Tag Archives: Identity

The Night Ferry by Michael Robotham

Night FerryIf I had not stuck Tana French‘s Dublin Murder Squad thrillers in my ears, I might never have discovered Australian journalist-turned-bestselling novelist Michael Robotham – French’s The Likeness (I think) ended with the ‘if you liked x, then try y‘-recommendation that led me to Night Ferry.

Contrarian that I am, however, of course I have a quibble. Like French, Robotham elevates his latest protagonist from a less-than-starring role from his book before – love that clever narrative domino! While each book is also a standalone title, carryover details always enhance the reading experience. Night Ferry is #3 in Robotham’s dark oeuvre, which means his leading lady here, Alisha Barbar, had a supporting role in #2, Lost, whose protagonist Vincent Ruiz appeared first in Robotham’s debut, Shattered, which stars Robotham’s most popular leading man, Joseph O’Loughlin. Got all that? All that means is that if you’re new to Robotham’s thrillers (he has eight out already!), best to start at the beginning: Shattered. I’ll be reading backwards myself.

Okay, so introductory digression aside, meet Ali Barbar, a British detective of Indian Sikh heritage. A former competitive runner who almost made it to the Olympics, Ali has just recently returned to her job at London’s Metropolitan Police a year after a horrific accident: she helped solve a kidnapping case that left her spine crushed, and defied all her doctors to make a fully mobile recovery.

After eight years of silence, Ali receives a terrified note from her childhood best friend begging for Ali’s help. When Ali next meets Cate at a school reunion, Cate – visibly pregnant – manages to blurt out, “‘They want to take my baby. They can’t. You have to stop them.’”  That evening as they leave the reunion, Cate and her husband are fatally wounded, and Ali is left to piece together what happened.

At over 500 pages (or more than 12 hours stuck in the ears – narrator Clare Corbett is chillingly controlled), the plot will twist and turn plenty before Ali unravels the knotted strands around a fake pregnancy, illegal immigration, desperate refugees, school violence, virgin mothers, evil fathers, wayward heroes, while criss-crossing through Britain, the Netherlands, and Afghanistan.

Perhaps the one character detail that doesn’t quite keep up the pace is Ali’s Indian Sikh heritage. Her ethnicity seems superficial, occasionally clumsy, providing at best an opportunity to give her stereotypical Asian parents, especially her dotingly demanding mother determined to marry off her still-single daughter. The eligible doctor planted at a family gathering in order to meet Ali proves to be useful enough to the plot, although again, the mother-daughter-doctor could have been of any background. Ironically, that the protagonist is British Sikh was exactly what made me choose the title. As unfulfilling as that detail proves to be, the rest of the engaging narrative builds swift momentum you won’t want to miss.

Readers: Adult

Published: 2007 (United States)

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Filed under ..Adult Readers, .Audio, .Fiction, Australian, British Asian

Raven Girl by Audrey Niffenegger

Raven GirlInternationally renowned for her two bestselling novels, The Time Traveler’s Wife and Her Fearful Symmetry, Audrey Niffenegger is also a splendiforous artist with double the graphic titles to her lauded name. Her fourth and latest is “a new fairy tale” with origins that begin with movement: “Awhile ago, Wayne McGregor [resident choreographer of London's Royal Ballet] invited me to collaborate with him to make a new dance. … [H]e would make the dance, I would make the story,” she explains in her ending “Acknowledgements.”

As fairy tales go, Niffenegger weaves shocking originality between the seemingly (deceptively) formulaic opening and closing: “Once there was a Postman who fell in love with a Raven,” the story begins; “Once there was a Raven Prince who fell in love with a Raven Girl. And they lived happily together ever after,” the final lines resound. In between is a human daughter who is birthed from an egg, the Cat who reports strange occurrences to the unbelieving Court of the Ravens, a plastic surgeon who speaks about “chimeras” and builds wings before falling to his own death, the Detective Boy who is carried off and never seen again, and a half Raven/human family that considers movie offers and the circus until a crowned stranger knocks at their door.

Niffenegger’s intricate etchings gorgeously embellish her fantastical tale – the first full illustration as the Postman’s shadow encompasses the young Raven as she looks up in troubled wonder is a haunting, lingering image. The detailed realism of the ravens – every feather, every wrinkle on the talons – sharply contrasts the more suggested, less fleshed out human figures who appear almost unfinished in comparison to their avian counterparts.

Niffenegger’s illustrations question the imagined and the real, flipping our expectations with regularity. “Fairy tales have their own remorseless logic and their own rules,” she writes. Presented on the page in words and art, Raven Girl is “ready to undergo its own transformation into dance.” The curtain rose last week in London … oh, to have had the wings to carry me there …!!

Tidbits: Click here for an interview with Niffenegger about the Raven Girl-Royal Ballet collaboration.

Click here for my interview with Niffenegger for the November 2010 issue of Bookslut.

Readers: Adult

Published: 2013

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Filed under ..Adult Readers, .Fiction, .Graphic Novel/Manga/Manwha, British, Nonethnic-specific

The Favorite Daughter by Allen Say

Favorite DaughterWell, goodness … the back flap of Allen Say’s latest arrives on my desk with a quote from my own review about his last title, Drawing from Memory! Huh, how did I miss that until now? Okay, I have to admit I’m just tickled at my discovery. Oh, but I do digress … back to the book already!

Caldecott Medalist Allen Say again turns to the personal in a warm story both dedicated to and about his daughter. “Yuriko came to stay with her father on Thursday that week,” the book begins. Over dinner, her request for a baby picture for “a class album” results in a “perfect” photo which reveals a plump-cheeked, blond hapa toddler making Play-Doh mud pies in the “‘prettiest kimono [the father] could find in Tokyo.’”

Yuriko’s excitement over that “perfect” photo diminishes into disappointment by the time she returns from school the next day. Her classmates insist Japanese have black hair, her new art teacher has inadvertently dubbed her “Eureka,” and even her closest friends are mimicking the mistake. “‘I want an American name, Daddy,’” Yuriko announces. “‘Umm … feels like I’m getting a new daughter here,’” Daddy responds.

That evening, “Michelle” accompanies her father to their favorite Japanese restaurant, where father and daughter discuss sushi, school, mistakes, and chopstick manners. Yuriko frets over her newly assigned art project, but her father cajoles her into a “‘real quick trip’” to Japan – at Golden Gate Park. There she finds so much more than the souvenir trinket she hoped for, as well as the exact inspiration she needs to create “‘something different from everyone else in art.’”

You may have already guessed where the title originates – such a moment of amusing, heartfelt delight! – but just in case, no spoilers here. Allen Say writes with such humor and patience, providing just the right amount of guidance to gently enable his hapa daughter toward self-discovery and cultural appreciation. As always, his illustrations are visual gifts, enhancing the smallest details that make the story whole: the ubiquitously recognizable soy sauce bottle, the backpack larger than the small child, the multi-culti park crowd, Yuriko’s slouchingly socked feet. Also included are two precious photographs of real-life Yuriko – as a toddler (mentioned above) and as a young woman in full kimono clearly taken during father and daughter’s (real-life) trip to Japan.

Daughter is Daddy’s side, and you can find Yuriko’s voice here, written when she was 13. Their father/daughter bond is unmistakable, proof that every once in a while, ‘playing favorites’ can be “the most wonderful time together.”

Click here to check out more of Allen Say’s titles in BookDragon.

Readers: Children

Published: 2013

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Filed under ...Absolute Favorites, ..Children/Picture Books, .Fiction, .Memoir, Hapa, Japanese American

Snow Hunters by Paul Yoon

Snow HuntersAfter surviving the Korean War, Yohan spends another year in a prisoner-of-war camp south of the new border that splits the country in two. Rather than return north, where no one awaits him, Yohan begins life anew in a faraway coastal Brazilian village as a Japanese tailor’s apprentice. As the years pass, “He wondered what choice there was in what was remembered; and what was forgotten.”

Damaged by war, Yohan’s life before and after is circumscribed by quiet relationships – first with his widowed father and a childhood friend, then with the tailor Kiyoshi, the church groundskeeper, and two parentless children: “that in their silences there had been a form of love.” Having already lost family, friends, language, and country, Yohan slowly sheds his solitude when gentle Kiyoshi dies and opens up to the possibility of attachment and love.

Verdict: Yoon’s debut novel began as a 500-page draft pared down to about 200 pages that reveal the same shimmering, evocative spareness of his 2009 collection, Once the Shore. The result is that rare, precious gem, with every remaining word to be cherished for the many discarded to achieve perfection. One of this year’s best reads.

Review: “Fiction,” Library Journal, June 1, 2013

Readers: Adult

Published: 2013

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Filed under ...Absolute Favorites, ..Adult Readers, .Fiction, Korean, Korean American, South American

Author Interview: Don Lee [in Bloom]

CollectiveWith his eyes and body still “bleary from post-windsurfing and traveling,” Don Lee nonetheless graciously agrees to be grilled yet again – we’re going on a decade-plus of various interviews through four books! He’s tired, he’s rambling, but he’s always entertaining … and once more he’s game to talk about all manner of things, from writing and ethnicity, to blooming late and Eeyore-style lamentations.

With all that literary editing, mentoring, teaching, how come you didn’t publish until you were 41?
Oh, I could give you all kinds of excuses: that I was busy with Ploughshares (true), that each short story took me a long time to write (very true), that I never really planned or wanted to publish a book (sort of true), that I was happy writing stories once a year or so and getting them into journals (almost true), but frankly, the real reason was that I was scared shitless. I think unconsciously I didn’t want to lay it all out on the line and try to publish a book and then fail. It was easier not to try.

But then I turned 38, and I decided I’d really like to have a book, one book, before I turned 40. I didn’t want to end up thinking for the rest of my life about what could have been, and become bitter. So I wrote two new stories, revised a bunch of old stories to form a collection, and set about finding an agent to represent me, all of which took over a year and a half. Whereas the goal originally (and unrealistically) had been to publish a book by the time I turned 40, the new goal became to sell the book by then, and I did: W. W. Norton offered me a book contract the week I turned 40, and Yellow was published the following year [in 2001].

Okay, so what prompted you to write that first story? And how did that first story eventually morph into the determination to become a writer for real?
Unlike many authors, I didn’t know I wanted to be a writer at 7 years old or whatnot. I didn’t know what I’d do with my life. I was, however, a tinkerer as a kid. I would take apart things, make things. My bedroom was scattered with detritus – tools, wires, glue, balsa wood, batteries, a soldering iron, capacitors, motors, model cars and planes. When it came time to go to college, my quixotic plan was to get my mechanical engineering degree and then a Ph.D. in physical oceanography and build and pilot underwater submersibles (I watched a lot of Jacques Cousteau as a kid). I was a dreamer. I didn’t write a short story until my sophomore year at UCLA, after a comp teacher told me I had a flair for words and might enjoy taking a creative writing class.

And now four books—and oh so many awards!!—later, are you still scared shitless? Or are you finally resting a bit on your laurels?
Naw, I’m still a tortured soul who never allows himself to feel good about his accomplishments, who doesn’t really believe he’s accomplished anything. And yes, each time I start another book, I am petrified that I won’t be able to pull it off and finish it, and if I can, that I won’t be able to sell it, and if I can, that no one will like it. Why do I keep doing it, then? Because it’s a challenge, and I’m compelled to do it, and I love being inside the process of writing a novel, of thinking about it all the time and figuring out structure and motifs and themes and connections. In a way, I’m still a tinkerer, building things with words. [... click here for more]

Author interview: “Q&A with Don Lee,” Bloom, May 29, 2013

Readers: Adult

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Filed under ...Author Interview/Profile, ..Adult Readers, .Fiction, Korean American

Her: A Memoir by Christa Parravani

HerHere’s another tiny-world overlap that convinces me that some higher power is directing my reading choices: first-time author Christa Parravani is married to Gulf War veteran author Anthony Swofford (Jarhead) – ‘Tony’ in Her – who appeared in the 2008 Oscar-nominated documentary, Operation Homecoming: Writing the Wartime Experiencewhich was directed by Richard E. Robbins, who recently directed Girl Rising (currently in theaters, so please go!), for which I was the writer wrangler! We really are all so intricately connected, six degrees and less!

I can’t sugarcoat my reaction: Her is a brutal, difficult read. That the audible version is narrated by the author herself adds an even greater immediacy that lingers and haunts.

“I used to be an identical twin. I was Cara Parravani’s twin. I forgot who I was after my sister died,” opens this wrenching memoir of irrevocable loss and excruciating recovery. At 28, Cara overdoses, unable to recover from a horrific rape four years earlier after which her life “unravel[ed].” With Cara gone, Christa saw only Cara when she looked at herself, a “common experience among identical twinless twins.” Still alive, Christa became a “breathing memorial for [Cara's] lost self,” eliding her own existence in an overpowering search for her missing half.

Born to an abusive father and a mother who took one less-than-supportive partner after another, the Parravani twins found refuge in their own exclusive world. While men came and went, they always had each other, bonded within a tumultuous relationship that left little room for individuality. When oneness is suddenly thrust upon her, Christa flounders violently through self-abuse (starvation, drugs), meaningless relationships that leave her further damaged, and can’t escape the lure of attempting suicide. Her life is a race against statistics: she “… read somewhere that 50 percent of twins follow their identical twin into death within two years. … Flip a coin: Those were my chances of survival.” Her harrowing journey proves as self-destructive as it is ultimately life-affirming.

While both twins were blessed with artistic souls, Christa gives over her own love of words to Cara in college and picks up a camera instead: Christa’s remarkable twin-photographs, called “Kindred,” appear on her website and provide an unforgettable visual enhancement to her memories. Here in Her, by claiming both words and pictures, wholeness finally becomes possible.

Readers: Adult

Published: 2013

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Filed under ..Adult Readers, .Audio, .Memoir, .Nonfiction, Nonethnic-specific

Author Profile: Don Lee

CollectiveWhen Don Lee’s first book debuted in April 2001, he probably didn’t know that he was the forerunner of a colorful trend – literally. His collection, Yellow, had the shortest of subtitles, simply Stories. Three months later, in July, another yellow-tinted cover appeared: Yell-Oh Girls!: Emerging Voices Explore Culture, Identity, and Growing Up Asian American edited by Vickie Nam, in which young Asian American girls from all over the country shared poems, essays, and stories that spoke of their bicultural roots. And then 9/11 hit … moment of silence … and the end of that fateful year seemed to be just the right time for the publication of law professor Frank H. Wu’s Yellow: Race in America Beyond Black and White.

Among those various shades of yellow, Don Lee’s is my personal favorite. The quirky collection of short stories is populated by the inhabitants of a fictional California seaside town, not unlike the real-life Half Moon Bay along Northern California’s coastal Highway 1. Lee’s memorable characters are convincing; as a onetime Golden State resident, I swear I’ve run into some of them!

“Late … according to whom?” indeed! Lee was 41 when his Yellow hit the shelves. After almost two decades of encouraging, editing, publishing other people’s writing for Ploughshares, at 38, hoping to avoid middle-age ‘coulda-woulda-shoulda’-reget, Lee decided to produce a book of his own by the time he hit 40. His timing was a bit optimistic, so he revised the plan to sell that first book by the big 4-0; remarkably, his birth week arrived complete with a book contract. Clearly, I wasn’t the only one playing colorful favorites: that 40th birthday sale won Lee the Sue Kaufman Prize for First Fiction from the American Academy of Arts and Letters, as well as the Members Choice Award from the Asian American Writers’ Workshop.

As the son of a second-generation Korean American and his Korean-born wife, Lee is technically classified as a third-generation Korean American, although he was born in Tokyo where his career diplomat father was working at the U.S. State Department. From Japan, the family moved to Korea when Lee was four, where he had his first identity crisis: “Japanese was my first language,” he said to me in a 2004 interview for AsianWeek. “But here I was in Korea, speaking only Japanese. I was a little confused to say the least. I thought I was a Japanese kid, but now I was a Korean kid?” To add to his bewilderment, the Lee family lived on a U.S. Army base in Seoul. “Now I was an American, Korean, and Japanese,” he says. “And that’s all you need to know why I’m so hung up on identity,” he laughs.

Identity is at the crux of Lee’s first novel, Country of Origin, which came out in 2004. Not one of his characters is who he or she appears to be … not Tom Hurley, the half-Korean foreign service officer stationed in Japan, nor his photographer lover, nor her CIA husband. And then there’s Kenzo Ota, the Japanese policeman assigned to investigate the aptly named Lisa Countryman, an African-American hapa whose disappearance brings all the characters together. Country of Origin earned Lee an American Book Award and a Mixed Media Watch Image Award for Outstanding Fiction. He also won the Edgar Award for Best First Novel – the Edgar being the top literary prize for mysteries – although he’ll be the first to tell you that he never intended to write that sort of mystery: “I intended to write a sort of Graham Greene political novel, but it strongly appealed to mystery readers, for which I was extremely grateful. Mystery readers buy a lot of books. It also ended up to be my most translated book, and for unknown reasons especially struck a chord with German readers.” [... click here for more]

Author profile: “Don Lee’s Pure Stories,” Bloom, May 27, 2013

Readers: Adult

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Filed under ...Author Interview/Profile, ..Adult Readers, .Fiction, Korean American

The Likeness by Tana French

LikenessIn the second installment of Tana French‘s Dublin Murder Squad series, Cassie Maddox hasn’t quite recovered from Operation Vestal of In the Woods, the series’ debut. While she gained a caring, supportive, all-around good guy lover, she lost her partner who was also her very best friend. She’s given up the murder squad for now, and is working somewhat under the radar in Domestic Violence.

And then a young woman named Lexie Madison is found stabbed to death in an abandoned stone cottage. The problem is, Lexie Madison shouldn’t exist. Cassie and her former Undercover boss, Frank Mackey, invented everything about her – name, family, life story – for an assignment for Cassie years back. But that’s still not the most freakish detail: this ersatz Lexie is also Cassie’s doppelgänger.

Determined to solve this multi-layered mystery, Frank wheedles Cassie into returning to Undercover and literally bring Lexie back to life. Coached and wired, Cassie moves into the mansion outside Dublin where Lexie lived an insulated, rather halcyon life with four roommates, all graduate students at nearby Trinity College. Living, laughing, sharing everyday life with perhaps her own murderer, Cassie’s struggle to remain detached and objective gets ever more challenging.

Likeness is most obviously a murderous thriller, although it rises far above typical genre fiction with deeply psychological observations of the fluidity of identity. Lexie Madison tosses identities aside, while Cassie willingly sublimates her own – far beyond the call of career duty. Her tough exterior hides her lifelong fragility: her parents’ sudden death at a young age, her loving but distant aunt and uncle who never managed to make her feel like a permanent member of their family, the ever-temporary quality of her rented, anonymous living spaces, her loss of the most constant person in her life, her limited relationships, all collude to make Cassie vulnerable to the lure of intimacy, of permanence with her new housemates. Her loss of objectivity is almost expected, as her resistance to the inviting sense of belonging lessens meal by meal, tear after tear, day by day.

For those of you who choose to take murder on the run, Heather O’Neill is just the right energetic narrator, with only a small misstep when she attempts a faulty Australian accent. She’s able to take what might be yawn-inducing on the page – I strongly suspect the minutest details of the ongoing exchanges of five roommates would prove flat in print – and ratchet the tempo just enough to discard the burnt toast while keeping the ears tuned to Cassie’s never-stopping reactions. You might solve the whodunit before Cassie does, but the how and why will keep the story firmly stuck in the ears, long after the guilty admits all.

Readers: Adult

Published: 2008

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Filed under ..Adult Readers, .Audio, .Fiction, Irish

A Tale for the Time Being by Ruth Ozeki

A Tale for the Time BeingYou might choose to read Ruth Ozeki‘s latest novel as another engrossing, original story – because it clearly is. And if you decide to stick the novel in your ears, you’ll be thrilled and grateful to know that Ozeki herself reads to you – her recitation is crisp, measured, and exacting.

The novel’s dual protagonists take turns revealing the eponymous ‘tale’: Nao, short for Naoko, is a bullied Tokyo teenager dealing with her suicidal, unemployed father while whose closest confidante is her 104-year-old Buddhist nun great-grandmother; Ruth is a hapa Japanese American novelist living on a tiny island off the coast of Canada’s British Columbia. The two women are connected via the vast Pacific waters when a Hello Kitty lunchbox containing mementos of Nao’s life – including a journal retrofitted inside the cover of an aptly chosen Marcel Proust classic, À la recherche du temps perdu (Remembrances of Things Past) – washes up on the island’s shoreline, quite possibly a vestige from Japan’s 2011 Tōhoku earthquake and tsunami. [Note to self: Tale pubbed exactly two years and one day after the tragedy, and a full decade minus two days after Ozeki's last novel, All Over Creation.] While Ruth attempts to reconstruct Nao’s past from the lunchbox remnants, she also works desperately to find Nao’s present.

All that is reason enough to read the novel and be done. But I dare you NOT to keep thinking long after you reach that final cover. The names will surely keep you challenged: just for starters, might I mention Nao/now, ‘Naoko’ meaning honest child in Japanese and the ‘truth’ she writes or doesn’t write in a work of fiction, her last name Yasutani (which might mean ‘peaceful valley,’ the ironic opposite of Nao’s complicated young life) which also happens to be the name of renowned Zen Buddhist priest Yasutani Haku’un, not to mention the fictional and real-life Ruths, both with husbands named Oliver.

If the names don’t spark further interest about reliable narrators, notions of reality, the art of fiction, the cover could inspire further volumes. Allow me to share a couple of the multi-layers to consider. In the third line down of the story’s opening page is this description: “A time being is someone who lives in time, and that means you, and me, and every one of us who is, or was, or ever will be.” That explanation transforms the title into at least a double entendre, as in ‘a story for now,’ or ‘a story for Nao.’ Add the subtitle, “a novel,” and the author’s name, and you’ve grown a labyrinth of meanings, from ‘a novel story for now by Ruth,’ to ‘Ruth’s novel about Nao,’ and so much more.

I might quibble that by the final pages, a few of the narrative threads were a bit too ‘deus ex machina‘-ly resolved, but I also find myself insisting that sometimes endings just need to be happier than not. That sort of magical thinking perhaps doesn’t make for a perfect novel, but it’s a small price to pay for attempting to redeem humanity through the healing power of sharing words and telling stories.

Readers: Adult

Published: 2013

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Filed under ..Adult Readers, .Audio, .Fiction, Japanese, Japanese American

21st Century Boys (vol. 2) by Naoki Urasawa, with the cooperation of Takashi Nagasaki, English adaptation by Akemi Wegmüller

21st Century Boys 2So why is it that all good things are supposed to come to an end? I’d be perfectly happy with another 20 more volumes. Really, is that too much to ask?

With an enormously huffy sigh of resignation, I moaningly offer a final post for Naoki Urasawa’s 20th-into-21st Century Boys. Yup, this is it. Really. The series stops here.

The Friend might be dead, but total annihilation still looms. Kenji’s gone virtual, searching for desperate answers by confronting his own 20th-century-boy past in order to find the anti-proton bomb detonator and prevent the latest threat to world destruction. Meanwhile, Kanna is out in the real world trying to find the same remote control, even as less-than-cooperative representatives of the supposed-to-be-peacekeeping UN Forces think she’s the “devil’s daughter” and impede her any way they can. While everyone is on high-octane search mode, the Giant Robot suddenly starts moving … ready to initiate Armageddon one last time. Be warned: “All kinds of stuff up the road for you, kid …”

I only wish that meant more Urasawa ‘stuff’ for me, sniff-sniff. First Monster, then Pluto, and now 20th-21st Century Boys. All finished! Withdrawal starts now. I guess I can always line up all 18 + 8 + 24 volumes, respectively, and have my own in-denial-mangafest … maybe facing the endings get easier the 16th time around or so?

Oh, Naoki Urasawa – wherefore art thou my next series?

Readers: Young Adult, Adult

Published: 2013 (United States)
21 SEIKI SHONEN © Naoki Urasawa/Studio Nuts
Original Japanese edition published by Shogakukan Inc.

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Filed under ..Adult Readers, ..Young Adult Readers, .Fiction, .Graphic Novel/Manga/Manwha, .Translation, Japanese