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Quote by Ruth Ozeki

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A Tale for the Time Being

In this thought-provoking narrative, the story intertwines the lives of a young Japanese girl and a Canadian woman living in Tokyo, delving into the complexities of human existence and the impact of the past on the present. more

Author

Ruth Ozeki
Ruth Ozeki

Ruth Ozeki (born March 12, 1956) is an American novelist, filmmaker, and Zen Buddhist priest. Known for works including My Year of Meats (1998), A Tale for the Time Being (2013), and The Book of Form and Emptiness (2021), her novels blend Japanese cultural elements with contemporary American themes. A Tale for the Time Being was nominated for the Man Booker Prize. She combines her practice of Zen Buddhism with her literary and film work. more

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“There are times today when Rachel looks at Zach and sees an effusion, she sees him in colours of yellow and blue, sun and sky. She sees the yellow crew-neck jumper and blue jeans the boy of eight years old appeared in the day he came to Chelsea from the Coram Family via the two or three previous fosterers who returned him there, defeated, pronouncing him uncommunicative and maladroit in the extreme, animal, said one; unruly. So why this boy? For Katya the fractious? Of all the orphan boys in the world, why him? Of all potential mothers, why Katya? What did she see? Everyone has a part and a destiny. Rachel remembers the yellow jumper the boy rarely removed, even after the family shopping spree for a new wardrobe at Harrods followed by lunch in a restaurant with napkins large as small tablecloths, and heavy cutlery and wine for Katya and Lev and a pervasive daunting hush. Zach had never been to a restaurant before and chose spaghetti, because he knew what it was. He ate it with knife and fork. On the day he arrived in Chelsea, he stopped in the vestibule to slip his feet from lace-ups without undoing the bows, removing his shoes with institutional efficiency, left hand still held in Katya's right. Rachel sees that boy still, blue and yellow. Sky and sun.”

“We'll be up in a minute,' states Katya, speaking from a particular stillness, in sudden recognition of a dream made real, a dream annulled, so she had thought, by long words of the womb—'endometriosis,' 'hyperplasia'—and now made true, this vision of a boy on a staircase answering to his name, coming to her call. My son. She raises one arm slightly in front of Lev at her side, in gentle impediment. Not yet. Wait here. Let me see. This was always preordained.”

“The boy didn't know what a person's "destiny" was. "It's what you have always wanted to accomplish. Everyone, when they are young, knows what their destiny is." "At that point in their lives, everything is clear and everything is possible. They are not afraid to dream, and to yearn for everything they would like to see happen to them in their lives. But, as time passes, a mysterious force begins to convince them that it will be impossible for them to realize their destiny.”

“Maris sighed, and put a gentle hand on his arm. "We'll do what we must, Coll. We have no choice." He looked up at her now, looking to her again as the child to the mother; although he knew now that she was as helpless as he, still he hoped. "Why don't we have a choice? I don't understand." Maris sighed. "It's law, Coll. We don't go against tradition here, you know that. We all have duties put upon us. If we had a choice I would keep the wings, I would be a flyer. And you could be a singer. We'd both be proud, and know we were good at what we did. Life will be hard as a land-bound. I want the wings so much. I've had them, and it doesn't seem right that they should be taken from me, but maybe—maybe the tightness in it is something I just don't see. People wiser than we decided that things should be the way they are, and maybe, maybe I'm just being a child about it, wanting everything my own way.”