice ourselves speaking of them more and more in the past tense"), this complacent voice is presumably meant to provide a stark contrast with the vigilant, uneasy perceptions that have preceded it. But Otsuka has succeeded too well in drawing us into the precarious lives of her Japanese wives and mothers. We have no patience with these smug, anonymous overlords. We want to follow the women whose names have been chanted out as they're torn from their new lives: "Kiyono left the farm on White Road convinced she was being punished for a sin she had committed in a previous life. I must have stepped on a spider. Setsuko left her house in Gridley after killing all the chickens in her backyard. Chiye left Glendale still grieving for her oldest daughter, Misuzu. . . . Fumiko left a boarding house in Courtland apologizing for any trouble she might have caused. . . . Haruko left a tiny laughing brass Buddha up high, in a corner of the attic, where he is still laughing to this day." Congressional committee members examine passports of Japanese picture brides at the immigration station of Angel Island, Calif., July 25, 1920. Alida Becker is an editor at the Book Review.
Guardian Review
"Some of us on the boat were from Kyoto and were delicate and fair, and had lived our entire lives in darkened rooms at the back of the house. Some of us were from Nara, and prayed to our ancestors three times a day, and swore we could still hear the temple bells ringing. Some of us were farmers' daughters from Yamaguchi with thick wrists and broad shoulders who had never gone to bed after nine." This passage may give a clue as to how Julie Otsuka's book is to be read. She calls it a novel. It is closely and carefully based on factual history/ies. There are novelistically vivid faces, scenes, glimpses, voices, each for a moment only, so you cannot linger anywhere or with anyone. Information is given, a good deal of it, in the most gracefully invisible manner; and history is told. Yet the book has neither a novel's immediacy of individual experience, nor the broad overview of history. The tone is often incantatory, and though the language is direct, unconvoluted, almost without metaphor, its true and very unusual merit lies, I think, in that indefinable quality we call poetry. Writing a long narrative in the first-person plural is a risky business. It brings up questions that don't come to mind with the familiar first or third person singular. For one thing, the reader identifies easily with an "I" narrator or a "he/she" protagonist, and though some critics sneer at sympathetic identification and some novelists delight in frustrating it, it remains a fundamental element of the pleasure of story. But it's hard to identify strongly with a whole group, even if one is interested in it as a group, and even if its members are individually sympathetic. And "we" sets up two groups: We and They/You. Some languages make a distinction between the inclusive "we", meaning "I and all of you", and the restrictive "I and others not including you". The "we" of The Buddha in the Attic is an artificial literary construct that does not include an "I". The people supposed to be speaking are Japanese "picture brides" of the early 20th century. Women married by proxy to Japanese men working in the United States were shipped across the Pacific to husbands whom they had seen, and who had seen them, only in photographs. The arrangement was made for men who had no other way to get a wife and for women, mostly young and very poor, who hoped for a better life in golden California. The practice was continued for some decades; Otsuka's group appears to have come over shortly after the first world war. The picture brides had no way to know that American racial prejudice would isolate them with their husbands and that for the rest of their lives they would be "we" only to one another, we the Japanese in America, we the Nisei. To white Americans they would always be Them. That is Otsuka's justification for telling the story in an unusual and difficult way, and it is a powerful one. Also effective: it makes the point without stating the point. On the ship, travelling in steerage, the women form a group, however disparate. When they get to the promised land, they are scattered, each to her husband, and the husbands are emphatically "they", not "we": "That night our new husbands took us quickly. They took us calmly. They took us gently, but firmly, and without saying a word . . . They took us flat on our backs on the bare floor of the Minute Motel . . . They took us before we were ready and the bleeding did not stop for three days." Later, as their hard, poor lives go on, slaving at "stoop labour" in the fields of California, working in the kitchens of the labour camps or of middle-class employers, even the absolute otherness of the whites can't reconnect them with their husbands. Even when their children are born, though at first they are very close, always, heartbreakingly, they are "them" not "us". "In early summer, in Stockton, we left them in nearby gullies while we dug up and sacked onions and began picking the first plums. We gave them sticks to play with in our absence and called out to them from time to time to let them know we were still there. Don't bother the dogs. Don't touch the bees. [. . .] And at the end of the day when there was no more light in the sky we woke them up from wherever it was they lay sleeping and brushed the dirt from their hair. It's time to go home." Before long, as the children grow taller than their fathers, forget their Japanese and will speak only English, eat hugely, drink milk, dump ketchup on potatoes, become ashamed of their parents and will not bow to them, the gap widens - "with each passing day they seemed to slip further and further from our grasp". The children are joining the Others, the white Americans. But then comes the Japanese attack on Pearl Harbor. Otsuka tells of the months of increasing hostility and suspicion that Japanese Americans lived through, their fear, their incredulity, before they were summarily dispossessed and deported to detention camps as enemy aliens. In its agonised poignancy and restraint, this may be the finest passage of the book. I am sorry that after it, in the last chapter, she suddenly changes her narrative mode and ceases to follow her group of women. The point of view changes radically and "we" suddenly are the whites: "The Japanese have disappeared from our town." I was 12 when "the Japanese disappeared" from my town, Berkeley. My unawareness, my incomprehension of the event at the time, has troubled and informed my mind for many years. It's up to me, as a white American, to deal with it now. But Otsuka can't do it for me, and I only wish she had gone all the way with her heroines into the exile from exile: those bitter desert and mountain prison-towns, where few of "us" went even in imagination, until those who returned bore witness. Ursula K Le Guin's Lavinia is published by Phoenix. To order The Buddha in the Attic for pounds 10.39 with free UK p&p call Guardian book service on 0330 333 6846 or go to guardian.co.uk/bookshop - Ursula K Le Guin "we" sets up two groups: We and They/You. Some languages make a distinction between the inclusive "we", meaning "I and all of you", and the restrictive "I and others not including you". The "we" of The Buddha in the Attic is an artificial literary construct that does not include an "I". The people supposed to be speaking are Japanese "picture brides" of the early 20th century. Women married by proxy to Japanese men working in the United States were shipped across the Pacific to husbands whom they had seen, and who had seen them, only in photographs. The arrangement was made for men who had no other way to get a wife and for women, mostly young and very poor, who hoped for a better life in golden California. The practice was continued for some decades; [Julie Otsuka]'s group appears to have come over shortly after the first world war. On the ship, travelling in steerage, the women form a group, however disparate. When they get to the promised land, they are scattered, each to her husband, and the husbands are emphatically "they", not "we": "That night our new husbands took us quickly. They took us calmly. They took us gently, but firmly, and without saying a word . . . They took us flat on our backs on the bare floor of the Minute Motel . . . They took us before we were ready and the bleeding did not stop for three days." Later, as their hard, poor lives go on, slaving at "stoop labour" in the fields of California, working in the kitchens of the labour camps or of middle-class employers, even the absolute otherness of the whites can't reconnect them with their husbands. Even when their children are born, though at first they are very close, always, heartbreakingly, they are "them" not "us". - Ursula K Le Guin.
Kirkus Review
Otsuka, whose first novel (When the Emperor Was Divine, 2003) focused on one specific Japanese-American family's plight during and after internment, takes the broad view in this novella-length consideration of Japanese mail-order brides making a life for themselves in America in the decades before World War II.There are no central characters. A first-person-plural chorus narrates the women's experiences from their departure from Japan until they are removed from their homes and shipped to the camps, at which point the narration is taken over by clueless whites. Rather than following an individual story, Otsuka lists experience after experience, piling name upon name. Voyaging across the Pacific to California, the women's emotions range from fear to excitement, but most, even those leaving behind secret lovers, are hopeful. Reality sets in when they meet their husbands, who are seldom the men they seemed from their letters and photographs. And the men's reactions to their new wives vary as much as the women's. Some are loving, some abusive. For all their differences, whether farm workers, laundrymen, gardeners or struggling entrepreneurs, they share a common outsider status. Soon the majority of women who stay marriedsome die or run off or are abandonedare working alongside their husbands. They begin to have babies and find themselves raising children who speak English and consider themselves American. And the women have become entrenched; some even have relationships with the whites around them; many are financially comfortable. But with the arrival of the war against Japan come rumors. Japanese and white Americans look at each other differently. Loyalty is questioned. Anti-Japanese laws are passed. And the Japanese themselves no longer know whom to trust as more and more of them disappear each day. Once they are truly gone, off to the camps, the whites feel a mix of guilt and relief, then begin to forget the Japanese who had been their neighbors.A lovely prose poem that gives a bitter history lesson.]] Copyright Kirkus Reviews, used with permission.
Library Journal Review
In iridescent colors that flicker, blend, and shimmer between light and dark, Otsuka crafts a communal self-portrait of Japanese women who came to America as picture brides for California's Japanese laborers after World War I. Across four decades of anticipation, bewilderment, backbreaking work, survival, and disillusion, they seek fulfillment, but their hopes may die slowly from accumulating betrayals. Unforgettable. (LJ 8/11) (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
Come, Japanese! On the boat we were mostly virgins. We had long black hair and flat wide feet and we were not very tall. Some of us had eaten nothing but rice gruel as young girls and had slightly bowed legs, and some of us were only fourteen years old and were still young girls ourselves. Some of us came from the city, and wore stylish city clothes, but many more of us came from the country and on the boat we wore the same old kimonos we'd been wearing for years-faded hand-me-downs from our sisters that had been patched and redyed many times. Some of us came from the mountains, and had never before seen the sea, except for in pictures, and some of us were the daughters of fishermen who had been around the sea all our lives. Perhaps we had lost a brother or father to the sea, or a fiancé, or perhaps someone we loved had jumped into the water one unhappy morning and simply swum away, and now it was time for us, too, to move on. On the boat the first thing we did-before deciding who we liked and didn't like, before telling each other which one of the islands we were from, and why we were leaving, before even bothering to learn each other's names-was compare photographs of our husbands. They were handsome young men with dark eyes and full heads of hair and skin that was smooth and unblemished. Their chins were strong. Their posture, good. Their noses were straight and high. They looked like our brothers and fathers back home, only better dressed, in gray frock coats and fine Western three-piece suits. Some of them were standing on sidewalks in front of wooden A-frame houses with white picket fences and neatly mowed lawns, and some were leaning in driveways against Model T Fords. Some were sitting in studios on stiff high- backed chairs with their hands neatly folded and staring straight into the camera, as though they were ready to take on the world. All of them had promised to be there, waiting for us, in San Francisco, when we sailed into port. On the boat, we often wondered: Would we like them? Would we love them? Would we recognize them from their pictures when we first saw them on the dock? On the boat we slept down below, in steerage, where it was filthy and dim. Our beds were narrow metal racks stacked one on top of the other and our mattresses were hard and thin and darkened with the stains of other journeys, other lives. Our pillows were stuffed with dried wheat hulls. Scraps of food littered the passageways between berths and the floors were wet and slick. There was one porthole, and in the evening, after the hatch was closed, the darkness filled with whispers. Will it hurt? Bodies tossed and turned beneath the blankets. The sea rose and fell. The damp air stifled. At night we dreamed of our husbands. We dreamed of new wooden sandals and endless bolts of indigo silk and of living, one day, in a house with a chimney. We dreamed we were lovely and tall. We dreamed we were back in the rice paddies, which we had so desperately wanted to escape. The rice paddy dreams were always nightmares. We dreamed of our older and prettier sisters who had been sold to the geisha houses by our fathers so that the rest of us might eat, and when we woke we were gasping for air. For a second I thought I was her. Our first few days on the boat we were seasick, and could not keep down our food, and had to make repeated trips to the railing. Some of us were so dizzy we could not even walk, and lay in our berths in a dull stupor, unable to remember our own names, not to mention those of our new husbands. Remind me one more time, I'm Mrs. Who? Some of us clutched our stomachs and prayed out loud to Kannon, the goddess of mercy-Where are you?-while others of us preferred to turn silently green. And often, in the middle of the night, we were jolted awake by a violent swell and for a brief moment we had no idea where we were, or why our beds would not stop moving, or why our hearts were pounding with such dread. Earthquake was the first thought that usually came to our minds. We reached out for our mothers then, in whose arms we had slept until the morning we left home. Were they sleeping now? Were they dreaming? Were they thinking of us night and day? Were they still walking three steps behind our fathers on the streets with their arms full of packages while our fathers carried nothing at all? Were they secretly envious of us for sailing away? Didn't I give you everything? Had they remembered to air out our old kimonos? Had they remembered to feed the cats? Had they made sure to tell us everything we needed to know? Hold your teacup with both hands, stay out of the sun, never say more than you have to. Most of us on the boat were accomplished, and were sure we would make good wives. We knew how to cook and sew. We knew how to serve tea and arrange flowers and sit quietly on our flat wide feet for hours, saying absolutely nothing of substance at all. A girl must blend into a room: she must be present without appearing to exist. We knew how to behave at funerals, and how to write short, melancholy poems about the passing of autumn that were exactly seventeen syllables long. We knew how to pull weeds and chop kindling and haul water, and one of us-the rice miller's daughter-knew how to walk two miles into town with an eighty-pound sack of rice on her back without once breaking into a sweat. It's all in the way you breathe. Most of us had good manners, and were extremely polite, except for when we got mad and cursed like sailors. Most of us spoke like ladies most of the time, with our voices pitched high, and pretended to know much less than we did, and whenever we walked past the deckhands we made sure to take small, mincing steps with our toes turned properly in. Because how many times had our mothers told us: Walk like the city, not like the farm! On the boat we crowded into each other's bunks every night and stayed up for hours discussing the unknown continent ahead of us. The people there were said to eat nothing but meat and their bodies were covered with hair (we were mostly Buddhist, and did not eat meat, and only had hair in the appropriate places). The trees were enormous. The plains were vast. The women were loud and tall-a full head taller, we had heard, than the tallest of our men. The language was ten times as difficult as our own and the customs were unfathomably strange. Books were read from back to front and soap was used in the bath. Noses were blown on dirty cloths that were stuffed back into pockets only to be taken out later and used again and again. The opposite of white was not red, but black. What would become of us, we wondered, in such an alien land? We imagined ourselves-an unusually small people armed only with our guidebooks-entering a country of giants. Would we be laughed at? Spat on? Or, worse yet, would we not be taken seriously at all? But even the most reluctant of us had to admit that it was better to marry a stranger in America than grow old with a farmer from the village. Because in America the women did not have to work in the fields and there was plenty of rice and firewood for all. And wherever you went the men held open the doors and tipped their hats and called out, "Ladies first" and "After you." Some of us on the boat were from Kyoto, and were delicate and fair, and had lived our entire lives in darkened rooms at the back of the house. Some of us were from Nara, and prayed to our ancestors three times a day, and swore we could still hear the temple bells ringing. Some of us were farmers' daughters from Yamaguchi with thick wrists and broad shoulders who had never gone to bed after nine. Some of us were from a small mountain hamlet in Yamanashi and had only recently seen our first train. Some of us were from Tokyo, and had seen everything, and spoke beautiful Japanese, and did not mix much with any of the others. Many more of us were from Kagoshima and spoke in a thick southern dialect that those of us from Tokyo pretended we could not understand. Some of us were from Hokkaido, where it was snowy and cold, and would dream of that white landscape for years. Some of us were from Hiroshima, which would later explode, and were lucky to be on the boat at all though of course we did not then know it. The youngest of us was twelve, and from the eastern shore of Lake Biwa, and had not yet begun to bleed. My parents married me off for the betrothal money. The oldest of us was thirty-seven, and from Niigata, and had spent her entire life taking care of her invalid father, whose recent death made her both happy and sad. I knew I could only marry if he died. One of us was from Kumamoto, where there were no more eligible men-all of the eligible men had left the year before to find work in Manchuria-and felt fortunate to have found any kind of husband at all. I took one look at his photograph and told the matchmaker, "He'll do." One of us was from a silk-weaving village in Fukushima, and had lost her first husband to the flu, and her second to a younger and prettier woman who lived on the other side of the hill, and now she was sailing to America to marry her third. He's healthy, he doesn't drink, he doesn't gamble, that's all I needed to know. One of us was a former dancing girl from Nagoya who dressed beautifully, and had translucent white skin, and knew everything there was to know about men, and it was to her we turned every night with our questions. How long will it last? With the lamp lit or in the dark? Legs up or down? Eyes open or closed? What if I can't breathe? What if I get thirsty? What if he is too heavy? What if he is too big? What if he does not want me at all? "Men are really quite simple," she told us. And then she began to explain. On the boat we sometimes lay awake for hours in the swaying damp darkness of the hold, filled with longing and dread, and wondered how we would last another three weeks. On the boat we carried with us in our trunks all the things we would need for our new lives: white silk kimonos for our wedding night, colorful cotton kimonos for everyday wear, plain cotton kimonos for when we grew old, calligraphy brushes, thick black sticks of ink, thin sheets of rice paper on which to write long letters home, tiny brass Buddhas, ivory statues of the fox god, dolls we had slept with since we were five, bags of brown sugar with which to buy favors, bright cloth quilts, paper fans, English phrase books, flowered silk sashes, smooth black stones from the river that ran behind our house, a lock of hair from a boy we had once touched, and loved, and promised to write, even though we knew we never would, silver mirrors given to us by our mothers, whose last words still rang in our ears. You will see: women are weak, but mothers are strong. On the boat we complained about everything. Bedbugs. Lice. Insomnia. The constant dull throb of the engine, which worked its way even into our dreams. We complained about the stench from the latrines-huge, gaping holes that opened out onto the sea-and our own slowly ripening odor, which seemed to grow more pungent by the day. We complained about Kazuko's aloofness, Chiyo's throat clearing, Fusayo's incessant humming of the "Teapicker's Song," which was driving us all slowly crazy. We complained about our disappearing hairpins-who among us was the thief?-and how the girls from first class had never once said hello from beneath their violet silk parasols in all the times they had walked past us up above on the deck. Just who do they think they are? We complained about the heat. The cold. The scratchy wool blankets. We complained about our own complaining. Deep down, though, most of us were really very happy, for soon we would be in America with our new husbands, who had written to us many times over the months. I have bought a beautiful house. You can plant tulips in the garden. Daffodils. Whatever you like. I own a farm. I operate a hotel. I am the president of a large bank. I left Japan several years ago to start my own business and can provide for you well. I am 179 centimeters tall and do not suffer from leprosy or lung disease and there is no history of madness in my family. I am a native of Okayama. Of Hyogo. Of Miyagi. Of Shizuoka. I grew up in the village next to yours and saw you once years ago at a fair. I will send you the money for your passage as soon as I can. On the boat we carried our husbands' pictures in tiny oval lockets that hung on long chains from our necks. We carried them in silk purses and old tea tins and red lacquer boxes and in the thick brown envelopes from America in which they had originally been sent. We carried them in the sleeves of our kimonos, which we touched often, just to make sure they were still there. We carried them pressed flat between the pages of Come, Japanese! and Guidance for Going to America and Ten Ways to Please a Man and old, well-worn volumes of the Buddhist sutras, and one of us, who was Christian, and ate meat, and prayed to a different and longer-haired god, carried hers between the pages of a King James Bible. And when we asked her which man she liked better-the man in the photograph or the Lord Jesus Himself-she smiled mysteriously and replied, "Him, of course." Several of us on the boat had secrets, which we swore we would keep from our husbands for the rest of our lives. Perhaps the real reason we were sailing to America was to track down a long-lost father who had left the family years before. He went to Wyoming to work in the coal mines and we never heard from him again. Or perhaps we were leaving behind a young daughter who had been born to a man whose face we could now barely recall-a traveling storyteller who had spent a week in the village, or a wandering Buddhist priest who had stopped by the house late one night on his way to Mt. Fuji. From the Hardcover edition. Excerpted from The Buddha in the Attic by Julie Otsuka All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
