Det finns mycket i väggarna. Råttor, möss, vargar, maror och annat oknytt. Verkar som att det bästa sättet att bli av med dem är att

skrämma skiten ur dem

.

En litten blick i hur underliga barn kan vara när de kommer i bytartaget, och

om att ibland är ändå det man redan har bättre än det man på en nyck kan vilja ha istället. Inte alltid, men ibland.

The first paragraph of

introspection snf Miyo's anxiety and low self-esteem is already established. My precious girl. Miyo's birth family is disgusting. Certainly her sister and stepmother for obvious reasonsbut even more so her father, for ignoring everything the women put her through.

It's also interesting to see a bit of an introspection of

Kaya

.

It was already clear that she treats Miyo so badly because of her mother's example and encouragement and her father's ignoting it all, but it's a bit more to it than "you're my daughter, and you're better than that woman's daughter to Kaya's terrible personality.This shows that the family dynamic is a bit more complicated than it first seems. Kaya is, while perhaps not well aware of it, but knows to an extent that if she fucks up too much, her mother's ire will, though not as badly, turn to her as well.

The bud of

Miyo wanting something, her want to be with Kiyoka more and being scared of losing the tiny sliver of kindness in her life. It's so tragic, but also it's warming to know that she'll have it from him. The way she opens up, bit by bit, as she comes to understand more what she's not had, what she's offered, and that it's unconditional, no matter if she has any skills, Gift, or anything else. Her realising that not everyone will treat her poorly, because then everyone would have to be like her father, her stepmother and sister. That realisation she has is so good for her. The years she's suffered from the abuse from her family isnt' going to get fixed with just a bit of kindness, but she's healing, little by little, and her change from the prologue to the epilogue is sucha proof that she's getting more comfortable with both herself and her situation.

Kouji is a good guy, certainly, but

I've always loathed the whole "only I can protect you"

thing. The fact that he

understands that he needs to ask for help to save Miyo, and doesn't let stupid pride stop him from seeking Kiyoka out, shows growth in him. That he decides to take responsibility for the Saimoris and try to make something better of that family, though they certainly don't deserve it, particularly those adults as Kaya is really still just a child who needs and probably can go through a lot of growth, and that he decides to learn how to properly use his Gift rather than being content with just having it, is also a sign that he's growing as a person.

Kiyoka is, in the beginning, a seemingly unfeeling guy.

He's had his fair share of hurt though, it seems; he's guarded and wary. From the way he thinks about his previous trial-run fianceés, Kaya wouldn't have been a good match for Kiyoka wben before he liked Miyo. But the surprising way that Miyo acts has him open up as well, has him warm to her. He is a kind man, though icy when he needs to be - and when he's genuinely angry for the sake of what and who he cares about; as Kouji gets to see, it's the quiet rage that is the scariest kind of rage. He's stern and private, but his gentle side is so warm and fluffy. I also really appreciate that he's telling Miyo that it's alright to cry. So often, a crying character is told - particularly be a male character - that they shouldn't cry. That kind of advise is often well-meaning, in this comparison, but it's not ideal. Crying is a very good outlet, and having a male lead say that it's alright to cry is a very good thing. I'm glad that Kiyoka knows that one doesn't just repair trauma with just a few words. Love heals all is a nice sentiment and all, but it's really not that simple and realistic, and it's nice to see that acknowledged in a romance story.

As a note on Kiyoka and his emotions, I love that toward the end of the book, Miyo has started to recognise Kiyoka's feelings for what they are than before. Where she'd have taken his sheepish frown from anger in the beginning, now she can tell that he's just embarrassed. She didn't acknowledge that she can tell, now, but that's almost nicer than if she did.

This is something that Miyo thinks at first. I do understand it,

she's been through so much, she had nothing to live for any more. This is what she thinks at first, but then, when faced with that very possible scenario at the hands of her stepmother, she has the desire to live. To struggle for happiness. She thinks that she can't can't stand up for herself, but the fact that she chooses not to apologise any more, that is a very small way of doing so. Small, but significant. It's a change she has gone through, as she finally stands up to her abusers. And Miyo meeting the gaze of her sister and stepmother, refusing to do as they want made me cry with pride.

As for the translation itself, I have some issues with certain choices made. Firstly, it's the annoyance of Japanese words being in italic, which at least for me, who reads text in italics as an emphasis to the word, as a disruption in the flow. Then there's the change of honorifics, and because honorifics don't work the same in English as they do in Japanese, the erasure of most honorifics. Doing away with honorifics erases parts of how a society handles interpersonal relations, how they're interpreted linguistically. For example, Miyo. She has been trained severely into extreme politeness and distance. This has her use a lot of honorifics, and removing nearly all honorifics in her speech erases part of how demure she is.

It could also erase part of her growth, though I'm only coming from the standpoint of having watched the anime, so I don't yet know if she changes or drops any honorifics as she grows and blossoms.

Instead of changing and erasing honorifics, use the ones from the original text and add a glossary in the back. You can do that. People generally know how to use a short, one-page glossary at the front or back of a book. I had to decrease the rating because of these issues.


And now, a little note I didn't really know where to fit in the rest of this review:

Kiyoka's reaction to Miyo's first smile. Aaaaaa!!.

The ereader is he'll, I need to find this as either an audio or paper book to finish it.

Den enda erfarenhet jag har från tidigare är filmatiseringen av Kim Nowak, vilken jag inte gillade då, för cirka 15 år sedan. Men jag hade en tendens att ogilla allt skolan satte oss att se och läsa, det var väl i att man var tvungen, inte att man valde.

I vilket fall, det här är den första boken av Nesser som jag läst, och det i en lättläst version. Det gick sålunda rätt fort och en hel del saknas antagligen, om man jämför med originalet (vilket jag inte kan göra för tillfället).

Handlingen gick fort fram den med, med alla saker som hände. Det mesta kändes förutsägbart, som att

poeten Olsson inte var älskaren i bilen

och att

Mauritzs pappa var älskaren i bilen

, men att

Olsson var homosexuell gissade jag inte, speciellt som jag tänkte att boken var skriven tidigare än början på 00-talet, men jag tyckte det var rätt bra behandlat. Som var tidstypiskt så höll Olsson sin läggning hemlig, men när det kom ut så var det inga illa ord om det. Jag vet dock inte om det är så i originaltexten med

.

Mauritz är lite av en impulsiv karaktär, men bara i en något milt irriterande grad. Dock så ogillade jag skarpt

när han hotade att ta livet av sig om han inte fick Signhilds adress

det är så

äckligt av en person att göra

. Dock så är porträtterandet av honom väldigt tonårsaktigt, han beter sig mycket som en tonåring i kanten på att vara vuxen men ändå inte blivit vuxen kan göra.

Jag tror att om några månader eller mer så ska jag pröva att läsa och Piccadilly Circus ligger inte i Kumla.

Den här samlingen med berättelser har en väldigt bred räckvidd, trots att de utspelar sig på ett (någorlunda) begränsat område. Det är intressanta inblickar i det förflutna, med en blandning av sanning, skrock, och sagor. Vissa berättelser är mer intressanta för mig specifikt, med tanke på att man kan säga det är lite blandade genrer i kompotten, men de är alla intressanta i sig på sina egna vis. Det finns nog nån berättelse för varje person. Min favorit är kanske "Mellan dröm och verklighet", men den ligger rätt jämnt med "Om Tallemaja, Bäckahästen och andra hemskheter i Sydnärke".

Väldigt intressant hur ett samhälle som är välbekant sett så markant annorlunda ut. Det är synd att så många fina gamla byggnader inte finns kvar i utbyte mot fula, men så är det i alla orter. Det är kul att läsa om hur gamla bekanta byggnader är och hur ändamål har ändrats eller fortfarande är nära på detsamma som ändamålet de byggdes för.

I'd have given this 5 stars if not for the same honorific issues as has been going through the entire localisation. It just takes me out of the flow.

But anyway, I loved this volume, it was so good. I really hope the other Warau series gets translations, but please, I want the honorifics done properly, not translated like they've been in Donten.

Karakarakemuri is so good at a wide range of expressions. The art is so lovely, a very nice blend of beautiful and hilarious. It's something I've loved since first getting my hands on one of their books (Susanoh) and they've only gotten better.

The

Naoto and Chuutarou

stuff gets me right in the heart every time. This is something I hope to one day get to see more of, in particular. And of course,

all the Kumou generations being all goofy and ridiculous together

,  as well.

So many good

Shirasu

panels in this volume. Particularly during

the betrayal reveal scene

.

Also that bit with Naoto's past. A tiny insight into my favourite Donten man.

Additionally, that

Kagemitsu 4koma

! It's so funny!

I would love more cross-generation interactions, any day!

And then there's the

Botari reunion and the bonus story

!!!

A lot of good stuff in this volume.