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The Broken Bridge: Fiction from Expatriates in Literary

An insightful anthology of 36 brief tales written via non-Japanese who've known as Japan their domestic. "Judging from the robust writing during this quantity . . . the mix of jap reserve and the distant fantastic thing about the country's paintings and panorama has intensified those writers' powers of observation," says Publishers Weekly.

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It is a curiously rough, cold little hand, with nails, that, though scrupulously clean, would be thought in need of cutting back in England. It might almost be the claw of a bird. She smiles down at him but he turns his head away, as though fearful of smiling back at her. Well, the river is the same, with a leaden haze over the forest on either side of it and a few bathers in its waters. On either bank there are still bamboo rectangles raised up on stilts, canopies of straw above them, where people squat for refreshments; there are still omnibuses, with neatly groomed girls in uniforms officiously blowing whistles to summon errant passengers; there is still that sense of barely checked, menacing wildness— as though suddenly a typhoon might snap off the tops of the trees, a tidal wave might submerge the pleasure craft, or a volcano might erupt from one of the mountain peaks.

What kind of room is this? It is a hotel room. This is an expensive room—the most expensive room in which I have ever stayed. Is this room expensive? Yes, it is expensive. Direct Method. Liz hears Mildred’s voice or the ghost of Mildred’s voice (so long silent, letters to Canada unanswered, perhaps Mildred dead) teaching her pupils in the dining room. Who is Mildred? Mildred is the teacher. She is (was) also the lodger, who had come out to Japan with an Air Force husband, had abandoned him or been abandoned by him (the story changed as rapidly and inexplicably as her spirits would soar or sink) and had then set up as a freelance teacher.

Was that not splendid? And all, I think, because of you. Thank you, thank you. By the way, did 34 e dwa r d s e i d e n s t i c k e r you notice anything wrong with her? My father did look at her in the strangest—but how I babble on. You must forgive me if I have said anything inappropriate. I make it a practice not to talk about my family. My family and your family. My line and your line, separated for so many ages that I think your hair has become red and mine black. Then together again. Ah, ah!

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