Memoirs of a geisha [antikvár]

translator's note One evening in the spring of 1936, when I was a boy of fourteen, my father took me to a dance performance in Kyoto. I remember only two things about it. The first is that he and I were the only Westerners in the audience; we had come from our home in the Netherlands only a few weeks earlier, so I had not yet adjusted to the cultural isolation and still felt it acutely. The second is how pleased I was, after months of intensive study of the Japanese language, to find that I could now understand fragments of the conversations I overheard. As for the young Japanese women dancing on the stage before me, I remember nothing of them except a vague impression of brightly colored kimono. I certainly had no way of knowing that in a time and place as far away as New York City nearly fifty years in the future, one among them would become my good friend and would dictate her extraordinary memoirs to me. As a historian, I have always regarded memoirs as source material. A memoir provides a record not so much of the memoirist as of the memoirist's world. It must differ from biography in that a memoirist can never achieve the perspective that a biographer possesses as a matter of course. Autobiography, if there really is such a thing, is like asking a rabbit to tell us what he looks like hopping through the grasses of