76).Īlthough Banana humbly claims to write for “entertainment”, the issues in Banana’s works are essential for Japanese young people. Treat emphasizes the narcissistic and desexualized nature of this culture” (Cassegård, 2007, p. Summarizing Treat, he wrote, “Approaching her work through a discussion of shojo culture or ‘cute culture’ in Japan-the popular culture of young girls centered on the supreme value of cuteness-John W. The hybrid narrative is related not only to postmodernism but also to traditional beauty and to the shojo culture that Carl Cassegård once interpreted. This idea points out hybridity in Banana’s fiction. Yuji Oniki made an interesting observation: “Reading a Yoshimoto story is a lot like watching a Japanese TV commercial” (Oniki, 1996). The reader also becomes an “author” in finding the meaning of the narrative. However, it is the bewilderment of youth that gives the text multiple meanings. Their lives seem to be frozen in a certain small space. As Sekine argues, “The protagonists/narrators in these stories are young urban adults in a largely Americanized and highly consumerist society, in which their self-consciousness is often overpowered by a materialistic affluence that forces them to adopt the same desires as everyone else” (Sekine, 2001, p.
The narrative world in such writing is full of Japanese youths embarking on a path where traditional values are increasingly lost and alternative values are unfamiliar. It is a combination of traditional and contemporary values and of reality and dreams. Hybridity is a unique style of writing in Banana’s fiction, especially Kitchen.
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