Ruth Ozeki 2 bks My Year of Meats and A Tale for the Time Being KINDLE MOBI CPUL H.A.

Ruth Ozeki (born March 12, 1956) is an American-Canadian novelist, filmmaker and Zen Buddhist priest. She worked in commercial television and media production for over a decade and made several independent films before turning to writing fiction.

My Year of Meats (Kiriyama Prize)pub 1998 : Jane Takagi-Little is a Japanese American journalist who is hired to work for a Japanese production company. The company works with BEEF-EX to promote the use of American beef in Japan by creating a Japanese television show called My American Wife. Jane works as the host and creative producer for the show, on which every week an American wife is shown living "her life" and cooking meat.

Parallel to Jane's story is the life of Akiko Ueno, a former manga artist who specialized in horror scenes and is reluctantly married to a man working for BEEF-EX. Her husband cares only that Akiko has a baby and forces her to watch My American Wife and cook the recipes, believing that it will allow her to conceive. However, as Akiko's independence and sense of self grows from watching the show and cooking for her husband, her complacent life and relationship with her husband becomes volatile.

A Tale for the Time Being (Pub 2013)
2013 Man Booker Prize shortlist
2013 National Book Critics Circle Award (Fiction) shortlist
2013 The Kitschies Red Tentacle for best novel[11]
2013 Los Angeles Times Book Prize for Fiction.[12]
: A Tale for the Time Being is a novel by Ruth L. Ozeki narrated by two characters, a sixteen-year-old Japanese American girl in Tokyo who keeps a diary, and a Japanese American writer living on an island off British Columbia who finds the diary washed up on shore some time after the 2011 tsunami that devastated Japan.
Nao, a teenage native Californian girl, experiences the pain and discomfort of being uprooted from her home in Silicon Valley after her father loses his job, prompting her family’s move back to Tokyo. Identifying as an American, feeling like “an ordinary California girl adopted by Japanese parents,” she feels alienated in her new environment and finds it difficult to relate to the Japanese part of her identity. Unable to find hope for the future in her current circumstances, Nao is considering suicide when she first starts writing her diary at a French maid café in Akihabara. Before she takes her own life, Nao is determined to document the life of her great grandmother, a Buddhist nun who is more than one hundred years old. Nao finds comfort in writing in her diary, addressing an imagined reader and friend. Nao becomes distracted while she is writing the diary, however, and what she actually ends up doing is capturing her own life to readers. Her diary entries cover a broad range of topics, and are characterized by their non-linear chronology; she jumps back in time describe events that have taken place further back in the past, and makes frequent interjections – both to speak to the reader, and to send text messages to her grandmother. On the other side of the Pacific, Ruth, a novelist living on a small island off the coast of British Columbia, finds a Hello Kitty lunchbox washed up on the beach—possibly debris from the tsunami that struck Japan in 2011. Inside is Nao's diary, and Ruth becomes heavily invested in this narrative, and in finding out Nao’s fate. Due to the geographic seclusion and rural nature of her home, Ruth feels isolated from the rest of the world in her environment. She feels a strong connection to Nao, and yearns to locate her in the real world in order to affirm her wellbeing. Ruth succeeds in finding several traces of Nao’s father and great-grandmother online; however, her efforts to do so are continually thwarted. These attempts eventually culminate in a curious convergence between the two worlds.

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