The year is measured by the Kyoto cherry blossoms, the uptick in cases of beri-beri, the annual visit of the Kabuki actor Kikugorō and the failed miai coloring Yukiko’s pursuit of marriage.
The Makioka Sisters has a steady cadence.
It’s good then that Junichirō Tanizaki was meticulous with his pen because his Makioka Sisters also has a steady repetition. Its mark is subtlety. Its direction is stagnant. Its view is inward. Its tone is one of depressive anxiety. Emphasized is the passage of time for a family that cannot wrench itself from the past and which, far from moving forward, only eddies its descent.
And finally, one year, it is too late even for the blossoms in Ormura. Continue reading